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“I Want to Read Comics After Seeing the Avengers”: Post-Avengers Comic Book Recommendations…

The Avengers opened in a lot of major markets this weekend. It is opening in the United States this Friday. It’s set to be huge and has been quite well received by critics and audiences. Now, I know that this massive blockbuster movie won’t convert the millions of avid movie-watchers into comic book fans, if only because other comic books have failed to see that appreciable a gain from success in other media. However, on the off chance that somebody comes out of the cinema thinking “hey, I really like that and would like to check out the source material”, I’ve compiled a handy list of recommendations that should be readily available and easy to find for would-be fans looking to get a taste for the iconic characters in their original media.

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Captain America by Jack Kirby Omnibus (Review)

April (and a little bit of May) are “Avengers month” at the m0vie blog. In anticipation of Joss Whedon’s superhero epic, we’ll have a variety of articles and reviews published looking at various aspects of “Earth’s Mightiest Heroes.” Today, I’m focusing on one in particular, Captain America.

“All the years of combat against forces of overwhelming power have done little to prepare Cap for the terrifying experience of being thrust under the Klieg Lights amid an undulating sea of precision dancers…”

– Oh no! Cap’s fatal weakness! Precision dancers!

It seemed like a bit of a no-brainer. With America’s bicentennial celebrations approaching, Marvel decided to put comic book legend (and co-creator) Jack Kirby on the comic book. Publishing two annuals, twenty-two issues of the on-going Captain America and Falcon book, and the iconic Captain America’s Bicentennial Battles, Kirby celebrated two centuries of the United States in style, crafting Captain America stories that were at once anchored in the past, yet boldly forging forward. He also seemed to embrace the crazy and energetic potential of the medium he helped define, producing a run on the character that was borderline surreal, occasionally crazy, but never boring.

The most awesome comic panel ever…

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Mighty Avengers: Dark Reign (Review/Retrospective)

April (and a little bit of May) are “Avengers month” at the m0vie blog. In anticipation of Joss Whedon’s superhero epic, we’ll have a variety of articles and reviews published looking at various aspects of “Earth’s Mightiest Heroes.”

Read our review of The Avengers here.

Dan Slott’s Mighty Avengers is so distinct from Brian Michael Bendis’ run on the second Avengers flagship book that it might as well have been a different title. Indeed, the name (and, arguably, the use of thought balloons) represent perhaps the only ties to the second major Avengers title. While still defined by it, the status quo has little to do with the aftermath of Civil War, and the lineup is markedly different. In a way, you could argue that Bendis and Slott had similar goals with the title: an attempt to tell more bombastic and traditional Avengers stories, with high stakes and a global focus, in contrast to the relatively “urban” feel of Bendis’ New Avengers. There’s no denying, however, that Slott handles the nostalgia and conventional superheroics with far more aplomb than his predecessor.

Not so Mighty...

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Thor by Walt Simonson Omnibus (Review/Retrospective)

April (and a little bit of May) are “Avengers month” at the m0vie blog. In anticipation of Joss Whedon’s superhero epic, we’ll have a variety of articles and reviews published looking at various aspects of “Earth’s Mightiest Heroes.” We’re also taking a look at some of the notable stories featuring individual Avengers.

Read our review of The Avengers here.

Walt Simonson’s run on Thor is one of the truly great Marvel runs of the eighties – along with Frank Miller’s take on Daredevil and John Byrne’s tenure on The Fantastic Four. It’s great to have that entire run – and the Baldar the Brave miniseries – collected in one absolutely giant omnibus, which stands as one of the greatest accomplishments of Marvel’s collected editions department. Did I mention that it has been lavishly recoloured for the occasion? Because it has. And it’s spectacular.

A snake in the grass (and pretty much everywhere else)...

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Does Whatever a Spider Can: Do Chronicle and Kick-Ass Render The Amazing Spider-Man Moot?

We still have a few months to wait before Marc Webb reboots Sony’s Spider-Man franchise with The Amazing Spider-Man. Despite some tonal worries, I’ll admit Webb has quite a talented crew assembled – Andrew Garfield is on the cusp of stardom, and Emma Stone is a bit ahead of him. However, I can’t help but wonder if Webb’s film might be a few months too late. After all, haven’t Kick-Ass and Chronicle offered a fairly solid deconstruction of the iconic web-slinging superhero? Is there really enough left to be said in the Spider-Man origin story when we’ve already seen it picked apart and subverted so often and skilfully?

Webb's Spider...

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My Best of 2011: Thor, Daddy Issues & The Triumph of Optimism…

It’s that time of the year. To celebrate 2011, and the countdown to 2012, I’m going to count down my own twelve favourite films of the year, one a day until New Year’s Eve. I’m also going to talk a bit about how or why I chose them, and perhaps what makes this list “my” best of 2011, rather than any list claiming to be objective.

Thor is number five. Check out my original review here.

This is perhaps one of my “what the…?” picks, one of my choices that will seem especially random, and a blockbuster highly unlikely to show up in any other critic or commentator’s “best of 2011” of “end of year” countdown lists. However, I think there’s a lot to like about Branagh’s adaptation of Marvel’s faux-Shakespearean hammer-wielding Norse God, and I think it works so well because Branagh seems to acknowledge the same sentiment that Stan Lee tapped into when creating The Mighty Thor: the idea that superheroes are a modern American mythology, a vehicle with which to explore the hopes and fears of the modern world through a fantastical prism, something that can be traced back to the pantheon of old. While the best superhero films explore this sense of relevance, I admired the way that Thor managed to embrace it in the most abstract manner, tracing it back to that earliest and most basic type of story: the story of fathers and sons.

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The Caped Social Crusader: The Dark Knight Rises and Batman’s History of Class Warfare…

With the leaked second trailer for The Dark Knight Rises, showing in theatres in front of Sherlock Holmes: A Game of Shadows, it seems like we have a theme for the movie, something to connect Nolan’s final Batman film to the terrorism and liberty metaphor that underscored The Dark Knight. Giving our first real look at Selina Kyle, who I sense might be far more important to the film than Bane himself, despite her relative lack of exposure, it seems that the film will play into the sort of resentment and class divide forming in global society – the type of movement spawning the “Occupy Wall Street” and the “We are the 99%” campaigns. “You think this’ll last,” Selina taunts Bruce, in a scene that conjures Tim Burton’s underrated Batman Returns. “There’s a storm coming Mr. Wayne. You and your friends better batten down the hatches. Cause when it hits the city you are all gonna wonder how you could live so large and leave so little for the rest of us.”

It seems like a fascinating avenue for Nolan to explore, especially given that Batman is one of the “1%”himself. Still, it’s an angle rich for exploitation and with considerable history behind it.

The Bane of the upper classes?

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Grant Morrison’s Seven Soldiers of Victory: Klarion (Review/Retrospective)

December is “Grant Morrison month” here at the m0vie blog, as we take the month to consider and reflect on one of the most critically acclaimed (and polarising) authors working in the medium. We’ve got a special treat for you this week, which is “Seven Soldiers Week”, so check back each day for a review of one of the Seven Soldier miniseries that Morrison put together.

I think that Seven Soldiers perhaps serves to illustrate the connection between Grant Morrison and Jack “King” Kirby. I know that Morrison’s detractors will balk at such a comparison, but I think there’s a lot to this. Kirby defined Marvel, working on flagship titles like The Avengers or The Fantastic Four or The Incredible Hulk, and he was as influential as Stan Lee in establishing what readers could expect from Marvel. However, he also did a considerable body of work at DC. While not as successful or iconic as his Marvel portfolio, I do think that it was some of his more wonderful and outrageous “high concept” work – things like the New Gods, for example, or Kamandi or Etrigan the Demon. I think one of the more intriguing aspects of Seven Soldiers has been seeing Morrison work with these types of crazy and ingenious ideas.

Morrison's on fire of late...

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Grant Morrison’s Seven Soldiers of Victory: Frankenstein (Review/Retrospective)

December is “Grant Morrison month” here at the m0vie blog, as we take the month to consider and reflect on one of the most critically acclaimed (and polarising) authors working in the medium. We’ve got a special treat for you this week, which is “Seven Soldiers Week”, so check back each day for a review of one of the Seven Soldier miniseries that Morrison put together.

Sometimes we all get too caught up in Morrison’s wonderful symbolism, mysticism and deeper meaning. Sometimes comic books don’t need to be anything more than a ridiculous premise executed in wonderful style. The covers to this miniseries tell you all you need to know, as does the opening splash page, featuring the monster striding into action as an off-screen character declares, “Die, Frankenstein, die!” You know you’re in for a wonderful high-concept action adventure which isn’t going try to be anything more than effortlessly cool. It’s moments like this which remind you, quite simply, that Grant Morrison loves comics, just as much as you and I do.

Words cannot describe how awesome this is...

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Grant Morrison’s Seven Soldiers of Victory: The Bulleteer (Review/Retrospective)

December is “Grant Morrison month” here at the m0vie blog, as we take the month to consider and reflect on one of the most critically acclaimed (and polarising) authors working in the medium. We’ve got a special treat for you this week, which is “Seven Soldiers Week”, so check back each day for a review of one of the Seven Soldier miniseries that Morrison put together.

There’s a whole class of people in hospital wards, Mrs. Harrower, people who’d do just about anything to hang out with the skintight crowd. They expose themselves to radioactive materials or drink home-made potions… They interact with venomous insects and dangerous animals in the expectation of receiving some totem power.

There’s not a lot of sympathy among medical staff who have to clean up the mess.

The Bulleteer is a wonderful deconstruction of the superhero world we see so often reflected in the comics of Marvel and DC. These characters were created decades ago, in a different world. Writing elsewhere last year, I wondered if the very concept of a secret identity is outdated, a genre convention which doesn’t reflect the modern world. Clark Kent is a modest cover for Superman, a creation which afford him the opportunity to pretend to be normal, a humble camouflage that seemed perfectly quaint in the thirties. These days, I wonder if people would even bother. After all, in this era of instant celebrity and reality television, with the entire world aspiring to become “special”, why would you ever want to be normal?

What happens when the shine comes off?

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