Advertisements
    Advertisements
  • Following Us

  • Categories

  • Check out the Archives









  • Awards & Nominations

  • Advertisements

80. Deadpool 2 – This Just In (#183)

Hosted by Andrew Quinn and Darren Mooney and with special guest Graham Day, This Just In is a subset of The 250 podcast, looking at notable new arrivals on the list of the 250 best movies of all-time, as voted for by Internet Movie Database Users.

This time, David Leitch’s Deadpool 2.

At time of recording, it was ranked the 183rd best movie of all time on the Internet Movie Database.

Continue reading

Advertisements

Mark Waid, Ian Churchill and Ken Lashley’s Deadpool – Sins of the Past (Review/Retrospective)

This May, to celebrate the release of X-Men: Days of Future Past, we’re taking a look at some classic and modern X-Men (and X-Men-related) comics. Check back daily for the latest review.

It’s interesting to try to chart the meteoric rise of Deadpool. Over the past decade, Deadpool has emerged as one of Marvel’s most popular comic book characters. He features in various miniseries and variant covers, populated quite a few books from month-to-month. While his exposure hasn’t quite reached the same level as that of Spider-Man or Wolverine, Deadpool is easily one of the most frequently-appearing characters in Marvel Comics.

It is strange to think that he is a relatively young character, originating in Rob Liefeld’s New Mutants shortly before it became X-Force. First appearing in February 1991, Rob Liefeld created Deadpool as a decidedly nineties character – “the merc with the mouth”,  he felt like a conscious composite of Spider-Man with more outrageous villains (or anti-heroes) like Deathstroke. Indeed, the similarity is something of a cheesy joke. Where might one practise their Deathstroke? In the Deadpool, of course.

Crossing swords...

Crossing swords…

Liefeld created a cheesy and hyperactive foe for his mutant characters, allowing the character all manner of cheesy and awkward one-liners. However, that version of Deadpool is almost unrecognisable when compared to the character as he exists today. The modern version of Deadpool is a character aware of his own fictional nature, with dialogue balloons painted yellow to distinguish him from the less self-aware characters around him.

Today’s Deadpool is more of a comedy force of nature than a serious anti-hero, a character basking in the absurd rather than trying to appear badass. It’s interesting to wonder how that character transformed so radically (and so thoroughly). Certainly, his first solo miniseries seems to occupy the strange space between Rob Liefeld’s half-serious mercenary psychopath and Joe Kelly’s comic book comic. While still a little too steeped in nineties aesthetic for its own good, Mark Waid’s Deadpool is a small step in that direction.

Well, at least he knows how to make an entrance...

Well, at least he knows how to make an entrance…

Continue reading

Roy Thomas & Werner Roth’s X-Men – X-Men Omnibus, Vol. 1-2 (Review/Retrospective)

To celebrate the release of The Wolverine later in the month, we’re taking a look at some classic X-Men and Wolverine comics every Monday, Wednesday and Friday here. I’m also writing a series of reviews of the classic X-Men television show at comicbuzz every weekday, so feel free to check those out.

The X-Men were not, to put it frankly, a comic book franchise that hit the ground running. Despite the considerable talent involved in their first nineteen issues, the comic struggled to find its own niche, unsure of just how far it dared to venture from the standard superhero template, and how confined it was by the whole “mutant superhero” bit. Writer Roy Thomas was tapped to take over the book when Stan Lee left.

Thomas is one of the underrated Silver Age writers. His work on The Avengers, spanning more than a half-a-decade, is arguably more influential and definitive than Lee’s original run on the title. He is responsible for The Kree-Skrull War, which remains one of the stronger early Avengers stories. He would work on X-Men twice before the book was finally cancelled. His second run, with Neal Adams pencilling, is arguably a lot stronger than his work here, which feels a little muddled and unfocused.

To be fair to Thomas, it’s quite clear that he recognised that the X-Men needed a shake-up and to find their own voice distinct from the initial run written by Lee and Kirby. Unfortunately, Thomas doesn’t seem entirely sure of what that voice is.

Lighten up, Charles!

Lighten up, Charles!

Continue reading

Rick Remender’s Uncanny X-Force (Review/Retrospective)

To celebrate the release of The Wolverine later in the month, we’re taking a look at some classic X-Men and Wolverine comics every Monday, Wednesday and Friday here. I’m also writing a series of reviews of the classic X-Men television show at comicbuzz every weekday, so feel free to check those out.

Between Uncanny X-Force and Venom (and arguably his run on The Punisher), Rick Remender seems to have built a comic book career out of rehabilitating symbols of nineties excess. Taking a bunch of grim and nihilistic concepts that were very popular in mainstream comics during the nineties, Remender uses them to craft a compelling story about the wages of vengeance. Its premise and pedigree might lead you to believe that Uncanny X-Force is another throwaway comic about gratuitous violence. Instead, it’s a masterpiece about profound consequences.

Welcome to the World...

Welcome to the World…

Continue reading

Craig Kyle & Christopher Yost’s Run on X-Force – X-Necrosha (Review/Retrospective)

To celebrate the release of The Wolverine later in the month, we’re taking a look at some classic X-Men and Wolverine comics every Monday, Wednesday and Friday here. I’m also writing a series of reviews of the classic X-Men television show at comicbuzz every weekday, so feel free to check those out.

I have a bit of a soft-spot for Craig Kyle and Christopher Yost’s X-Force. It’s nowhere near as good as Rick Remender’s Uncanny X-Force, and I’m not even sure that it’s good comics. However, it does capture the mood of the X-Men comics between House of M and Second Coming remarkably well.

Being frank, I think that the editorial direction of the X-Men line between House of M and Second Coming was a disaster. In fact, the work of Kieron Gillen on Uncanny X-Men and Jason Aaron on Wolverine & The X-Men following Schism demonstrates that the franchise spent six long years running in a gigantic circle to get back to where Grant Morrison’s New X-Men and Joss Whedon’s Astonishing X-Men had left it.

However, Yost and Kyle’s X-Force captures the mood of the line a lot better than Ed Brubaker or Matt Fraction’s work on Uncanny X-Men, willing to embrace the cynically and nihilitistically nineties vibe of the entire line.

Country of the dead...

Country of the dead…

Continue reading

X-Force Omnibus by Rob Liefeld & Fabian Nicieza, Vol. 1 (Review/Retrospective)

To celebrate the release of The Wolverine later in the month, we’re taking a look at some classic X-Men and Wolverine comics every Monday, Wednesday and Friday here. I’m also writing a series of reviews of the classic X-Men television show at comicbuzz every weekday, so feel free to check those out.

Rob Liefeld has become something of a polarising force in comic books. The artist was a driving force in the industry in the nineties. Along with creators like Todd McFarlane and Jim Lee, Liefeld really helped turn comic books into an artist-driven medium during that decade. (Rather pointedly, X-Force #1 credits Liefeld as responsible for “everything but…” the specific tasks dolled out to other contributors.) The artist became a celebrity in his own right. He got his own Levi commercial. He famously sketched while speeding inside a car.

Liefeld has arguably become more a symbol than a creator. His heavily involvement in the second year of DC’s “new 52” reboot really solidified the impression that former Marvel head honcho and current DC editor-in-chief Bob Harras was trying to channel the nineties comic book market. (The fact the line has been heavily emphasising contributions by Jim Lee and Greg Capullo, other nineties superstars, really underscores the notion.)

It’s hard to look at X-Force without seeing it as a hugely symbolic work. This is really one of the comics which defined the nineties – arguably even more than Jim Lee’s X-Men or The Death and Return of Superman. If you wanted a glimpse into the mindset of American mainstream comics in the nineties, X-Force is the perfect glimpse.

Welcome to the nineties!

Welcome to the nineties!

Continue reading

X-Men: The Age of Apocalypse Omnibus (Review/Retrospective)

With our month looking at Avengers comics officially over, we thought it might be fun to dig into that other iconic Marvel property, the X-Men. Join us for a month of X-Men related reviews and discussion.

The nineties represent a contentious time for fans of the X-Men franchise. The decade saw comic books explode into a huge market, with ridiculous sales and publicity, and the entire X-Men franchise rode that wave perfectly. Chris Claremont and Jim Lee’s adjectiveless X-Men #1 remains the biggest-selling comic book of all time, after all, and the franchise quickly secured itself as Marvel’s premiere comic book franchise. On the other hand, the line had been thrown into disarray by the departure of long-term steward Chris Claremont and its era-defining artist Jim Lee. The family of titles had struggled to find a footing through some uneven crossovers and events like X-Cutioner’s Song and Fatal Attractions. However, I think the decade produced one gem that can be considered as a true classic, along with the best of Claremont’s tenure and the work of Grant Morrison. The Age of Apocalypse might seem an odd choice to identify as one of the highlights of the X-Men saga, but I think it deserves very serious consideration.

Apocalypse now…

Continue reading