written by Matt Fraction
drawn by Chip Zdarsky
Reading Sex Criminals, I was struck by how far Image has come from a bunch of ex-Marvel artists writing and drawing their thinly-veiled knockoff superhero stories.
It's basically the story of librarian Suzie and bank worker Jon who are quite unhappy with their lives, the former because her library is facing foreclosure by a bank, and the latter because he basically hates his life, but most of all, his job at the same bank that's about to foreclose on Suzie's library. Aside from their hatred of the bank, they have one other thing in common: when each of them has an orgasm, time stops moving. They hook up, and discover the fact that they share a gift, and do what any disgruntled working class heroes would do: they decide to rob the bank. The problem is, however, their actions are not without consequences, and as they soon learn, in terms of their strange gift, they are not alone.
I know it's been years since Image Comics have diversified as an alternative to the "big two" of comic books, but truth be told I still get taken aback by how startlingly original some of their new material can be. I still remember them as the publisher formed by a bunch of disgruntled Marvel creators who wanted to get rich(er) off their own highly derivative superheroes. They may be raking in the big bucks these days with The Walking Dead, but it's gratifying to see them still giving creators the chance to find their own voice without the constraints of handling someone else's intellectual property.
As original material goes, Sex Criminals is a really special book, and the good news for everyone outside the man-child set is that, despite the obvious opportunity for the creators to go off the deep end in terms of titillation considering that the word "sex" is not only in the title but an integral aspect of the story, they show remarkable restraint. Rather than depict Suzie in cheesecake fashion (though she isn't exactly the plain jane most people in real life tend to be), artist Zdarsky goes for something much more subdued, and Jon is barely attractive at all, as if to smack home the point that these people are anything but superheroes.
Zdarsky's art, however, isn't really all that stellar, and while he's a serviceable storyteller, the real star of the show here is Fraction, who has really created something special here. The comic book is funny and sad and honest, and just...works for me. Fraction's greatest achievement here is making these two characters, whose motivations are basically rather selfish (for all of their rationalizations in the contrary) utterly compelling. It's not always the easiest thing to do; Bryan Lee O'Malley, the creator of Scott Pilgrim vs. the World tried something similar in his original graphic novel Seconds (which I will review next) and basically failed.
The about it is that I, as the reader, could empathize with these people primarily because I believed that, put in the same position and given the same opportunity, I would more or less do the same thing.
My only hope for this series is that I hope that it is finite, as I don't see the conceit supporting a Walking-Dead-length epic without dipping into schlock at some point. Right now, though, ten issues in, there's still a lot Fraction and Zdarsky can do with this concept and I, for one, am looking forward to seeing what they've got.
8.5/10
Sunday, July 5, 2015
Sunday, June 28, 2015
Deal with the Devil: A Review of Daredevil #16
written by Mark Waid
drawn by Chris Samnee
colored by Matthew Wilson
Considering the long and complicated history between Matthew Murdock, also known as the vigilante Daredevil, and crimelord Wilson Fisk, once the Kingpin of Crime, which culminated with the Kingpin going to jail over a decade ago, it's quite a narrative feat to actually bring Murdock to the point where he would ask Fisk to help him out, but that's precisely what the series' current creative team of Mark Waid and Chris Samnee have done.
Thanks to the machinations of Max Coleridge, a.k.a. the Shroud, who, in a strange twist, has control over a hyper-powered Owl, who as of issue four has now acquired the ability to hook himself up to every single electronic gadget within an unspecified range, Daredevil's attorney-client communications have been blown wide open. Even though Daredevil outed himself at the conclusion of his previous series, it turns out he had plenty to hide, including the whereabouts of Foggy Nelson. Unfortunately, even Matt's attempt at a Faustian bargain with his greatest enemy may not be enough to bail him and his friends out of this latest pickle.
As Marvel have confirmed that issue #18 will be the last one for this series, and this creative team, I'm basically just counting the days till I discontinue my collection of this title, along with most of the current lineup of titles I've been collecting. I'm actually grateful Marvel is wiping the slate clean; it gives me the chance to take a little breather from collecting for awhile.
That said, I will really miss this title and issues like this remind me why. This issue marks the first time that Waid and Samnee have truly plumbed the Miller era of Daredevil, and the issue has quite a few visual and written references to Miller's monumental "Born Again" storyline from the mid-80s, and a wonderful, if slightly disturbing dialogue free, caption free page which depicts the two of them standing in an art gallery, with presumably Fisk fantasizing about different ways in which Matt Murdock would die, all of which are depicted in different art styles by Samnee. It's an astonishing visual, and really demonstrates why Samnee is one of the best artists working today, apart from being arguably the best visual storyteller since John Romita Jr.
Incidentally, prior to this book, Marvel put out a strangely timed ".1" issue, Daredevil 15.1, which is basically an anthology featuring some pretty neat short-stories, including one by Waid and Samnee another by Marc Guggenheim and Peter Krause, and one written and drawn by Samnee, all of which are flashbacks. There was nothing in it quite as meaty or satisfying as Waid's and Samnee's regular work, but it was a pretty enjoyable read just the same.
9.5/10
(8.5/10 for issue 15.1)
drawn by Chris Samnee
colored by Matthew Wilson
Considering the long and complicated history between Matthew Murdock, also known as the vigilante Daredevil, and crimelord Wilson Fisk, once the Kingpin of Crime, which culminated with the Kingpin going to jail over a decade ago, it's quite a narrative feat to actually bring Murdock to the point where he would ask Fisk to help him out, but that's precisely what the series' current creative team of Mark Waid and Chris Samnee have done.
Thanks to the machinations of Max Coleridge, a.k.a. the Shroud, who, in a strange twist, has control over a hyper-powered Owl, who as of issue four has now acquired the ability to hook himself up to every single electronic gadget within an unspecified range, Daredevil's attorney-client communications have been blown wide open. Even though Daredevil outed himself at the conclusion of his previous series, it turns out he had plenty to hide, including the whereabouts of Foggy Nelson. Unfortunately, even Matt's attempt at a Faustian bargain with his greatest enemy may not be enough to bail him and his friends out of this latest pickle.
As Marvel have confirmed that issue #18 will be the last one for this series, and this creative team, I'm basically just counting the days till I discontinue my collection of this title, along with most of the current lineup of titles I've been collecting. I'm actually grateful Marvel is wiping the slate clean; it gives me the chance to take a little breather from collecting for awhile.
That said, I will really miss this title and issues like this remind me why. This issue marks the first time that Waid and Samnee have truly plumbed the Miller era of Daredevil, and the issue has quite a few visual and written references to Miller's monumental "Born Again" storyline from the mid-80s, and a wonderful, if slightly disturbing dialogue free, caption free page which depicts the two of them standing in an art gallery, with presumably Fisk fantasizing about different ways in which Matt Murdock would die, all of which are depicted in different art styles by Samnee. It's an astonishing visual, and really demonstrates why Samnee is one of the best artists working today, apart from being arguably the best visual storyteller since John Romita Jr.
Incidentally, prior to this book, Marvel put out a strangely timed ".1" issue, Daredevil 15.1, which is basically an anthology featuring some pretty neat short-stories, including one by Waid and Samnee another by Marc Guggenheim and Peter Krause, and one written and drawn by Samnee, all of which are flashbacks. There was nothing in it quite as meaty or satisfying as Waid's and Samnee's regular work, but it was a pretty enjoyable read just the same.
9.5/10
(8.5/10 for issue 15.1)
Saturday, June 13, 2015
A Rant, Pure and Simple
There's something vaguely amusing about the fact that Marvel Comics' latest event has borrowed its title from a much older comic book event, one thirty years older in fact, that was ls. ched not to sell comic books, but action figures. I have no idea if the book itself is any good, but I do know an irritating cash grab when I see one, and in fact I fell for several, even as recently as two years ago when I purchased Infinity and, after being blown away by the artwork, was appalled at how incoherent it felt without the tie-in books. Sure, there were all the "in case you're just checking in" blurbs on the first pages of every issue after the first one, but it really just wasn't very readable, certainly not in the way that Mark Waid's and Chris Samnee's Daredevil is readable. Hickman is now writing Secret Wars which is reason enough for me to say, "um, no thanks."
Right now, I'm actually reading Bryan Lee O'Malley's graphic novel Seconds, and while this doesn't mean I'm going to suddenly renounce superhero comics and turn into some sulking hipster that decries all things mainstream (especially since Lee O'Malley apparently doesn't hire a very good proofreader, assuming he has one at all), it was just so refreshing to read something that doesn't feel so blatantly like a product being sold, but read more like an actual story, which is kind of why I got into comic books in the first place.
I'm sure that countless other geeks and enthusiasts have written much longer pieces on this very same topic, with much more earth-shaking realizations, and in truth this post was originally conceived as a lament as to how audiences have rejected Hollywood's one recent attempt at originality (Brad Bird's Tomorrowland), and have instead embraced retreads of properties that are decades-old (Mad Max: Fury Road and Jurassic World) but I think that would be better off over on my other blog, and I have quite a bit more to say on that.
I will admit that there is a bit of a light at the end of the tunnel for me, as I am looking forward to David Marquez (of Miles Morales: Ultimate Spider-Man fame) being promoted to the Marvel Comics A-list, but really, the fact that yet another "status-quo shattering" event has smashed sales records yet again means that we can probably look forward to yet another "event" in a year or two.
I honestly miss the time when people read comics because talented writers and artists told good stories, and not because ten thousand titles were all tied into each other, promising the end of (insert comic book universe here) as we know it.
Right now, I'm actually reading Bryan Lee O'Malley's graphic novel Seconds, and while this doesn't mean I'm going to suddenly renounce superhero comics and turn into some sulking hipster that decries all things mainstream (especially since Lee O'Malley apparently doesn't hire a very good proofreader, assuming he has one at all), it was just so refreshing to read something that doesn't feel so blatantly like a product being sold, but read more like an actual story, which is kind of why I got into comic books in the first place.
I'm sure that countless other geeks and enthusiasts have written much longer pieces on this very same topic, with much more earth-shaking realizations, and in truth this post was originally conceived as a lament as to how audiences have rejected Hollywood's one recent attempt at originality (Brad Bird's Tomorrowland), and have instead embraced retreads of properties that are decades-old (Mad Max: Fury Road and Jurassic World) but I think that would be better off over on my other blog, and I have quite a bit more to say on that.
I will admit that there is a bit of a light at the end of the tunnel for me, as I am looking forward to David Marquez (of Miles Morales: Ultimate Spider-Man fame) being promoted to the Marvel Comics A-list, but really, the fact that yet another "status-quo shattering" event has smashed sales records yet again means that we can probably look forward to yet another "event" in a year or two.
I honestly miss the time when people read comics because talented writers and artists told good stories, and not because ten thousand titles were all tied into each other, promising the end of (insert comic book universe here) as we know it.
Sunday, May 31, 2015
Loose Ends: A Review of The Amazing Spider-Man #s 16 to 18
written by Dan Slott
drawn by Humberto Ramos (pencils) Victor Olazaba (inks)
I didn't review the end of the much-hyped "Spider-Verse" crossover because if I may be honest, I was quite disappointed with how that event turned out both in terms of story and in terms of the art. The talented Olivier Coipel didn't even finish the series, and the guy who drew the issues in his place, the competent but unremarkable Giuseppe Camuncoli, a Spidey veteran, turned in work that was below even his own standards, never mind Coipel's, so along with my lack of time, I also suffered from a lack of inclination.
Even though this mini-review is quite late, I felt it worth writing if only to weigh in on what I think is the last storyline before yet another potential major status quo shakeup in the line-wide event called "Secret Wars."
Much to the chagrin of Peter's partner Sajani, his project of a prison for supervillains is pushing through. Parker Industries' biggest competition for the project, however, namely Alchemax, isn't about to go down without a (dirty) fight; they hire freelance corporate saboteur Ghost to bring the whole place down around Parker's ears. Of course, he doesn't count on Spider-Man being on the premises. Meanwhile, in a parallel story, Felicia Hardy, a.k.a. the Black Cat, who was once Peter's girlfriend and a part-time superhero, hatches a scheme to get revenge on a woman who pawned off all of her belongings, and in the process free herself from anyone's control ever again.
Though I found his inter-universe spanning "Spider-Verse" to be extremely underwhelming, especially at the end, I am looking forward to another of Slott's major projects, specifically his "Renew Your Vows" miniseries. With this story, Slott basically seems like he's knocking down everything he's been building up ever since he became the regular writer of this title five years ago and to be honest I'm still on the fence about whether or not that's a good thing. With one brief story arc Slott's basically wiped out Parker Industries current raison d'etre, and though Sajani and Peter's ex-girlfriend by way of Doctor Octopus, Anna have a nanotechnology project in the pipeline, it's hard to see Peter keeping the company afloat much longer, barring a complete about face in the way he does things. Incidentally, the recent Amazing Spider-Man annual by Sean Ryan and Brandon Peterson (which I didn't review either, because I didn't like it much), took great pains to demonstrate just how important Peter's company is to him, which is, not particularly. Still, even though Parker Industries may be out of the picture soon, I really hope we don't see a return to the old status quo of Peter living off freelance photography. I think the character deserves some kind of progression here; after all, he does have a doctorate now.
After several months away, Humberto Ramos is back, and while I don't exactly welcome him with open arms, I will say that his art here is better than Camuncoli's awful, rushed work in the last few chapters of Spider-Verse. I won't exactly miss him when Slott teams up with Adam Kubert for "Renew Your Vows" but I'm glad that he did the last pre-Secret Wars Spider-man story. It seems fitting, considering he relaunched this title to much fanfare a little over a year ago.
7.5/10
drawn by Humberto Ramos (pencils) Victor Olazaba (inks)
I didn't review the end of the much-hyped "Spider-Verse" crossover because if I may be honest, I was quite disappointed with how that event turned out both in terms of story and in terms of the art. The talented Olivier Coipel didn't even finish the series, and the guy who drew the issues in his place, the competent but unremarkable Giuseppe Camuncoli, a Spidey veteran, turned in work that was below even his own standards, never mind Coipel's, so along with my lack of time, I also suffered from a lack of inclination.
Even though this mini-review is quite late, I felt it worth writing if only to weigh in on what I think is the last storyline before yet another potential major status quo shakeup in the line-wide event called "Secret Wars."
Much to the chagrin of Peter's partner Sajani, his project of a prison for supervillains is pushing through. Parker Industries' biggest competition for the project, however, namely Alchemax, isn't about to go down without a (dirty) fight; they hire freelance corporate saboteur Ghost to bring the whole place down around Parker's ears. Of course, he doesn't count on Spider-Man being on the premises. Meanwhile, in a parallel story, Felicia Hardy, a.k.a. the Black Cat, who was once Peter's girlfriend and a part-time superhero, hatches a scheme to get revenge on a woman who pawned off all of her belongings, and in the process free herself from anyone's control ever again.
Though I found his inter-universe spanning "Spider-Verse" to be extremely underwhelming, especially at the end, I am looking forward to another of Slott's major projects, specifically his "Renew Your Vows" miniseries. With this story, Slott basically seems like he's knocking down everything he's been building up ever since he became the regular writer of this title five years ago and to be honest I'm still on the fence about whether or not that's a good thing. With one brief story arc Slott's basically wiped out Parker Industries current raison d'etre, and though Sajani and Peter's ex-girlfriend by way of Doctor Octopus, Anna have a nanotechnology project in the pipeline, it's hard to see Peter keeping the company afloat much longer, barring a complete about face in the way he does things. Incidentally, the recent Amazing Spider-Man annual by Sean Ryan and Brandon Peterson (which I didn't review either, because I didn't like it much), took great pains to demonstrate just how important Peter's company is to him, which is, not particularly. Still, even though Parker Industries may be out of the picture soon, I really hope we don't see a return to the old status quo of Peter living off freelance photography. I think the character deserves some kind of progression here; after all, he does have a doctorate now.
After several months away, Humberto Ramos is back, and while I don't exactly welcome him with open arms, I will say that his art here is better than Camuncoli's awful, rushed work in the last few chapters of Spider-Verse. I won't exactly miss him when Slott teams up with Adam Kubert for "Renew Your Vows" but I'm glad that he did the last pre-Secret Wars Spider-man story. It seems fitting, considering he relaunched this title to much fanfare a little over a year ago.
7.5/10
Saturday, May 9, 2015
Well, That Was Quick: A Review of Daredevil #s 14 and 15
written by Mark Waid
drawn by Chris Samnee
colored by Matthew Wilson
I've long suspected that the comic book incarnation of Daredevil was headed for some major upheaval in order to bring the series a little more in line with what people might have seen in the character's spectacular new television series (the subject of my previous review). A little over a year after they set up Matt with a brand new status quo in San Francisco, Mark Waid and Chris Samnee tear it all down in the span of two issues as Matt comes face to face with his greatest nemesis in his new home, and it isn't quite who he expects it to be. This series also introduces Jubula Pride, Leland Owlsley's daughter, alongside whom Matt fights, and who might end up more a liability than an asset. EVERYTHING, from Matt's law practice to his burgeoning book deal, is thrown into jeopardy, and with pretty much everyone who isn't close to him pretty much having turned against him, Matt finds himself turning to the unlikeliest of persons for help.
Mark Waid has been an extremely prolific writing superstar for quite a while now, but having scored a gig writing one of Marvel's best-selling Marvel titles Princess Leia and an Avengers book later this year I imagine something had to give, and considering he's been writing Daredevil since 2010, a stint almost as long as Brian Michael Bendis' back in the beginning of the new millennium, it was the logical choice.
As swan songs go, this arc is proving to be quite exceptional, though I do feel a tinge of regret that Waid is bringing Matt's new setting crashing down on his head so soon, though like I said before, I understand the imperative behind it all, especially considering the reappearance of a certain very important character who hasn't shown up in the pages of this title in years.
There's so much this story has going for it, in particular the fact that Matt's ongoing book deal for his life story has spurred him to a rather radical change in his crime-fighting wardrobe. The change in Matt's look, though I actually find it kind of silly, is really emblematic of Waid's whole approach to the series; it is as refreshingly different from what has preceded it as Frank Miller's noir take was from the stories that had come before him. It's hard to discuss what has made this year-long arc feel so unique without veering into spoiler territory, but I will say that Waid has managed to subvert a few superhero storytelling conventions in the years he's been writing this book, and this latest arc, most likely his last, is no exception.
Between the two of them, Waid and Samnee (and before him, Paolo Rivera and Marcos Martin), have truly made this book a joy to read, and an outstanding reminder that superhero comics can be exceptionally entertaining even if they aren't independently published.
Truth be told, I don't know if it's Waid or Samnee I'll be missing more, as the energy Chris brings to the book is really spectacular, and something I enjoyed equally when he was drawing the first five issues of the defunct Captain America and Bucky series several years ago. If there's any justice, there will be a Captain America book in Samnee's post-Daredevil future.
I could be lucky; perhaps it will still be Waid and Samnee steering old Hornhead into yet another new chapter of his extremely colorful life, but if not, well, like I said before, thanks the for great stories, guys. Including this one.
8.5/10
drawn by Chris Samnee
colored by Matthew Wilson
I've long suspected that the comic book incarnation of Daredevil was headed for some major upheaval in order to bring the series a little more in line with what people might have seen in the character's spectacular new television series (the subject of my previous review). A little over a year after they set up Matt with a brand new status quo in San Francisco, Mark Waid and Chris Samnee tear it all down in the span of two issues as Matt comes face to face with his greatest nemesis in his new home, and it isn't quite who he expects it to be. This series also introduces Jubula Pride, Leland Owlsley's daughter, alongside whom Matt fights, and who might end up more a liability than an asset. EVERYTHING, from Matt's law practice to his burgeoning book deal, is thrown into jeopardy, and with pretty much everyone who isn't close to him pretty much having turned against him, Matt finds himself turning to the unlikeliest of persons for help.
Mark Waid has been an extremely prolific writing superstar for quite a while now, but having scored a gig writing one of Marvel's best-selling Marvel titles Princess Leia and an Avengers book later this year I imagine something had to give, and considering he's been writing Daredevil since 2010, a stint almost as long as Brian Michael Bendis' back in the beginning of the new millennium, it was the logical choice.
As swan songs go, this arc is proving to be quite exceptional, though I do feel a tinge of regret that Waid is bringing Matt's new setting crashing down on his head so soon, though like I said before, I understand the imperative behind it all, especially considering the reappearance of a certain very important character who hasn't shown up in the pages of this title in years.
There's so much this story has going for it, in particular the fact that Matt's ongoing book deal for his life story has spurred him to a rather radical change in his crime-fighting wardrobe. The change in Matt's look, though I actually find it kind of silly, is really emblematic of Waid's whole approach to the series; it is as refreshingly different from what has preceded it as Frank Miller's noir take was from the stories that had come before him. It's hard to discuss what has made this year-long arc feel so unique without veering into spoiler territory, but I will say that Waid has managed to subvert a few superhero storytelling conventions in the years he's been writing this book, and this latest arc, most likely his last, is no exception.
Between the two of them, Waid and Samnee (and before him, Paolo Rivera and Marcos Martin), have truly made this book a joy to read, and an outstanding reminder that superhero comics can be exceptionally entertaining even if they aren't independently published.
Truth be told, I don't know if it's Waid or Samnee I'll be missing more, as the energy Chris brings to the book is really spectacular, and something I enjoyed equally when he was drawing the first five issues of the defunct Captain America and Bucky series several years ago. If there's any justice, there will be a Captain America book in Samnee's post-Daredevil future.
I could be lucky; perhaps it will still be Waid and Samnee steering old Hornhead into yet another new chapter of his extremely colorful life, but if not, well, like I said before, thanks the for great stories, guys. Including this one.
8.5/10
Sunday, May 3, 2015
The Very Best Thing to Come From Marvel in 2015: A Review of Season 1 of "Daredevil" (yes, all of it)
directed by Phil Abraham and various
written by Drew Goddard, Steven De Knight and various
When I heard that Marvel Studios had reacquired the film rights to "Daredevil" from Twentieth Century Fox, I was overjoyed, though I wasn't particularly thrilled when, after Marvel spent a year or so trying to figure out what to do with the property, they decided to make it into a television series, which would only be available via download from Netflix.
Having finally seen the thirteen episodes of season 1, however, I realize that the television format was one of the best possible things that could have happened to this character.
Daredevil is the story of Matt Murdock (Charlie Cox) a young lawyer from Hell's Kitchen who was blinded as a boy by toxic waste but left with the extraordinary enhancement of his remaining four senses. By day, Matt seeks to defend the oppressed with his fellow graduate of Columbia University, Foggy Nelson (Elden Henson). By night, however, Matt dons a black mask and, using a truly formidable set of martial arts skills, wages war against organized crime in the Kitchen, much to the concern of the local crime leaders like Leland Owlsley (Bob Gunton) Madame Gao (Wai Ching Ho), Nobu (Peter Shinkoda), the Ranskahov Brothers Vladimir (Nikolai Nikolaeff) and Anatoly (Gideon Emery), and the leader of them all, the enigmatic Wilson Fisk (Vincent D'Onofrio) who, for much of the first few episodes, is present only through his consigliere Wesley (Toby Leonard Moore). Murdock's self-imposed mission to dismantle crime in Hell's Kitchen has him busting up human trafficking and drug running operations, but what he doesn't realize is that Fisk's grand plan is bigger, and more destructive, than even the heinous crime already polluting the city. Taking Fisk down won't be an easy task, considering he has almost all of the police and judiciary in his pocket but Matt has a few allies, such as Foggy, the plucky Karen Page (Deborah Ann Woll), grizzled journalist Ben Urich (Vondie Curtis-Hall), and his mysterious blind mentor Stick (Scott Glenn), who may yet tip the balance in his favor.
After Mark Steven Johnson's disastrous "Daredevil" feature film starring Ben Affleck back in 2003 nearly ruined the character for non-comic book fans, I am happy to declare that this series has done for DD what Batman Begins managed to do for Batman after Joel Schumacher killed the franchise. More than simply bring the character back to life, albeit on a smaller screen, this series has imbued him and his world with the respectability and gravitas that his printed adventures have long warranted. Integrating the character into the Marvel Cinematic Universe (which is clear from the constant references to the climactic New York battle of The Avengers) has also helped ensure that this character is firmly anchored on an established narrative bedrock.
While showrunners Steven DeKnight and Drew Goddard take full advantage of the format to truly flesh out Matt's character, drawing from his truly rich history in the comic books, they quite cannily spread the snippets of his past throughout the series. The very first scene in the series shows the aftermath of the accident in which Matt loses his sight. It is an act of heroism, namely pushing an old man out of the way of a truck transporting toxic waste, that results in both Matt's disability and enhancement, but it is some hard, unrelenting training from a gruff, unforgiving old man that sharpens Murdock into a living weapon, and years of difficult experience involving pain and loss that ultimately spur him on to seek justice with his fists. All of this plays out in a brilliant parallel to the current goings-on of the series, and even as the audience sees Matt's decidedly unorthodox lifestyle unfold, we are made to understand why he does the things he does.
Daredevil has always been a particularly unique hero; he's the only one constantly conflicted by what he does. After all, seeking out and beating up criminals is not exactly consistent with Matt's duties as an officer of the court, and breaking criminals' bones is not exactly the turning of the other cheek that Matt's religion, Roman Catholicism, prescribes, and judging by the fact that the adult Matt's very first scene is in a confessional, and the fact that he spends several other episodes talking to a priest (Peter McRobbie) about his doubt and guilt, he is keenly aware of this. Cox, Goddard, De Knight, and their team of writers and directors clearly understand that this is one of the central aspects of the character, and their ability to convey this convincingly is as crucial to their success as the astonishingly choreographed martial arts put on display during most of the thirteen-episode season.
Special mention must go out to the actors for really immersing themselves in these roles. British actor Cox doesn't just acquit himself well as Murdock/Daredevil, he completely owns the role, and, if the online buzz is to be believed, he has guaranteed for himself a position of greatness in the hearts of fanboys everywhere along with the likes of fellow Brits-turned-comic-book-icons Andrew Lincoln and Christian Bale. He says the fact that he is, himself, a Catholic has helped him connect with Daredevil's inner struggle, but whatever his inner convictions, his ability to inhabit the character is vividly played out on the screen.
Of course, a comic book hero needs a truly formidable villain to define him, and Vincent D'Onofrio suits the role of Wilson Fisk to an absolute "t." This is no mean feat, considering that the Kingpin of Crime is nearly as iconic a character in the Marvel pantheon as old Hornhead himself (and arguably even more so, considering that he was originally created as a Spider-Man villain). Apart from shaving his head and putting on the considerable heft associated with the character, D'Onofrio creates a unique voice for Fisk, both physically and emotionally that captures the character's larger-than-life nature, though with his bald head he vaguely channels memories of his role as Private Pyle in Stanley Kubrick's Full Metal Jacket. D'Onofrio's triumph is that he manages to convey, in equal measure, Fisk's humanity and his utter repulsiveness. One can see where he's coming from and therefore empathize with him to an extent but can still also hate him to his core.
The good news is that, as strong as these actors are, they still receive able support from the rest of the cast. Elden Henson is particularly capable as Foggy Nelson, considering that he must not only serve as the constant comic relief throughout the series but must shift dramatic gears considerably later in the season. After all, as I said in one of my many reviews of the ongoing Daredevil comic book series, Foggy Nelson is Daredevil's oldest living supporting character and is, to Matthew Murdock, what Aunt May is to Peter Parker. In short, Henson has a lot to live up to, and while I wasn't always fond of the pseudo-hipster vibe Henson gives off with his long hair and line delivery, I think he did a commendable job with a character who could have been pure camp. Henson certainly isn't operating on the level of Cox or D'Onofrio, but he definitely keeps up with them. Deborah Ann Woll, last seen slinking onto the screen in True Blood, has a slightly different take on the character than I was expecting to see upon her introduction, but considering what she ends up doing in the comic books it seems the show's writers are keen on taking her in some interesting directions fairly early. They basically have the Silver Age "damsel in distress" bit play out in the first episode, after which it's a whole new ballgame. It was amusing to see their take on the Matt-Foggy-Karen love triangle, though Matt (for now) is mostly left out of it, as his romantic attentions are focused largely on the MCU's version of the Night Nurse, Claire Temple (Rosario Dawson). Though fans of the comic may be disappointed that sparks don't fly between Matt and Karen right away, I suspect the writers are saving that bit for later seasons, along with a lot of other goodies.
Apart from getting the main character and his supporting players right, though, this show deserves credit for taking some pretty daunting risks. In an era where the film editor is equally, if not more important to the presentation of a fight scene than the choreographers and actors, this show actually featured a fight scene between Matt and multiple opponents that lasted for three minutes, with next to no cuts, though there was the occasional (and very rare) wipe. I'm almost certain they would not have been able to pull off a sequence like that in a feature film considering that, as impressive as the fist fights in Captain America: The Winter Soldier were, they still suffered from quite a bit of the too-quickly-cut-to-see malaise that has been en vogue since Matt Damon started kicking everyone's ass as Jason Bourne at the beginning of this millennium. It's quite an impressive sequence all on its own, though other episodes feature more "conventional" fight scenes. Still, Matt gets hurt, and bleeds, unlike many of today's scratch-proof heroes. That's another refreshing change, really.
Finally, what really has me excited about the prospect of a second season is the knowledge that there is still so much more possibility in terms of the stories that can be told. Only passing mention was made of Elektra, the Greek assassin who was Matt's first great love, and that's surely something they could explore later on. Also, hints are dropped as to the existence of the ninja clan the Hand. Considering that one Japanese mosbster gave Matt a really hard time, a whole clan of ninja might make for some really spectacular season-long fireworks. Finally, there is plenty of room to tell arguably one of the greatest Daredevil stories of all time: Born Again.
Unfortunately, that second season is over a year away, but the good news is that all thirteen episodes of this small screen epic are quite eminently re-watchable, and to anyone who may have been disappointed with the box-office behemoth that is Avengers: Age of Ultron and is looking for something different from Marvel, I humbly suggest you grab yourself a copy of this.
10/10 (Yes, in my honest opinion the show is THAT good).
written by Drew Goddard, Steven De Knight and various
When I heard that Marvel Studios had reacquired the film rights to "Daredevil" from Twentieth Century Fox, I was overjoyed, though I wasn't particularly thrilled when, after Marvel spent a year or so trying to figure out what to do with the property, they decided to make it into a television series, which would only be available via download from Netflix.
Having finally seen the thirteen episodes of season 1, however, I realize that the television format was one of the best possible things that could have happened to this character.
Daredevil is the story of Matt Murdock (Charlie Cox) a young lawyer from Hell's Kitchen who was blinded as a boy by toxic waste but left with the extraordinary enhancement of his remaining four senses. By day, Matt seeks to defend the oppressed with his fellow graduate of Columbia University, Foggy Nelson (Elden Henson). By night, however, Matt dons a black mask and, using a truly formidable set of martial arts skills, wages war against organized crime in the Kitchen, much to the concern of the local crime leaders like Leland Owlsley (Bob Gunton) Madame Gao (Wai Ching Ho), Nobu (Peter Shinkoda), the Ranskahov Brothers Vladimir (Nikolai Nikolaeff) and Anatoly (Gideon Emery), and the leader of them all, the enigmatic Wilson Fisk (Vincent D'Onofrio) who, for much of the first few episodes, is present only through his consigliere Wesley (Toby Leonard Moore). Murdock's self-imposed mission to dismantle crime in Hell's Kitchen has him busting up human trafficking and drug running operations, but what he doesn't realize is that Fisk's grand plan is bigger, and more destructive, than even the heinous crime already polluting the city. Taking Fisk down won't be an easy task, considering he has almost all of the police and judiciary in his pocket but Matt has a few allies, such as Foggy, the plucky Karen Page (Deborah Ann Woll), grizzled journalist Ben Urich (Vondie Curtis-Hall), and his mysterious blind mentor Stick (Scott Glenn), who may yet tip the balance in his favor.
After Mark Steven Johnson's disastrous "Daredevil" feature film starring Ben Affleck back in 2003 nearly ruined the character for non-comic book fans, I am happy to declare that this series has done for DD what Batman Begins managed to do for Batman after Joel Schumacher killed the franchise. More than simply bring the character back to life, albeit on a smaller screen, this series has imbued him and his world with the respectability and gravitas that his printed adventures have long warranted. Integrating the character into the Marvel Cinematic Universe (which is clear from the constant references to the climactic New York battle of The Avengers) has also helped ensure that this character is firmly anchored on an established narrative bedrock.
While showrunners Steven DeKnight and Drew Goddard take full advantage of the format to truly flesh out Matt's character, drawing from his truly rich history in the comic books, they quite cannily spread the snippets of his past throughout the series. The very first scene in the series shows the aftermath of the accident in which Matt loses his sight. It is an act of heroism, namely pushing an old man out of the way of a truck transporting toxic waste, that results in both Matt's disability and enhancement, but it is some hard, unrelenting training from a gruff, unforgiving old man that sharpens Murdock into a living weapon, and years of difficult experience involving pain and loss that ultimately spur him on to seek justice with his fists. All of this plays out in a brilliant parallel to the current goings-on of the series, and even as the audience sees Matt's decidedly unorthodox lifestyle unfold, we are made to understand why he does the things he does.
Daredevil has always been a particularly unique hero; he's the only one constantly conflicted by what he does. After all, seeking out and beating up criminals is not exactly consistent with Matt's duties as an officer of the court, and breaking criminals' bones is not exactly the turning of the other cheek that Matt's religion, Roman Catholicism, prescribes, and judging by the fact that the adult Matt's very first scene is in a confessional, and the fact that he spends several other episodes talking to a priest (Peter McRobbie) about his doubt and guilt, he is keenly aware of this. Cox, Goddard, De Knight, and their team of writers and directors clearly understand that this is one of the central aspects of the character, and their ability to convey this convincingly is as crucial to their success as the astonishingly choreographed martial arts put on display during most of the thirteen-episode season.
Special mention must go out to the actors for really immersing themselves in these roles. British actor Cox doesn't just acquit himself well as Murdock/Daredevil, he completely owns the role, and, if the online buzz is to be believed, he has guaranteed for himself a position of greatness in the hearts of fanboys everywhere along with the likes of fellow Brits-turned-comic-book-icons Andrew Lincoln and Christian Bale. He says the fact that he is, himself, a Catholic has helped him connect with Daredevil's inner struggle, but whatever his inner convictions, his ability to inhabit the character is vividly played out on the screen.
Of course, a comic book hero needs a truly formidable villain to define him, and Vincent D'Onofrio suits the role of Wilson Fisk to an absolute "t." This is no mean feat, considering that the Kingpin of Crime is nearly as iconic a character in the Marvel pantheon as old Hornhead himself (and arguably even more so, considering that he was originally created as a Spider-Man villain). Apart from shaving his head and putting on the considerable heft associated with the character, D'Onofrio creates a unique voice for Fisk, both physically and emotionally that captures the character's larger-than-life nature, though with his bald head he vaguely channels memories of his role as Private Pyle in Stanley Kubrick's Full Metal Jacket. D'Onofrio's triumph is that he manages to convey, in equal measure, Fisk's humanity and his utter repulsiveness. One can see where he's coming from and therefore empathize with him to an extent but can still also hate him to his core.
The good news is that, as strong as these actors are, they still receive able support from the rest of the cast. Elden Henson is particularly capable as Foggy Nelson, considering that he must not only serve as the constant comic relief throughout the series but must shift dramatic gears considerably later in the season. After all, as I said in one of my many reviews of the ongoing Daredevil comic book series, Foggy Nelson is Daredevil's oldest living supporting character and is, to Matthew Murdock, what Aunt May is to Peter Parker. In short, Henson has a lot to live up to, and while I wasn't always fond of the pseudo-hipster vibe Henson gives off with his long hair and line delivery, I think he did a commendable job with a character who could have been pure camp. Henson certainly isn't operating on the level of Cox or D'Onofrio, but he definitely keeps up with them. Deborah Ann Woll, last seen slinking onto the screen in True Blood, has a slightly different take on the character than I was expecting to see upon her introduction, but considering what she ends up doing in the comic books it seems the show's writers are keen on taking her in some interesting directions fairly early. They basically have the Silver Age "damsel in distress" bit play out in the first episode, after which it's a whole new ballgame. It was amusing to see their take on the Matt-Foggy-Karen love triangle, though Matt (for now) is mostly left out of it, as his romantic attentions are focused largely on the MCU's version of the Night Nurse, Claire Temple (Rosario Dawson). Though fans of the comic may be disappointed that sparks don't fly between Matt and Karen right away, I suspect the writers are saving that bit for later seasons, along with a lot of other goodies.
Apart from getting the main character and his supporting players right, though, this show deserves credit for taking some pretty daunting risks. In an era where the film editor is equally, if not more important to the presentation of a fight scene than the choreographers and actors, this show actually featured a fight scene between Matt and multiple opponents that lasted for three minutes, with next to no cuts, though there was the occasional (and very rare) wipe. I'm almost certain they would not have been able to pull off a sequence like that in a feature film considering that, as impressive as the fist fights in Captain America: The Winter Soldier were, they still suffered from quite a bit of the too-quickly-cut-to-see malaise that has been en vogue since Matt Damon started kicking everyone's ass as Jason Bourne at the beginning of this millennium. It's quite an impressive sequence all on its own, though other episodes feature more "conventional" fight scenes. Still, Matt gets hurt, and bleeds, unlike many of today's scratch-proof heroes. That's another refreshing change, really.
Finally, what really has me excited about the prospect of a second season is the knowledge that there is still so much more possibility in terms of the stories that can be told. Only passing mention was made of Elektra, the Greek assassin who was Matt's first great love, and that's surely something they could explore later on. Also, hints are dropped as to the existence of the ninja clan the Hand. Considering that one Japanese mosbster gave Matt a really hard time, a whole clan of ninja might make for some really spectacular season-long fireworks. Finally, there is plenty of room to tell arguably one of the greatest Daredevil stories of all time: Born Again.
Unfortunately, that second season is over a year away, but the good news is that all thirteen episodes of this small screen epic are quite eminently re-watchable, and to anyone who may have been disappointed with the box-office behemoth that is Avengers: Age of Ultron and is looking for something different from Marvel, I humbly suggest you grab yourself a copy of this.
10/10 (Yes, in my honest opinion the show is THAT good).
Sunday, April 12, 2015
A Review of "Conquer": The Season 5 Finale of "The Walking Dead"
directed by Greg Nicotero
written by Scott M. Gimple and Seth Hoffman
As a result of the meltdown of Rick Grimes (Andrew Lincoln) last episode, in which he ranted, and waved a gun at half the residents of Alexandria, Deanna Monroe (Tovah Feldshuh) decides to hold a meeting in which the residents will decide what to do with him. One of the genuine possibilities is that he may be exiled. Elsewhere, Daryl (Norman Reedus) and Aaron (Ross Marquand) seem to stumble upon a wealth of supplies, only to find themselves in a walker infested trap, from which they are rescued by the nomadic Season 1 veteran Morgan (Lennie James). Meanwhile, Nicholas (Michael Traynor), the Alexandria resident whose cowardice two episodes ago cost Noah (Tyler James Williams) his life, tries to lure Glenn into the forest and kill him. Fr. Gabriel (Seth Gilliam) attempts to commit suicide-by-walker, only to change his mind, except that he leaves the gate open as he blunders back into Alexandria. Meanwhile, Sasha (Sonequa Martin-Green) has hit rock bottom, and at one point even lies in a pit with destroyed walkers. She turns to Fr. Gabriel for guidance, not knowing just how much he hates her and the rest of Rick's crew. Rick sees the open gate, tracks down the walkers who made it inside, and makes his findings known to Deanna and her group. Pete shows up, and things do not end well.
This episode demonstrates just how much this series has become a victim of its own success; while there is quite a lot to like about what happened here, this episode was quite notably anticlimactic, much like the last season-ender was.
What was notable, though, was the writer's understanding that killing someone isn't always limited to their physical body. Something Rick does at the very end of this episode, a line he emphatically crosses, right in front of someone who holds him in very high esteem, is, in a way, not unlike the grisly death of Noah that Glenn saw happen with his very own eyes. It's interesting to see how this will play out, especially with the impending threat of the "wolves."
I still confess to feeling a little disappointed at how so much was basically left hanging by this episode.
One of the highlights for me was the appearance of Morgan, who shows off some serious fighting skills as he dispatches two of the members of the wolves with a simple bo staff. Unlike Tyreese and Noah, this is one black character who can clearly take care of himself, and I certainly hope he does, especially considering how violently the last two major black characters got killed off.
Still, it peeved me that this episode still seemed more about setting up the next big confrontation than actually resolving anything, but then, like I said, to subvert fans' prognostications, I guess they had to forgo things like major character deaths and other kinds of twists. I'm still not sure why Norman Reedus said that fans would cry at the end of this episode; maybe he meant from the disappointment they would feel seeing so little happen in almost ninety minutes of air time.
Ultimately, while I think it's disappointing that the show runners gave such a subdued ending to such a harrowing season, part of me gets that the effect they were really going for was to show the impact that events of the past season have had on the characters. In that, I think it was a success. It just wasn't the kind of season-ending climax I was hoping to see.
7.5/10
written by Scott M. Gimple and Seth Hoffman
As a result of the meltdown of Rick Grimes (Andrew Lincoln) last episode, in which he ranted, and waved a gun at half the residents of Alexandria, Deanna Monroe (Tovah Feldshuh) decides to hold a meeting in which the residents will decide what to do with him. One of the genuine possibilities is that he may be exiled. Elsewhere, Daryl (Norman Reedus) and Aaron (Ross Marquand) seem to stumble upon a wealth of supplies, only to find themselves in a walker infested trap, from which they are rescued by the nomadic Season 1 veteran Morgan (Lennie James). Meanwhile, Nicholas (Michael Traynor), the Alexandria resident whose cowardice two episodes ago cost Noah (Tyler James Williams) his life, tries to lure Glenn into the forest and kill him. Fr. Gabriel (Seth Gilliam) attempts to commit suicide-by-walker, only to change his mind, except that he leaves the gate open as he blunders back into Alexandria. Meanwhile, Sasha (Sonequa Martin-Green) has hit rock bottom, and at one point even lies in a pit with destroyed walkers. She turns to Fr. Gabriel for guidance, not knowing just how much he hates her and the rest of Rick's crew. Rick sees the open gate, tracks down the walkers who made it inside, and makes his findings known to Deanna and her group. Pete shows up, and things do not end well.
This episode demonstrates just how much this series has become a victim of its own success; while there is quite a lot to like about what happened here, this episode was quite notably anticlimactic, much like the last season-ender was.
What was notable, though, was the writer's understanding that killing someone isn't always limited to their physical body. Something Rick does at the very end of this episode, a line he emphatically crosses, right in front of someone who holds him in very high esteem, is, in a way, not unlike the grisly death of Noah that Glenn saw happen with his very own eyes. It's interesting to see how this will play out, especially with the impending threat of the "wolves."
I still confess to feeling a little disappointed at how so much was basically left hanging by this episode.
One of the highlights for me was the appearance of Morgan, who shows off some serious fighting skills as he dispatches two of the members of the wolves with a simple bo staff. Unlike Tyreese and Noah, this is one black character who can clearly take care of himself, and I certainly hope he does, especially considering how violently the last two major black characters got killed off.
Still, it peeved me that this episode still seemed more about setting up the next big confrontation than actually resolving anything, but then, like I said, to subvert fans' prognostications, I guess they had to forgo things like major character deaths and other kinds of twists. I'm still not sure why Norman Reedus said that fans would cry at the end of this episode; maybe he meant from the disappointment they would feel seeing so little happen in almost ninety minutes of air time.
Ultimately, while I think it's disappointing that the show runners gave such a subdued ending to such a harrowing season, part of me gets that the effect they were really going for was to show the impact that events of the past season have had on the characters. In that, I think it was a success. It just wasn't the kind of season-ending climax I was hoping to see.
7.5/10
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