Magneto is an introspective exploration of a complex character that is a must-read.
This is some of the finest work coming out of Marvel and is the culmination of a lot of work from the creative team on the series.
This issue is so dark and gritty, the artwork so tense, and the coloring so moody that it takes more than one pass reading it to fully comprehend what a great comic this is. It almost seems a shame that the flow of this series will be cut short by "Secret Wars," but thank goodness we get to see more under the "Last Days" banner of the Marvel-wide event.
The strands that writer Cullen Bunn has unraveled throughout the series become apparent and are rolled back together in issue #17 of Magneto. In hindsight, Bunn is showing some keen mastery of the subplot context, laying out aspects of the character of Magneto that can be exploded for readers here. It is the subtly of this skill that is so very clever. Bunn's work is now paying off as we glimpse the shadowy figure that has been haunting Magneto in recent issues.
Young mutants are being killed on Magneto's island refuge of Genosha
Having reviewed the more recent offering of solo X-Men series that have been produced by Marvel, this stands out as the best of the lot. Whereas Storm certainly stands on its own and is a definitive version of the character, Cyclops was a hit and miss, and Nightcrawler had its fun moments but was lackluster, for Magneto the right creative team came together at the right time to produce a fantastic comic. This editorial team needs to be acknowledged for helping bring it all together.
As far as this story goes, without spoiling it, we get a glimpse of the nature of who Magneto is—a multifaceted character imbued with a history and back story that other characters in the Marvel Universe would be either envious of or squeamish at. It is the malleable nature of his character that drives this series in unexpected ways, providing some tantalizing plot twists and dramatic situations.
Hitzig rises from the grave to torment Magneto
As always, the art is just fantastic. The consistent quality is a high mark for the creative team; they are a match made in comic book heaven, with Gabriel Hernandez Walta on pencils and Jordie Bellaire on colors. Couple this with the cover art work by David Yardin, and it is enough to produce a nerdgasm. The voice of the Magneto character is as much a result of Bunn's work as it is the artists involved in this issue and series. The careful consideration given as to how to depict Magneto has played out well in this issue. We see the balance of necessary decisions the character has had to make, whether for good or bad, come to the fore and take expression in his figure and face.
Can the Master of Magnetism defeat his past?
If you aren't yet reading this series, seriously go get the trades when they come out (the first two should already be available in good stores now) and take in the great story offered by this series. I am really anticipating something big in next issue; the tie in to "Secret Wars" is coming just in time to maximize the serious questions Magneto has been asking of himself and his legacy.
So, comic fans, what did you think about this issue? What did you think of Bunn's ending? Did it blow you away? Tell us below or head over to the Fanboys Anonymous Facebook or Twitter and leave a comment. Make sure you come back for the continuation of Magneto in the "Last Days" as we head into "Secret Wars."
Ant-Man #4 has brilliant comic timing and is a great showcase of modern humor in the form of a comic. This is consistently a comic I find myself looking forward to each month.
Nick Spencer is on form time and again with his script, and the art delivers perfect execution to match this style. Ant-Man comes highly recommended; it is a solid comic that hasn't failed me yet.
At the gooey center of it all, this comic has real heart. While it is a Marvel publication, it isn't about superheroes, and yes I realize they play a large part, but it is a supporting role that brings the real plot forward. This story is about a father's redemption. The fact that the main character can shrink to the size of an ant and control the same-sized insects just adds flavor to the situation. It is the feeling and paternal elements of the story that keep readers returning each month—well, that and the laughs.
Spencer is spending a lot of time focusing on characterization. The introduction of a new member of Ant-Man's security team adds flavor and depth. This is also apparent for some of the Cross Technological Enterprises team also, as we get to delve into the character of Cassie's kidnapper. The subtle and natural approach to bringing these characters to the fore is a skill into itself, one utilized so well in this series.
Scott Lang has failed his daughter again.
Cross Technological Enterprises looms larger than life.
It feels important to single out Travis Lanham, the series letterer, at this point. Rereading this issue and the previous three, it is more apparent what a fine job he is doing to bringing out the humor and timing of the script as the dialogue and narrative is laid over each panel. Lanham fuses together the art by Ramon Rosanas and the script by Nick Spencer.
Great art and scripting drives a solid story
Cassie Lang is all her heart in the performance
The art by Rosanas and color by Jordan Boyd continue to delight. The use of long panels adds a dimension to their work that paces the story appropriately, elongating the visual perceptive. Boyd uses these opportunities to fade the background colors into a gorgeous hue, adding further depth to the scene. There are some brilliant fight scenes in this issue that show the important role Rosanas has in bringing the right angle and shot choice to each panel. As Ant-Man changes size and is propelled through his quest to find this captured daughter, the artist role in the dynamics of telling the story is extremely apparent.
So Fan-people, as Ant-Man brings you a monthly dose of goodness in comic form, what did you think about it? We will see how "Secret Wars" affects the flow of the series, though this has been a great arc so far. Make sure you tell us what you thought of the book, by leaving a comment below or on our Facebook or Twitter and make sure you come back next time for the next installment of Ant-Man.
On the whole, the stories from Storm have been a great experience. This is a solid solo X-Men series that has carried itself off with aplomb and certainty. It has a well-established voice in the main character and a direction that seems well planned and has been executed to a high standard.
Storm #10 has a charming opening page. It is a homecoming of sorts for the title character; we see Storm as she is set up for the culmination of the introspective examination that Greg Pak has led us on throughout the series this far.
The beginning of this issue also throws readers off guard when it comes time to throw out the hooks, build some suspense, and bring the story around at the conclusion for a neat cliffhanger. The storytelling devices are employed fluidly and with a confident sense of craftsmanship.
This confidence from the creative team has permeated the series and helps redefine Storm for a new audience. In many ways this series has defined Storm as a character. It has asserted all of the traits associated with her in the past and brought them together in a cohesive, modern manner, making this rendering of Storm definitive, particularly from the point of view of the art, which has been so fantastic.
The Jean Grey School for young Mutants
We come full circle now as Pak ties up the series in a small concluding arc. It is nice to see the various strands that have been unraveled over the course of Storm being wound back in. From the outset of this issue we are presented with a story that showcases the depth of character and the strength of purpose that has been so carefully examined in the series. The cover by Stephanie Hans is beautiful; she captures the essence of the character in an electrifying manner that fits well with fan expectations of how Storm should look and the power she emanates. Hans's work has been a stellar contribution to the series, bringing the character to life in emotionally fraught situations and heightening the appeal of and response to the book. This is exactly what a good cover artist should bring to any series and is achieved brilliantly on Storm.
Storm's home-coming
As we move into the interior art, we are presented with a combination of work from series artists Victor Ibanez, Al Barrionuevo, and Neal Edwards. These artists draw a well-paced and balanced book with well-chosen dramatic angles and direction. The cohesion of art is a great example of how multiple artists can work together to produce a tantalizing story. It is great to see the enigmatic figure of Storm running through a gambit of emotions, and to have this represented so well in her facial expressions is testament to the fine work of the artists involved. Ruth Redmond continues to dazzle with her colors and layouts. Redmond brings the pages to life, imbuing them with charisma. The same earthy tones and gritty feel that we experienced at the beginning of the series can still be found in this issue.
Storm's life returns to normal...
Storm is truly a must-read series for fans of solo X-Men adventures. It is executed so well and is a great way to experience more from this character than can be found in the team X books currently being produced from Marvel.
As we near the end of the series, we want to know what you think about Storm #10. Do you like how Pak is tying in all the threads from throughout the series? What do you hope to see in the final issues? What did you think about the surprise characters and the art this time around? Tell us below or head over to the Fanboys Anonymous Facebook or Twitter and leave a comment. Make sure you come back for the next issue, which looks to be the final book before we head into a "Secret Wars"–linked story.
Our first official look at the next installment of DC's cinematic universe—Batman v Superman: Dawn of Justice—has been released in glorious HD after a leaked version of it appeared online yesterday.
You can watch the trailer in question below:
My initial reaction:
Does this look cool? Definitely. Does that calm my nerves about this possibly sucking? Absolutely not. I thought Man of Steel looked like it could have been the best Superman film ever, but there were tons of things I didn't like about that. Although the production is trying to remain hush about a lot of details with this film, what I'm hearing is making me nervous. I definitely like the idea of Superman needing to earn his position as a savior to the world, but if that's Lex Luthor that we're hearing giving part of that voice over speech, then my suspicions about casting Jesse Eisenberg being a mistake are growing even more valid. None of that had the gravitas that it needs for me to believe in it. Also, speaking of voices, while I'm not terribly upset about it, I would like a better Batman voice. The idea of a voice modulator is what I was hoping for, but this sounds way too mechanical.
Ben Affleck looks awesome. Batman looks bulky, though. Also, everything looks way too Zack Snyder. Tell me you're not having Watchmen flashbacks after seeing that shot of what I'm assuming is the Batplane from behind. Snyder's visual style is not something I'm fond of and while it might work for Gotham, it needs to not carry over into Metropolis in any way that it did in the first film. Pretty much everything that I think looks cool in this has me more excited than before, but not so excited that I'm willing to suspend my anxiety. Every aspect of this trailer that seems cool could end up being disappointing and the rest that doesn't look quite so awesome could be even worse and more prevalent.
Am I going to see it?
As with most movies like this, even if it looked terrible, I'd be there opening night to see it. I'm nervous as hell that this is going to suck and I'm going to walk away from my viewing with a sour taste in my mouth and only a couple positives to say alongside a ton of negatives, but that's not going to stop me from watching it, nor will it prevent me from saying I like the film if it turns out that it's good. For that matter, though, it better be.
What do you think? Tell us your thoughts in the comments below!
Batman v Superman: Dawn of Justice will be released in theaters March 25, 2016.
Directed by: Zack Snyder
Written by: Chris Terrio (written by), David S. Goyer (written by), Jerry Siegel (Superman created by), Joe Shuster (Superman created by), Bob Kane (Batman created by), Bill Finger (Batman created by)
Starring: Ben Affleck (Bruce Wayne / Batman), Henry Cavill (Clark Kent / Superman), Amy Adams (Lois Lane), Jesse Eisenberg (Lex Luthor), Jeremy Irons (Alfred), Holly Hunter (US Senator), Gal Gadot (Diana Prince / Wonder Woman), Jason Momoa (Arthur Curry / Aquaman), Diane Lane (Martha Kent), Scoot McNairy, Ray Fisher (Victor Stone) and Laurence Fishburne (Perry White)
On a special podcast for Fanboys Anonymous, the panel breaks down their initial reaction and their overall thoughts about the second trailer for Star Wars: Episode VII - The Force Awakens released earlier today.
Have our opinions changed for the better or the worse compared to the first trailer? Are we even more pumped than before or does this give us a bad feeling?
Hosted by Tony Mango, the panel includes Eddie Siqueira and Shaun Walker
Some topics we address:
Chewbacca and Han Solo are home
Luke's lightsaber
The Force is strong in my family...
Kylo Ren
Chrome Stormtrooper
Stormtrooper Nazi rally
BB-8
and more!
You can watch the podcast below. Make sure to subscribe!
From a war-torn galaxy far, far away comes the new teaser trailer for Star Wars: The Force Awakens, and it is everything to be excited about. [Trailer below]
Debuted at Star Wars Celebration with director J.J. Abrams and Lucasfilm president Kathleen Kennedy, the trailer begins with a speeder racing across the desert toward the wreckage of a star destroyer. We then hear a familiar voice that will bring goosebumps to the back of your neck. "The Force is strong in my family," begins what sounds like Luke Skywalker's monologue to Leia from Return of the Jedi. "My father has it. I have it. My sister has it…And you have that power, too."
The last line sets off plenty of speculation that the new films will feature his son, Ben Skywalker, who was born amid the devastation of the Yuuzhan Vong invasion of the galaxy. The passing of Darth Vader's lightsaber into the hands of a child may further confirm that this new character is Luke's son, and that may lead to Mara Jade—Luke's wife—being added to the mix as well.
The first trailer left us with the epic glimpse of the three-bladed lightsaber, and this trailer leaves us with perhaps the most iconic image thus far: Darth Vader's scorched helmet, last seen at his funeral pyre as Luke mourned losing his father in Anakin's moment of redemption.
The trailer concludes with another glimpse of our villain and a short glimpse of our favorite ship, the Millennium Falcon, taking flight through a battlefront that includes TIE fighters. Soon enough we see our old friends Han Solo and Chewbacca again, and with a crooked smile Harrison Ford says, "Chewie, we're home."
Set 30 years after the events of Return of the Jedi, Star Wars Episode VII: The Force Awakens will be in theaters on December 18.
Are you as excited as I am?
Let us know what you thought of the trailer in the comments below!
Adaline Bowman will be forever 29 years old. After a terrible accident that renders her immortal, Bowman goes on the run to keep herself a secret. She changes her identity every 10 years while being careful not to get too close to the people around her. If she does, she could end up as the test subject. The Age of Adaline is an exquisite love story with just the right amount of mystery and supernatural. The original screenplay, directed by Lee Toland Krieger, brings back nostalgic memories of romances that once were. Let's face it: every romantic storyline in the world has been done twice over, but rarely do you see such a strong female lead with such a powerful place in movie history.
Bowman, played by the talented Blake Lively, was born at the turn of the century. She's a mother and a friend who's been through wars and industrialization, and she sees clearly that which others take for granted. This makes her such a unique character that I couldn't help being awestruck by her. Then she meets Ellis Jones, played by Michiel Huisman. He's enchanted by her sophistication and smarts, and he could very well be the man that makes her tell her secret.
The all-star cast, which includes veterans Harrison Ford and Ellen Burstyn, brings the acting to another level entirely. It's so refreshing to see Ford in a dramatic role like this. He's reached the age where action movies just aren't suitable, but one thing he'll never lose is his sex appeal. Ford plays a past lover of Bowman who also happens to be Ellis' father.
When I was first invited to the screening, I was a little skeptical. People were comparing this movie to a Nicolas Sparks book, and these days I'm just not into tearjerkers. To be honest, I'm not really into romances either, but the whole supernatural touch had me curious as to how they would approach it. Certainly this couldn't as silly as Twilight or all these silly immortal tween movies. How did one fall in love if they couldn't grow old together? This isn't a Sparks knockoff, and this isn't just another love story. This movie is about relationships—how to stay true and strong when everything in the world moves so fast.
The Age of Adaline didn't have a single cheesy romantic moment, and it was entirely faultless in the explanation of life. Bowman's words of wisdom will be one of those phrases I'll repeat in casual conversation, making this movie just as timeless as Bowman herself.
The Age of Adaline releases in theaters on April 24th. What do you think of the storyline? Overdone or unique? Do you believe there are enough movies with strong female leads? Let us know in a comment below.
Imagine a universe where the scattered remains of god-spawn are strewn about the cosmos, laying in wait for any foolhardy, space-faring soul to stumble upon them, simply for our amusement.
Welcome then to ODY-C, the bold retelling of the classic Homeric tale, the Odyssey, by Matt Fraction and Christian Ward.
We see issue #4 take up the story on Kylos, the dreaded home of the daughter of Poseidon, the Cyclops. It is here the Odyssia and her crew of home-weary, yet battle-hardened warriors must make good their escape before they end up as a culinary snack of the voluminous giant. The epic nature of the tale is played out in momentous events each issue, focusing on a new stop along the way home for the survivors of the great war.
ODY-C #4 is the grittiest issue so far. We get a gore-filled issue that seemed more akin to some of the early Peter Jackson splatter films. It is the beautiful art from Ward that makes this gruesomely possible. It is great to see this rendition, and the actions of the Odyssia here arouse a faculty of masculinity in the pages that further challenges Fraction's gender reversal in the characters.
Fraction waxes lyrical in his narrative, bringing to life a sweet cadence of words that are matched in ability by the art of Ward. Both combine, and only in such a balance is the full meaning of the story related, to share the tale of yore that has been so painstakingly refreshed for a modern audience. This is an investment for both the creators and the readers, who need to participate monthly for the utmost benefit of the transaction taking place. This isn't a one-time, drop-in, and fly-by comic, but a grand narrative told over time (and space) that requires patience to reach the end goal.
A lot is being asked of the audience, but so much is being given in return.
The Cyclops devours the crew of the ODY-C
As witnessed in this issue, particularly in the glimpses of background material at the end of the comic proper, we can begin to form an understanding of the blood, sweat, and tears being poured out into the work of the creative team. I certainly do not imagine this is a straightforward script passed to the artist; rather, I imagine a great deal of back and forth must occur between writer and artist to reach a satisfactory representation of the issue's content.
We still get to see the great character work; the gender inversion and fantastic art were well established in the earliest issues, and now I feel a sense of confidence and maturity of story developing with issue #4 that will only serve to strengthen the work going forward.
Fear fills the women of ODY-C with dread
The deep complexity of the characters and the modern take on their situations provide Fraction and Ward with textual layers of meaning. The real gift of this is the re-reading of each issue to find some hidden gem missed on the last pass through the psychedelic pages. I feel like a smart person for pretending to understand at least half of what is going on in the pages of this comic, but I also get a strong sense of nostalgic feeling as I become reacquainted with characters that were a mainstay in high school Latin and classical studies classes.
As we close of once more, we want to hear what you think about ODY-C #4. How did you find the major challenge before the crew of the ODY-Cthis time around? Does the art by Ward continue to hold the same sway as previous issues? Leave a comment below or on the Fanboys Anonymous Facebook or Twitter, and come back next time for issue #5 of ODY-C.
Don't dream it, be it, and if you're FOX, remake it. Transcending through generations, The Rocky Horror Picture Show is marking its 40th anniversary this year, and FOX has plans on developing a TV version of the cult classic that paid homage to science fiction and B-horror. Dammit, Janet. This will probably be the only time something Rocky Horror-related doesn't make me shiver with antici……pation (sorry, couldn't resist).
I'll admit that I'm going into this pretty biased. I made Rocky Horror my entire life in college when I played "Columbia" in a shadow cast, and like many others from the RHPS community, the news was met with mixed feelings—mostly bad ones.
According to EW.com, the 2-hour TV musical, titled The Rocky Horror Picture Show Event, will be a modern reimagining of the 1975 film, which has formed a life of its own in theaters around the world, with shadow casts acting out scenes in front of the screen while the audience shouts callbacks.
Though not the first presence of Rocky Horror on FOX—Glee did a tribute episode in Season 2, titled "The Rocky Horror Glee Show"—the remake is expected to stick to the original 1973 play written by Richard O'Brien and will be directed, produced, and choreographed by Kenny Ortega (High School Musical). Lou Adler, the original film producer, is also on board alongside executive producer Gail Berman who has been working on bringing a remake to television since 2002.
Now as much as I get excited for anything Rocky Horror—and that included the 21-piece Mac Cosmetics line released last year—I'm not convinced this is a good idea. Firstly, while no cast has been set yet, no one can replace Tim Curry. Those are some really big platform heels to fill and not all that sparkles, shines. Secondly, the progressive trend toward remakes has become tiresome and dry, and rarely are any of them as good. Rocky Horror has stood the test of time, making it the longest-running theatrical distribution in film history. To redo it to make it more modern for television just seems redundant. There are also levels of transgressive themes that could very well be refined for television, and c'mon…it's FOX.
Also, unlike the televised adaptation of Peter Pan on NBC, the event will not be broadcast live—a missed opportunity for live-tweeting that could easily take form of the audience participation found at shadow cast performances around the world, a phenomenon that has developed into as much part of the show experience as the film itself and is majorly responsible for the film's success.
On the other hand, it will expose the cult classic to a new audience, potentially encouraging more fans to watch the original and see a live show, growing both the audience and the RHPS community. Whether it flops or surprisingly turns out really good, the best way to look at this is the added attention to Frank-n-Furter and the the denizens of Transexual, Transylvania. We're all just really looking to give ourselves over to absolute pleasure, anyway.
What do you think about Rocky Horror being remade for television? Who would you cast as Frank-n-Furter, Brad, Janet, Riff Raff, Magenta, and Columbia? Let us know in the comments below!
Produced by Blumhouse Productions (the guys who brought you the Paranormal Activity series, The Purge, The Purge: Anarchy,Dark Skies, and Insidious, to name a few), 2012's micro-budget Sinister grossed over $87 million worldwide. With a story centering around snuff films, child disappearances, and a pagan deity who looks ready to attend a black metal concert, Sinister is a pretty fun horror movie with some nice acting and a killer soundtrack.
Sequel, anyone?
The official movie poster for the sequel
Sossamon plays a mother in Sinister 2.
Written by the same people responsible for the first movie, Scott Derrickson and C. Robert Cargill, Sinister 2 takes place in the aftermath of the shocking events of Sinister. This time around, a protective mother (played by Shannyn Sossamon) and her nine-year-old twin sons (Robert and Dartanian Sloan) move to a rural house marked by death, where the dreadful Buhguul awaits for his next victims.
Haven't seen Sinister yet? SPOILERS follow.
Where did the children go?
The original movie tells the story of true-crime writer Ellison Oswalt (a cardigan-wearing Ethan Hawke) who finds a cache of 8mm homemade films and uncovers a pagan deity, Buhguul, who has been taking lives since the 1960s.
Shot in real 8mm film stock, each movie shows a seemingly innocent activity (fishing, having a fun day at the pool, playing in the yard, a barbecue) and ends with the family being murdered in extremely violent ways:
In the reel entitled "Pool Party '66" a family is drowned in their pool.
In "BBQ '79" the victims are burnt to death in a car.
In "Lawn Work '86" a lawn mower does the deed.
"Sleepy Time '98" shows a family having their throats slit in bed.
Finally, in "Family Hanging Out '11," the family Oswalt is researching for his newest crime book is seen hanging from a tree.
Ransone as Deputy So-and-So.
Oswalt, who becomes obsessed with the films and determined to uncover what truly happened to the victims, realizes all too late that his family might be next.
As one might have guessed, Mr. Hawke will not be back for the sequel. However, James Ransone is back to carry on with his investigation (and possibly figure out what happened to the Oswalts) as the awkwardly inexperienced Deputy So-and-So.
Sinister 2 opens in U.S. theaters on August 21.
What do you think about Sinister 2? Are you going to watch it? Let me know by leaving your comments below!
Welcome to the latest edition of Making the Grade—a review format segment here on Fanboys Anonymous where we break down the five major components of something and give it a score based on the standard report card lineup: A, B, C, D, and F for a total failure.
The next report card is for the series premiere of Marvel's Netflix Daredevil show entitled "Into the Ring."
Daredevil Season 1 Episode 1—directed by Phil Abraham; written by Drew Goddard as well as those credited for creating the characters including Stan Lee, Bill Everett, Gene Colan, Frank Miller, Johnny Romita, and Roger McKenzie; starring Charlie Cox (Matt Murdock), Deborah Ann Woll (Karen Page), Elden Henson (Foggy Nelson), and Bob Gunton (Leslan Owlsley).
WARNING - SPOILERS BELOW
NOTE: This is only for episode 1. The following review only covers that single episode and of course, things may change for the better or worse with the rest of this season.
CHARACTERS: A–
So far, we've only really met Matt Murdock, Foggy Nelson, Karen Page, and a smattering of some other people like The Owl and Kingpin. However, in that short time frame, a lot has been established. We know pretty much all we need to know about our titular hero and his Sancho Panza sidekick, who is definitely a solid comic relief member of the cast. Karen is a little bit bland right now, but she's shown signs of growing out of that shell very quickly, and I have faith that even by the next episode, I'll enjoy her character a lot more than I would have expected. I'm interested to see what this series does with someone like Ben Urich down the line, but actually, my favorite character so far out of the supporting cast has been Wesley (Toby Leonard Moore). He seems like a very cold villain that I hope doesn't end up being killed sometime this season. All in all, the characters are interesting so far. There's room for improvement, but I feel as though they'll get there.
ACTING: B
I buy everyone as the characters they are portraying. Cox is making Murdock a likable guy who still has a bit of a creepy side to him, which is good. Henson's Foggy is an asshole but still lovable in a way. I don't think the true person to be wowed by has shown up yet, as I'm expecting Vincent D'Onofrio to be the standout performance as Wilson Fisk, possibly with Rosario Dawson's Claire Temple getting second place.
VISUALS (FX, MAKEUP, COSTUMES, SETS): C+
I'm not entirely sold on the visual look of this series yet. I'll admit that it is an improvement from what I thought going into this, as the footage we were shown at New York Comic Con put me in a very disappointed mood. Seeing a full episode like this made it easier to get used to it by the time that same scene happened, but I would prefer something a little more polished. While I understand that they are going for more of a gritty look, it just doesn't sit too well with me right now. That may change—and I hope it does—but if it doesn't, it will be one of my negatives about the series as a whole.
As far as costumes, sets, and makeup go, those are all perfectly fine. Obviously, it isn't as difficult to pull off a costume as generic as what Daredevil uses in this episode compared to the red suit we're all familiar with, or even the yellow suit for that matter. Most things in general are tame with some basic sets that don't have all that much going on to worry about, but I'm fine with this. It's Hell's Kitchen, after all, not the grandiose stage we'd see The Avengers fighting on.
MUSIC & SOUND: C–
I'm trying to remain optimistic about this, but there's nothing memorable so far. There's no theme song that I can hum, and I'm not craving the score like I do with some films like Captain America: The Winter Soldier or The Avengers. Now, I would have been foolish to equate this to something like Guardians of the Galaxy in terms of music, but something a little more than what I refer to as "drums and hums"—the most basic of mood music to supplement the visuals—would be nice.
The sound is something that I have no real thoughts on yet. It doesn't stand out in a positive or negative way in any sort of fashion, so a middle of the road score sounds justified to me.
TONE (ACTION, ROMANCE, COMEDY): A–
Daredevil is a darker comic in a lot of ways than what we've seen so far in the Marvel Cinematic Universe. Because of that, there's a different balance of these tonal pieces than what you would see in something like Thor.
ACTION: The action is rough and you feel it. The "street level" aspect shines very well here to show the audience that people aren't going to be punched through walls and getting right back up. Matt Murdock and his enemies are normal people. When they get kicked in the face, it's going to hurt like a son of a bitch.
COMEDY: A little more comedy couldn't hurt, but I understand why there was so little in this first episode. Once they've firmly established that this is not on the same level as Iron Man, they can throw some more jokes in there to break the tension.
ROMANCE: I'm assuming Karen Page is going to be the sole love interest for Matt this season, and I'm okay with that. There's some flirtation there that I wouldn't mind seeing develop into a stronger bond down the line. It isn't overboard and hopefully it doesn't become that way, but I would miss it if there wasn't at least some kind of a romantic subplot.
FINAL GRADE: B
I'm not blown away just yet, but I have a feeling I will be once I'm done this season. There's room for improvement in multiple different ways, including the visuals and the character development. For a premiere episode, though, I'm impressed much more than I had thought I would be, as my reaction to the sneak peek was on the pessimistic side. There's plenty of time to fully win me over with the rest of the episodes, and if I can enjoy them all as much as I enjoyed this one, then you should look out for a solid endorsement on my part for Marvel's latest venture.
Greetings, Fanboys and Fangirls! This is Sam Lascio, bringing you some of the latest news about Stephen Amell's role as Casey Jones in the upcoming Teenage Mutant Ninja Turtles 2 (2016)!
During Fan Expo Vancouver 2015, Arrow star Stephen Amell was asked about his role in the Ninja Turtles sequel. Amell said the following:
I'm just glad I get to play a vigilante on the big screen. Obviously, the similarities are right there on the surface, he's a vigilante, but if the audition process and the script are any indication, the character is going to be fundamentally different [from Arrow]. As a matter of fact, it is almost like the character of Casey Jones, at least from this iteration of Ninja Turtles, is almost like the Oliver Queen people know from the older comic books.
These comments seem to indicate that fans who feel Jones and Queen are too similar should be ok with Amell playing both, as their personalities are vastly different. Also, whereas Oliver Queen in Arrow takes his job as a vigilante very seriously, the Oliver Queen from the comics (at least a few versions of the character) enjoyed what he did and had fun while doing it. Casey Jones loves to beat the crap out of the bad guys, so I think Amell is saying that they're staying true to the character and that Jones will enjoy busting some skulls. Amell went on to say:
As much as I enjoy playing Oliver Queen, it is very important to me to stretch out a little bit. And believe me, I know I'm playing another vigilante. I know this! You're going to have to trust me when I say that not only is Casey Jones different from Oliver Queen, but filming a big feature film is really different than filming a television show.
I trust you, Stephen. I trust you.
Do you trust Stephen Amell taking on the role of Casey Jones? Are you looking forward to seeing Teenage Mutant Ninja Turtles 2? Did you love the first one? Did you hate it? Let us know what you think in the comments section! Teenage Mutant Ninja Turtles 2 will hit theaters June 3, 2016. Thanks for reading, everyone! My name is Sam Lascio, and I am a Fanboy!
Death Cab for Cutie released their last album, Codes and Keys, in 2011. It was an album very different from the group's previous discography; it sounded happy. It was less guitar-centric, more ambient—"less photograph, more impressionism," as lead guitarist and producer Chris Walla put it at the time. Frontman and vocalist Ben Gibbard had married his longtime sweetheart Zooey Deschanel, maybe putting an end to the soulful heartbreak that dripped from prior albums and had defined part of DCFC's sound. The band's latest album, Kintsugi, newly released at the end of March, deals with the separation from both parties.
Though Walla remained on board for recording, he has since parted ways with the group to produce solo work and didn't produce/mix/engineer this album as he had every Death Cab album before this one. And sadly for Gibbard and indie romantics everywhere, he and his wife separated, finalizing their divorce in 2012.
It's easy to think that this record could have been a glorious dive back into the dark human depths of DCFC's yesteryear, and it's easy to see why. Gibbard, as a lyricist, has long been dogged by the stories about which he sings, often mistaken for the main character in any given song. Every interview about this album has touched on the fact of his divorce and how much it has informed the content of the songs. To quote his interview with Billboard: "I'm not going to change the way I've always written for fear of people correctly or incorrectly assigning a name and face to these songs... I've always written about my life and the lives of people around me, and how everything intersects."
While some of the songs undeniably deal with Gibbard's personal life, it doesn't matter. Gibbard's central talent of making every song personal, to him or the listener, is still on full display on Kintsugi, and the sonic landscape is no less rich or intriguing minus Walla's hands-on involvement. After the harshness of 2008's Narrow Stairs and the interesting meanderings of Codes and Keys, Kintsugi is an important step and statement from a veteran band that still wants to explore.
First, that title: "kintsugi" refers to a Japanese practice of mending broken ceramics using lacquer mixed with precious metals, often gold. It translates as "golden repair," the idea being to celebrate the history of an object, breaks or cracks notwithstanding. As many have pointed out, it's an apt title for an album created by rents and rifts. Pair this with the first line of the opening track, "No Room in Frame," as Gibbard sings "I don't know where to begin…" It's like looking at the pieces left behind without an idea of the shape they will eventually take.
That said, "No Room in Frame" is one of the more obviously Zooey-inspired tracks on the album. "Was I in your way, when the cameras turned to face you? / No room in frame for two," he laments. It's a relatively sparse song, relying mostly on Gibbard's thoughtful tones as he travels familiar territories and muses about, well, love and loss. What else is there? A more layered sound builds through the song, rhythm guitar giving way to out-of-focus keyboard textures and ending on a more traditional Death Cab guitar piece courtesy of Walla. "We'll both go on to be lonely with someone else," Gibbard concludes.
"Black Sun," the second song and first single from the album, opens with a measured two-note guitar riff paced like a pensive stride. This song is the yin to the opening yang, rougher and angrier than the lighter "No Room in Frame." "How could something so fair be so cruel?" is the crux of the song, asked repeatedly before Walla opens up a hard fuzzed-out guitar that ends abruptly, like a changing mood. Whiskey in the water, death on the vine, fear in the eyes, beauty in a failure, depths beyond compare—the lyrics brood above the steady rhythm and electronic textures backing the track. This is the kind of thing Death Cab does extremely well. If Ben Gibbard had never even met Zooey Deschanel, the song would still retain power because of Death Cab's talent to infuse deceptively simple thoughts with emotional truth and power. Perhaps even better is the ending verse: "There is grace within forgiveness / but it's so hard for me to find." Admitting to your struggles despite knowing the road is quintessentially Gibbard.
"Ghosts of Beverly Drive," track three, highlights another Death Cab talent: fun and bright music obscuring the painful story told by the lyrics (see: "Crooked Teeth," "The Sound of Settling," "Long Division," etc.). As indicated by the title, this is the first of a few songs on the album that deal with another perennial Gibbard topic, celebrity and the culture that comes with it. He speaks of not knowing why he returns to "the scenes of these crimes, where the hedgerows slowly wind / Through the ghosts of Beverly Drive / I don't know what I expect to find / Where all the news is second hand / And everything just goes on as planned." The emptiness of L.A. and its celebrity denizens makes a few appearances on this album, but this track includes a kind of mea culpa in the shape of a central conundrum that exists for any working artist, but particularly in this time and place. "You wanna teach but not be taught / and I wanna sell, but not be bought / so let us not be lonesome, lost in between our needs and wants."
"Little Wanderer" opens with a riff reminiscent of The Cure filtered through The Police, the first hint of the '80s-fest to come later in the album. It speaks to long-distance relationships in the age of instant communication. Gibbard casts himself in the left-behind role, acting as a lighthouse for his returning partner, or the tree on which her bird can land, standing tall "guiding you home to me." Though a song off of 2001's The Photo Album was titled "A Movie Script Ending" and played on the irony of that phrase, this song actually has one, a kiss and "embrace in the baggage claim" at the wanderer's return.
The fifth and sixth tracks, "You've Haunted Me All My Life" and "Hold No Guns" are gentler interludes that feature mostly Gibbard and a guitar, palate cleansers for the musical shift to come. "You've Haunted Me" could have been a B-side from the earliest DCFC works, simple emotion and simple arrangement adding to a greater whole, though it certainly employs some subtle sonic tricks picked up in the intervening years. "Hold No Guns" is even simpler and shorter, a series of questions asked of a retreating lover. "My love, why do you run? / For my hands hold no guns."
Remember that '80s-fest I mentioned? Track seven, "Everything's a Ceiling," takes that and runs with it, opening on pure synth over knocking and clapping percussion. "Way, way down in a hole / There's no feeling / 'Cause when you're so far beneath the floor / Everything's a ceiling," Gibbard sings, again happy to lay sharply depressing lyrics over happier music. That's the thing: though odd, the synth conceit is owned totally, and an unmistakable Death Cab riff emerges through the chorus as Gibbard sings about being left in his hole, calling out for his love while she's "miles away, digging with someone new." Then the band turns the '80s up a notch, ushering in a tap-tap rhythm reminiscent of the start of "(I've Had) The Time of My Life." It's a crazy mashup, '80s pop rhythms combined with vintage Death Cab for Cutie, but it works. It's a seamless transition, too, around the 2:30 mark, when the two influences blend easily into one song, and you'd never guess that opening connects to this ending. This dovetails nicely with the imagery in the lyrics, as Gibbard resolves himself to simply keep digging, since "if the Earth is as round as they say / Then I won't find another place / From where I break back through / That's farther away from you."
"Good Help (Is So Hard To Find)" puts another log on the celebrity-burning fire. "You'll never have to hear the word "no" / If you keep all your friends on the payroll," Gibbard begins. This too is an upbeat tune, of course accompanied by further warnings about the realities, or perhaps unrealities, of living life insulated from challenges to one's artistry or development. The guitar chugs, slides, and shimmers beneath the vocal, supported in turn by an enthusiastic if traditional rhythm. It's one of the more polished tracks on the album and provides a nice lead-in to the fascinating "El Dorado."
Another retro intro, with plenty of reverb creating an echoing guitar soundscape, gives way to a more propulsive rhythm section that drives the track. Set at a gig "over in Culver City, shining bright, name in lights," Gibbard sings not as the musician, but as an audience member in attendance to support... someone. Given the nature of the album, I'll leave it to you to decide whether or not this is another Zooey song. "I tried to be hyped for you," he repeats. "Seems you finally found, finally found El Dorado / So why does it feel underwhelming, barely real?" The song is a showcase for a number of major Death Cab themes, and not just from this album. Sure, there's the maybe-sorta Zooey Deschanel influence, but again there's Gibbard's own mixed feelings over whether or not to even attend the event, the difficulties he has in trying to be excited for his friend, and the trouble he has in general with the idea of fame, of a name in lights.
Death Cab for Cutie performs on Letterman.
"Ingenue," track ten, would seemingly be another song directed to or written about Gibbard's ex-wife, but it's not so easily classified. As in older Death Cab work, Gibbard's voice is filtered here for the first time on several Death Cab albums, and to great effect. "What have we done to you?" he asks of the titular ingenue in the opening lines. He speaks of the "currency of being twenty-three" and advises her to "take what you can" and then to "escape from this town / Before your sand runs out." Though "framed like a cartoon / The borders clear and defined / the colors bold and bright," eventually she'll want to be "taken more seriously / But they just play a cue / And it's such a hard thing to do." It's not long until he asks instead, "What will become of you?," questioning what will happen when "age's glacial pace / Cuts valleys into your face." While I'm sure some of Zooey leaked into the song, it feels more like a critique of how celebrity uses people, or uses them up. It's a warning, but perhaps a fruitless one, given the powerful lure of fame and its potentially brief offerings.
"Binary Sea" closes out the album, wrapping everything up with a kind of parable about modern life and our interaction with each other. Lyrically, it's among the strongest tunes on the album, and the arrangement reflects this, backing Gibbard's front-and-center vocals with a light piano and more atmospheric, electronic textures (all of which appear on this album courtesy of new producer Rich Costey, presumably). It would have been right at home on 2005's Plans.
Gibbard introduces Atlas, the mythical Titan who bears the world on his shoulders. Despite, as Gibbard says, the world being "so much smaller than the one he used to hold before," the weight "brought him to the floor." And what do we do in response to this apocalyptian scenario, of the world dropping from its support? "As you watched him struggle to his feet / You took photos capturing his defeat / And messaged them to all your friends / And we all laughed at his expense." I could reprint every line here, because it's quite incisive in the prettiest way, in true Death Cab fashion. As the song goes on, he asks the listener to swim out in that vast binary sea, where "zeroes and ones, patterns appear / They'll prove to all that we were here / For if there is no document / We cannot build our monument." Our obsession with documenting every facet of our lives distracts us from what is meaningful, he says. We're so determined to make memories and capture everlasting moments that living falls by the wayside. The same happens to Atlas by song's end.
Death Cab for Cutie is now a group of elder statesmen for the indie-darling scene of which it used to be a central part. Like any band of their longevity, they've had to evolve to survive, but for the best reasons. Gibbard has spoken of wanting to distance the band from becoming too self-referential, from retreading ground just because it was an easy path to walk. Without Walla, we'll see where the path leads from here on out, but Kinsugi is a terrific first step. While they're well past spending the currency of being 23, they have stuff of greater value to trade on. Gibbard's trademark brand of rueful wisdom, his ability to give personal voice to difficult feelings and stories, has aged well and should continue to.
This is music we're talking about here, however, and everyone has an opinion. Let us hear yours in the comments below! Hipsters, was Death Cab soooooooo much better before they were championed by The O.C.? Lovers of The New Girl, is Ben Gibbard being too mean on this album? Normal people, how does the music sound to you? Chime in!
Posted by
Anthony Mango
- Wednesday, April 8, 2015
One of our readers, Jessica Chan, sent this in to us to check out as she knew we would find it interesting, and she was right! New York Magazine on YouTube has a new video up entitled "If Avengers: Age of Ultron Came Out in 1995," which is an edited movie trailer created to give you the look and feel of TV spots from 20 years ago.
Do you remember Hollywood's fascination with bold, blue text? What about the sounds of steel, bells, and folks like Don LaFontaine? If so, you'll love this, so check it out below!
What do you think of this video? Does it give you that nostalgic feeling? Would the Marvel Cinematic Universe have been awful back in the 1990s? Tell us your thoughts in the comments below!
In 2016, Star Trek celebrates its 50th anniversary. Paramount hopes to have the third installment in the modern Trek franchise ready for release by then. They've been quietly building their new production in the wake of former director J.J. Abrams' departure, hiring Fast & Furious and Community alum Justin Lin to direct and Scotty himself, Simon Pegg, to script with writing partner Doug Jung (working from a screenplay from former director Roberto Orci and Patrick McKay and J.D. Payne).
But while all eyes are focused on the big screen, there are murmurs that CBS wants to bring Star Trek back to where it all began.
For almost 20 years, from 1987 to 2005, there was always a Star Trek show on the air. Twenty-one years after the end of the original series, Gene Roddenberry created Star Trek: The Next Generation, arguably the central series in the canon. That show overlapped with the next, Deep Space Nine, which in turn overlapped with Voyager, which overlapped with Enterprise, which ended in 2005. For 10 years now there has been no Trek TV to speak of, just the films.
That wasn't always going to be the case. After the end of Enterprise, Bryan Singer loosely assembled a team to develop a project called Star Trek: Federation. Much like The Next Generation leapfrogged far past the original series' timeline, Federation was going to be set near the end of the Federation's lifespan. In this story, the Federation had become increasingly corrupt, losing allies and becoming little more than border police, trying to keep their few systems peaceful with a decaying fleet of starships. It took a new enemy called the Scourge to invigorate the decrepit Federation. They built the first ship, called Enterprise, in 300 years. By this point, the Cardassians and Klingons had become less warlike and more mystic, the Bajorans had sequestered themselves on their planet and sought only spiritual enlightenment, the Romulans and Vulcans had reunified, and the Ferengi had become the dominant power in the galaxy.
Yeah. Imagine a galaxy ruled by THESE guys.
Work progressed on this story until word reached the team of J.J. Abrams' film production. Their pitch was never rejected; it just never made it to the studio. Star Trek: Federation was over before it began.
Despite all that work, there's no telling what a potential new show would look like. We live in a time where there are two Trek universes, both apparently viable thanks to the "parallel timeline" cheat the films employ. It's likelier, however, that a new Trek show would take after the current Pine-Quinto version, rather than the Shatner-Nimoy-Stewart-Brooks-Mulgrew-Bakula version. Why muddle a successful brand? As much as setting a show like Federation in the farther future of original Trek could be great, there's no reason for CBS/Paramount to confuse audiences with two versions of Star Trek.
That's not to say a show set in the nu-Trek universe would be inferior. Quite the opposite. Increasingly, Hollywood today tells stories across the broadest possible spectrum. We have the Avengers franchise, and we also have Agents of S.H.I.E.L.D, as well as new, canonical Marvel shows on Netflix like the upcoming Daredevil. All of these stories are loosely connected, telling a sprawling but internally consistent mega-story. Star Trek was made for this type of storytelling.
It's been said that Trek works best on TV, and this accounts for the issues some have with the new Trek films. The scope is too small, and the scale too big, on film. Both films tell stories about singular, renegade missions, essentially. In Star Trek, it's an untested Kirk trying to bring down a time-traveling madman. It's the story of how the Enterprise crew became the Enterprise crew. Into Darkness touches briefly on the idea of typical Starfleet missions, but quickly shifts gear and follows the Enterprise crew pursuing another time-shifted madman with an agenda. Both stories climax on or around Earth. The films aren't concerned with the Federation or the operation of a galactic society; there's no time for that.
These are film stories, certainly more exciting than a tale about, say, a creature on a mining planet hampering production of a mineral desperately needed by other planets, but that's the beauty of the TV show. There, the scope can be larger and the scale smaller. We become a part of the 5-year mission to seek out new worlds and new civilizations instead of spending 2 hours with Kirk and Spock: action heroes. It was the humanity of Star Trek that made it what it was. "This is clearly a military operation," Scotty says to Kirk in Into Darkness, speaking of their mission to find and kill Khan. "Is that what we are now? Because I thought we were explorers."
Amen to that, Scotty. ('Cause right now, you totally aren't.)
Although original Trek is often lampooned for its occasionally heavy-handed allegories and social commentary, that was the beauty of it. The best sci-fi stories tell us who we are now and who we could be someday. They allow us to ask questions and play with answers in exciting and inventive ways. A new Star Trek TV show, set within the confines of the Abramsverse but apart from the Enterprise, could tell fresh sci-fi stories that speak to our time through the lens of an imagined future.
What was that? Apart from the Enterprise crew, you say? Oh, yeah. That's gotta happen. Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, John Cho, Simon Pegg, Anton Yelchin—they're all movie stars now. That isn't to say they're too good for TV, or would never do a guest spot on a Trek show (in fact, that's all but guaranteed if CBS greenlights a new show), but they certainly wouldn't be available for a TV production schedule.
To me, that's fantastic. While I dearly love the first two Trek TV series, dramatically speaking they often are edged out by the terrific conceits of the subsequent Deep Space Nine and Voyager. The former wasn't even set on a Starfleet vessel; it was set on a broken-down space station in hotly contested space, the equivalent of setting a show on a foreign army base in the Gaza Strip. Voyager, the latter, saw the titular ship flung tens of thousands of light years from home, setting up a simple premise (get home) while supplying a fresh setting for new and weird stories. It was fun to see Trek stories told without the familiar comforts of the best ship and crew in the fleet.
Stay tuned for Star Trek: The Retirement Years.
This is what a new Trek TV show could do. Build the structure of the future, set up Starfleet and its missions, allies, and enemies. Provide a context that the current Trek films don't have. Don't forget: the original Trek movies, even (or especially) the best ones, were buoyed by the TV show. Star Trek II: The Wrath of Khan lifted a great villain from a good episode. The next two movies built on plot threads from this film. Star Trek: First Contact, far and away the best of the Next Gen films, derived its premise from a classic TV two-parter, "The Best of Both Worlds."
Simply put, Star Trek is what it is today because of the television shows, and it could rise again thanks to a new one. Maybe it will be put on network television, but it's equally if not more likely that it will find its way to a streaming service like Netflix. The studio and filmmakers have been quiet in the lead-up to 2016's 50th anniversary and the third Star Trek film. My guess is that quietude will not last for much longer, as the third film is slated to start shooting in about a week.
Are you in favor of Star Trek once again going boldly where no one has gone before? (Except for, like, the 5 shows and 12 movies preceding this hypothetical new show?) All hailing frequencies are open in the comments below. Let's start some subspace chatter.
.jpg "Lively and Huisman's onscreen romance in The Age of Adaline")
