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The Amazing Spider-Man – Grim Hunt (Review)

This April, to celebrate the release of The Amazing Spider-Man 2, we are taking a look at some classic and modern comics featuring Spider-Man (and friends). Check back daily for the latest review.

Although not technically part of The Gauntlet, Grim Hunt serves as a climax to eight months of stories in The Amazing Spider-Man. It comes at the end of what has been a pretty tough slog for the wall-crawling web-slinging superhero, after a string of pyrrhic victories and out-and-out losses. In essence, Grim Hunt is the culmination of all the plot threads running through The Gauntlet, as the sinister plot against the iconic superhero enters its end game.

It also comes towards the end of the Brand New Day era of The Amazing Spider-Man, only two story arcs before regular writer Dan Slott would take over the series for the next stage of the character’s development. Brand New Day was a controversial era for Spider-Man fans, building off a clumsy continuity reset in One More Day and trying to balance the weight of the character’s history against bold new directions.

As such, Grim Hunt also serves as something of a meditation on the history of The Amazing Spider-Man, a reflection on editorial attitudes to continuity and character development – an astonishingly self-aware and reflexive story arc that feels like a commentary on the character and the way that comic book storytelling tends to work.

A shot in the arm...

A shot in the arm…

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The Amazing Spider-Man – The Gauntlet: The Juggernaut – Something Can Stop the Juggernaut (Review/Retrospective)

This April, to celebrate the release of The Amazing Spider-Man 2, we are taking a look at some classic and modern comics featuring Spider-Man (and friends). Check back daily for the latest review.

Something Can Stop the Juggernaut is a bit of an oddity in the grand scheme of The Gauntlet, if not the larger scheme of Brand New Day. One of the stated goals of Brand New Day was to present readers with a thoroughly modernised version of Spider-Man, an iteration of the character who had been distilled to his purest essence, unburdened by the weight of decades of character development and continuity.

As the “new” in Brand New Day suggests, a large part of the editorial stance on Brand New Day was the opportunity to do something novel with The Amazing Spider-Man. It was a conscious break with the old, and an attempt to push the character in new directions. After all, the early issues made an effort to shuffle new characters into the established ensemble and to feature new villains and threats for our hero to face.

Leaping into action...

Leaping into action…

(To the point where the emphasis on classic foes was one of the selling points of The Gauntlet – a sense that the comics were finally trying to bring many of these iconic baddies into the twenty-first century alongside a reinvigorated and re-energised Spider-Man. Indeed, it’s interesting how much of The Gauntlet makes a point to reference or mirror Peter’s continuity reset into Brand New Day. Much like Peter in One More Day, many of his classic foes lose their new-found families to reset them to villainy, except without the benefit of a magical reset button at the end.)

So drawing back in celebrated creator Roger Stern to craft a sequel to a beloved eighties Amazing Spider-Man story feels rather surreal. The three-part Something Can Stop the Juggernaut exists as an explicit to Stern’s deservedly beloved classic Nothing Can Stop the Juggernaut, right down to classic flashbacks to the comic, follow-up references to various characters, and the fact that events spiral from that story.

Spidey is a little tied up...

Spidey is a little tied up…

Something Can Stop the Juggernaut is crafted as a celebration of vintage Spider-Man, which works very well in the context of The Gauntlet. As the on-going epic spirals towards its climax in Shed and Grim Hunt, it’s nice to hace a reminder of a classic Spider-Man story. After all, Grim Hunt makes a point to stress the perfection of another classic Spider-Man story, albeit in a very different way.

Something Can Stop the Juggernaut seems to exists to assure readers that the legacy and history of Spider-Man is still valid and meaningful, not rendered moot by the continuity-tinkering shennanigans of One More Day.

The Juggernaut who fell to Earth...

The Juggernaut who fell to Earth…

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Non-Review Review: Tracks

Tracks looks absolutely stunning. Photographer Rick Smolan is credited as an inspiration for the look and feel of the film, which makes a great deal of sense – Smolan was the photographer tasked by National Geographic with documenting Robyn Davidson’s trek across Australia. His pictures, accompanying Davidson’s article in National Geographic, captured the raw beauty of the Australian countryside. Director John Curran and cinematographer Mandy Walker create a rich a vivid study of the journey.

The story itself is told at a leisurely pace, allowing the audience to absorb the scale of Davidson’s remarkable accomplishment – as if documenting the sheer breadth of the continent. Tracks isn’t quite perfect. It occasionally indulges a little too heavily in clichés while refusing to delve too far under the skin of its protagonist. Still, it’s a beautifully produced piece of cinema featuring a wonderful central performance and some absolutely breathtaking imagery.

"I walked through the desert with a camel with no name..."

“I walked through the desert with a camel with no name…”

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Non-Review Review: We are the Best! (Vi är bäst!)

We are the Best! is an endearing coming of age tale about three unlikely friend who decide – rather spontaneously – to found their own punk rock band. A charming, light-hearted and whimsical story about teenage friendship, We are the Best! occasionally feels a little too unfocused and a little too generic, but it’s elevated by a witty script and three great central performances from young actors Mira Barkhammar, Mira Grosin, and Liv LeMoyne as the central (and unlikely) trio.

Young punks...

Young punks…

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The Amazing Spider-Man – The Gauntlet: Mysterio – Mysterioso (Review)

This April, to celebrate the release of The Amazing Spider-Man 2, we are taking a look at some classic and modern comics featuring Spider-Man (and friends). Check back daily for the latest review.

And so The Gauntlet circles around to writer Dan Slott and artist Marcos Martín. It really is impressive the talent that Marvel was able to draw to The Amazing Spider-Man as part of their Brand New Day. The comic was publishing several times a month, requiring rotating writers and artists to keep everything moving, with a strong editorial hand to guide the comic. Whatever one might say about the motivations and consequences of Brand New Day, it affirmed the idea that The Amazing Spider-Man was one of Marvel’s premier titles, featuring some incredible creative talent.

The Gauntlet is focused on the idea of re-working and re-engineering various classic Spider-Man bad guys. Both Power to the People and Keemia’s Castle stressed the idea that Spider-Man’s bad guys are really tragic figures – that there is something to pity in figures like Max Dillon or Flint Marko. With Mysterioso, Dan Slott and Marcos Martin focus on Mysterio, perhaps the least sympathetic bad guy featured as part of The Gauntlet. (The only real competition comes from either the new Rhino or the Lizard, if you separate him from Curt Connors.)

"Mister Spider-Man, I've been expecting you..."

“Mister Spider-Man, I’ve been expecting you…”

Far from a tragic figure trapped by circumstance, Slott positions Mysterio as a arch-criminal-as-artisté – a character who not only revels in the crime that he causes, but also the psychological damage he inflicts. He is a super villain who considers the entire world to be his set, staging elaborate set-pieces for nothing beyond his own amusement. There’s no fractured psyche here, no familial love, no excuse. Mysterio is a character who simply enjoys what he does. It doesn’t add much depth to the character, even if it is great fun.

And yet, despite this, Slott manages to make Mysterioso something of an encapsulation of the themes of The Gauntlet. This is the first time in the epic that Spider-Man’s “no kill rule” is discussed and stressed, and a story that emphasises that Spider-Man’s unique brand of heroism is about enduring the impossible without being corrupted by it. As such, it feels like Slott is really codifying some of the rules of this epic. Mysterioso skilfully closes out the first third of The Gauntlet, confirming what lies ahead.

All bets are off...

All bets are off…

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Non-Review Review: The Raid 2

The Raid is a modern action classic. It’s a rather simple premise executed with incredible flair – a bunch of cops find themselves trapped in a high-raise tower with an army of organised thugs, forced to fight their way to freedom. It’s not the most original of plots, but it works quite well as a framework upon which to hang some genuinely breathtaking martial arts set pieces. It was a showcase for director Gareth Evans and fight choreographers Iko Uwais and Yayan Ruhian.

The Raid 2 has much to recommend it – with Evans and his collaborators dramatically increasing the mayhem captured on screen. There are any number of memorable fight sequences contained within the film, with Evans, Uwais and Ruhian finding all sorts creative manners of dispatch. The stunts are bigger, the scale larger and the ambition more palpable. In terms of sheer action quotient, the bar has been well and truly raised.

It is a bit of a bloody mess...

It is a bit of a bloody mess…

Unfortunately, The Raid 2 lacks the elegant simplicity of its predecessor. Confined to a single building for one hundred minutes, The Raid was tight and claustrophobic – moving like a locomotive. Running almost an hour longer, The Raid 2 is rather bloated and overstated. Evans’ ambition extends beyond stunt work and fight sequences, and so he tries to craft a crime epic that seems half-way between Infernal Affairs and Only God Forgives, lacking the humanity of the former and the operatic sensibilities of the later.

The result is an overblown mess of a film that really comes together for a powerhouse final forty minutes. The last act of The Raid 2 manages to capture the frantic momentum of the first film, with a sense of constantly escalating scale and brutality. Unfortunately, the rest of the film doesn’t quite measure up.

Raiding the pantry...

Raiding the pantry…

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J. Michael Straczynski’s (and Ron Garney’s) Run on the Amazing Spider-Man – Civil War (Review/Retrospective)

This April, to celebrate the release of The Amazing Spider-Man 2, we are taking a look at some classic and modern comics featuring Spider-Man (and friends). Check back daily for the latest review.

Spider-Man is a pretty important character in the whole Civil War event. Indeed, he’s probably the event’s third most important character – aside from Captain America and Iron Man. So it makes sense that J. Michael Straczynsi’s extended run on The Amazing Spider-Man would stop and engage with the massive crossover spanning the entire Marvel Universe. And, from a logistical “structuring a comic book crossover tie-in so it makes any sense to a reader picking up the book” point of view, Straczynski does a great job. You can read The Amazing Spider-Man without needing to even pick up the Civil War miniseries.

However, as a piece of writing on its own merits, Straczynski’s Amazing Spider-Man tie-in is a mess. Straczynski’s Amazing Spider-Man run has been collecting trouble aspects for quite some time, particularly when Straczynski seemed to brush up against the editorial demands for the book. Sins Past was perhaps the most obvious example, but with Civil War the comic entered a phase where it was pretty much an editorial means to an end. Everything from this point on was pushing towards One More Day, an event that would wipe decades of continuity from the title. (Including Straczynski’s run.)

Civil War really gets the ball rolling on these sweeping editorially-mandated changes, but that’s not the only problem with the story arc. Given Spider-Man’s importance to Civil War, and his role as defector from one side to the other, it seems like Spider-Man would really be the perfect lens through which Straczynski could explore the issue. Unfortunately, it quickly becomes clear upon which side of the issue Straczynski comes down.

A tangled web...

A tangled web…

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Non-Review Review: Rio 2

Rio 2 is a solidly-constructed sequel. It lacks the emotional heft that has come to distinguish most of the more memorable family films. Instead, it opts for a constant barrage of music and colour to keep the young audience engaged. Nothing ever lingers too long, with a set piece or a musical number sure to kick off within a scene or two. There’s nothing wrong with this approach – Rio 2 is a perfectly enjoyable piece of family film.

At the same time, it never slows itself down (or even tones itself down) long enough for use to invest in the characters. There is always something happening, which means that our characters never seem to catch their breath. Given the movie’s story touches on heavy themes like connecting with one’s roots, cultural identity, and environmentalism, there is a sense that these ideas might work better if given room to breath a bit.

Still, the result is engaging and diverting, if not entirely satisfying.

All the way to Rio...

All the way to Rio…

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Non-Review Review: Noah

Noah is very hard to process. It’s very much an adaptation of its source material – very clearly a biblical epic that draws from The Book of Genesis in terms of tone and mood and imagery. It’s a story that is harrowing and horrifying, couched in allegory and metaphor and built around an idea of divinity that is difficult to comprehend.

At points, Darren Aronofsky’s biblical epic seems to move in dream-time; the imagery is abstract, the scope almost impossible to comprehend; time and scale are conveyed through disjointed slideshows that invite the viewer to composite them together, creating a sense that this is more abstract than conventional storytelling.

noah3

Like The Fountain before its, Noah is a story that seems to exist without place and time. Witnessing the devastation that mankind has done to the world around it, it seems like our protagonists have stumbled into a post-apocalyptic wasteland with burnt trolleys and abandoned pipes scattered across scorched Earth.

Past, present and future co-mingle, creating a sense that this is a world without time as we might conventionally understand it. After all, this isn’t the real world. This is a story. The internal logic is prone to shift like uncertain ground, the viewer never quite sure if they’ve properly found their footing. Aronofsky’s vision is at times frustratingly oblique, but more than occasionally brilliant.

noah9

It captures a lot more of The Book of Genesis than most of its critics would concede – in mood and tone as much as literal interpretation. At the same time, it makes a pretty compelling example of why big crowd-pleasing biblical epics don’t tend to draw from The Book of Genesis, favouring later – less difficult and polarising – biblical material.

It’s very hard to imagine Noah as a commercial exercise – to recognise a group that will respond to a story that is willing to be so bold in tackling its subject material. And yet, at the same time, it is an absolutely intriguing piece of cinema.

noah2

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Kieron Gillen’s Journey Into Mystery – Fear Itself (Review/Retrospective)

This March, to celebrate the release of Captain America: The Winter Soldier, we’ll be taking a look at some classic and not-so-classic Avengers comic books. Check back daily for the latest updates!

Whatever about the quality of big “event” comics like Secret Invasion or Fear Itself, they typically serve as the launching pad for a variety of new series. Using the sales power of a tie-in to a big event, comic book publishers are more likely to convince readers to try something a bit new or a little outside the norm. It doesn’t always work, but – if used cleverly – these tie-ins can serve to draw attention to low-key books that might otherwise be flying under the radar. Or, you know, “Loki books.”

Kieron Gillen’s Journey Into Mystery is a contemporary classic. Even if one is unsatisfied with Fear Itself – and I’m quite fond of it, to be honest – Gillen’s Journey Into Mystery is enough to justify that juggernaut of an event.

Ghosts of gods of mischief past...

Ghosts of gods of mischief past…

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