Review - Your Vice Is a Locked Room and Only I Have the Key

Your Vice Is a Locked Room and Only I Have the Key
dir. Sergio Martino
1972

Following The Strange Vice of Mrs. Wardh and Tail of the Scorpion, Your Vice Is a Locked Room and Only I Have the Key is the third giallo film by notable Italian director Sergio Martino. Martino's giallo films follow the work previously done by the more famous directors Mario Bava and Dario Argento. For the unaware, a giallo is an Italian film that while usually placed in the horror genre in America often have more in common with thrillers and are very unique in their style. The term giallo itself originally referred to the cheap paperback thrillers and mysteries that many of the first giallo films were adaptations of. While commonly equated with the "slasher" subgenre of horror films, giallo films are different in several important ways: the story usually proceeds in an mystery or whodunit fashion with the identity of the killer unkown, there is often unique and stylish camera work, the music is often very stylized and is unusual in comparison to American horror films, there is often excessive nudity and violence, the killer is often masked and wields a bladed weapon, and the films often focus strongly on the psychological aspects of fear. As time passed gialli began to feature supernatural and more varied stories and became greatly influenced by the burgeoning slasher subgenre in America.

Your Vice Is a Locked Room and Only I Have the Key is a classic giallo. The plot centers on a middle-aged failed writer named Oliviero Rouvigny and his abused wife Irina. Oliviero lives a decadent life filled with alcohol and sex in his large family villa in the Italian countryside. He supports his habits by selling what remains of the villa's furniture to pay for the expenses. Irina, meanwhile fears for her life and is terrorized by Oliviero's cat Satan, whom belonged to Oliviero's mother. After a drunken night out in which his mistress turns up dead, Oliviero becomes the prime suspect in her murder. More women are attacked and Oliviero's twenty year old sexually uninhibited niece Floriana comes to stay at the villa bearing her own schemes. Fear and paranoia build for the characters as the story spirals to it's conclusion. Based on the story by Edgar Allan Poe,The Black Cat, Your Vice Is a Locked Room and Only I Have the Key is an exceptionally well written and plotted giallo for it's time.

Recognizable character actor Luigi Pistilli, perhaps best known for Mario Bava's giallo Bay of Blood, plays Oliviero and gives him the life that the part calls for. Pistilli manages to bring us into the broken, twisted, decadent world of Oliviero without driving us away. Swedish model Anita Strindberg, who was featured in many gialli and genre films in Italy during the 60s and 70s, plays the hysterical and terrorized Irina quite well and is a departure from her usually more glamorous roles. The standout in the film is Edwige Fenech who is simply stunning in the role of Floriana. Fenech is well known for her Italian comedies and for her looks and she also starred in a number of giallo films before later moving on to Italian television in the 1980s. Usually relegated to the role of 'good girl' or 'victim' here Fenech plays against type as Floriana. Floriana is a sexually ambitious and ambiguous character whose motives are devious and who attempts to manipulate both Oliviero, her uncle, and Irina for her own benefit. While Strindberg and Fenech, along with several other actresses, have extensive nudity in the film, Fenech also has several love scenes with men and women. The acting is all quite good for this type of film although a modern American viewer may have problems with the Italian dialog and the style of acting.

Martino employs a unique and stylized camera work, as is usual in a giallo, and the music too is quite an important player in the film. While the film is light on violence there is a strong build up of tension and suspense as the story plays out and it certainly stands up well against other gialli in terms of style, story, and suspense. Your Vice Is a Locked Room and Only I Have the Key is a fine example of giallo films of the 1960s and 1970s, though with the lack of blood and bodies and the queasy moments of incest found within, Bava's Bay of Blood and Argento's Tenebrae are perhaps better starting points for those interested in these films.

Verdict: 4 and 1/2 stars out of 5.

Review - The Dark Knight

The Dark Knight
dir. Christoper Nolan
2008

The Dark Knight is a good movie. I like The Dark Knight. Ok? I want to get that out of the way before going further into this review as I definitely don't like (love) the movie in the same way so many do. Of course, I'm not the biggest fan of Batman Begins either so perhaps we should start there.

Batman Begins was a fine film that I felt began to fall apart once Batman was introduced. The acting was mediocre to painful (hello Mrs. Cruise) and the villains were never very interesting, frightening, or menacing. Christian Bale's raspy Batman voice was almost laugh-out-loud bad. The fight scenes were poorly staged and incomprehensible in a Jason Bourne-esque way. While these gripes were sticking points for me and Batman Begins, my largest problem with Nolan's Batman films is his insistence on hyper-realism. All these things that I disliked about Batman Begins were present in The Dark Knight, though the acting was a better with Heath Ledger and Aaron Eckhardt.

The plot of The Dark Knight centers around the Joker bringing chaos to Gotham City and Batman attempting to stop him and to help district attorney Harvey Dent succeed so that Batman will no longer be needed. While those coming from a comic book background may be used to the juxtaposition of Batman and the Joker, the true pairing here is Joker and Harvey Dent/Two-Face. The Joker represents chaos and Harvey Dent represents the order that Gotham City needs. Batman is not the focus of this film.

The acting this time out has improved from the last film as Ledger and Eckhardt both give weight and bring their characters, characters who would well fall into cliche in the hands of other actors, to life. Ledger's Joker is a new take on the character, at least in film, and one which works pretty well except for the lack of laughing that the Joker should have in any incarnation. Eckhardt is quite strong as the mentally unstable Dent, but the audience will find Two-Face to not be nearly as interesting as the district attorney which is a shame. Bale is serviceable as Batman/Bruce Wayne once again although any acting he does as Batman is hardly noticeable as he rasps and bares his teeth throughout the Batman scenes. The raspy, throaty Batman voice which was rather horrible in Batman Begins returns and becomes a liability for the film when Batman has more than one or two lines in succession. As Bruce Wayne the playboy Bale is a bit better though the character remains the same as he was in Batman Begins. Katie Holmes has been replaced by Maggie Gyllenhaal in the role of Rachel Dawes, but it seems that Gyllenhaal is attempting to see if she can outdo Holmes' previous low in acting with her portrayal of the character. Michael Caine and Morgan Freeman return playing not only the same characters from the last film, but playing the same characters, especially in Freeman's case, that they've played in dozens of films.

Christopher Nolan once again goes the shaky-cam route for fight scenes and once again the film suffers for it. While the idea behind the shaky-cam fight scene is that it brings the viewer into the fight what it does when executed poorly is simply leave the viewer questioning that just happened. Why bother with the complex fight choreography when no one can discern what is happening on screen? The shaky-cam is slightly relaxed from the heights it reached in Batman Begins, but far too often I was once again wishing that the camera would pull back and show me what exactly was happening. In one fight I wouldn't have known Batman was fighting/wrestling with a dog except for the occasional bark and a quick edit of a some biting jaws. This isn't to say that Nolan would have excelled with a more traditional fight scene as there are some directors who simply have trouble with action, but it would have been nice for him to try.

Before diving into my largest issue with the film one more problem must be confronted. The Dark Knight is too long, too bloated, and could definitely use some editing. The film would have worked far more effectively if it were shortened by 10 or 15 minutes. A film of 152 minutes needs to have better pacing than The Dark Knight as it lurches to starts and stops and never adequately builds to the conclusion. The Lord of the Rings films, while long, were edited down from the Extended Cuts released on DVD not only for total length, but because while interesting, the long versions simply do not work as well as movies. The Dark Knight should have went in a similar direction.

Just as with Batman Begins though, for this reviewer, the crippling flaw in Nolan's The Dark Knight is the realism which he insists on. While there are some gadgets and slightly out-there set pieces most of the film functions strictly in the realm of reality and it is here where it loses me. For me, the excessive realism simply pushes me out of the film with the unreality of it all. No one in the "real world" would dress up as a giant bat and fight crime, and to push the realism of the film makes it all the more apparent that it is unrealistic at heart, as are all super heroes in comics. The hyper-realism Nolan uses pulls me out of the film in the same way as an anachronism or bad dialog will in other films. A film like Batman (1989) is obviously not meant to be realistic and because it never attempts to be I never become annoyed with the ludicrousness of a costumed hero. Even films like Spider-Man or Superman while taking place in a largely realistic New York City are styled in dialog, sets, and direction so that you are never led to believe that the creators meant for these films to be in our world and by the rules of our world in the way Nolan does. The New York Spider-Man inhabits is not our New York nor is it meant to be in the way it looks and the way it is shot. It is similar to the New York that comic-book Spider-Man lives in. Gotham City, while an imaginary city, in Batman Begins and The Dark Knight is simply Chicago. It looks and feels like our Chicago rather than Gotham City.

For me it comes down to the fact that comic book heroes are inherently unrealistic and to push for realism as much as Nolan does creates a tension in the film which becomes jarring and problematic. In the stylized worlds of other super hero films and big blockbuster action movies I can more readily accept unrealistic problems, gadgets, characters, and situations but in a film like The Dark Knight they stand out and call attention to the fact that they are unrealistic. A multi-ton Bat-tank on top of a church roof? A device which will immediately evaporate the water in pipes but not in a river? A cell phone radar technology that can see facepaint on a thug? These things and so much more stand out poorly in the realistic world Nolan wishes to construct. Nolan wants to have his cake and eat it too. Holes in logic, wholly unrealistic gadgets and vehicles, and super heroes and villains in general stand out in a way in the Dark Knight which is problematic for this reviewer. Put simply Nolan created a crime film/thriller that happens to occasionally feature the Joker, Two-Face, and Batman. Best super-hero movie? How does it even qualify as a super-hero movie?

Verdict: 3 stars out of 5.

Review - Metal Gear Solid 4: Guns of the Patriots

Metal Gear Solid 4: Guns of the Patriots
PlayStation 3
2008
developed by Kojima Productions
published by Konami

Metal Gear Solid 4, hereafter referred to as MGS4, is the culmination of twenty years worth games starting with the original Metal Gear in 1987. The "Solid" series of Metal Gear games began with the release of Metal Gear Solid in 1998. MGS4 is a sequel in not only name but in story. The Metal Gear series relies heavily on the storylines from past games, and MGS4 is no exception. While the story may largely be impenetrable to new players, and even to some veterans in many parts, the gameplay and attention to detail create an experience that is spectacular.

Battling his way through the opening Middle Eastern area, Solid Snake, now aged and in pain, continues through South American Jungles, a European city, a memorable Alaskan island, and finally onto an enemy base that plays as the final stage. While MGS4 is definitely more run-and-gun and action friendly than previous games in the series, the game is still primarily a stealth game. Snake sneaks across the various stages eluding both human and robot guards with a wealth of moves and abilities that seem both fresh and completely natural. Snake can run, crouch, and crawl his way about and using his special camouflage suit he can blend into the surroundings. Metal Gear Solid series classics such as knocking to distract guards, leaving magazines and other items for the guards to look at, and the cardboard box return and supplement his various new abilities such as a tiny mechanical helper, a oil drum, and more. The control has been fine-tuned to the point that only a radical departure could fix the few remaining issues such as the still problematic targeting system and the difficulty keeping straight the sheer number of moves and abilities Snake has. The enemies are more intelligent than they have been in previous games and can be quite a challenge on the higher difficulty settings.

While not a free-form game in the same vein as Grand Theft Auto, MGS4 allows the player any number of ways to get through any given situation. Whether you want to use stealth and sneak your way through the game or if you wish to fight out almost every encounter there are various ways to do both options. Whether you kill the enemies or simply put them to sleep is also your choice, in fact in Metal Gear Solid tradition you can complete the entire game without killing a single enemy. The first two areas, the Middle East and South America, are best at displaying the multitude of choices the player has in tackling an area. In one of the few weaknesses of the game as you proceed further and further into the game the choices available to the player dwindle. That isn't to say that the later areas are not fun, but that the enjoyment of playing on your own terms gives way a bit as the story progresses, a product partly of the fact that the further into the story the few human enemies there are and the more machines and the machines can only be stealthily passed or destroyed as the sleeping ammunition so useful earlier falls to the wayside.

For those steeped in the storyline of Metal Gear, specifically the Metal Gear Solid series, the story does have many interesting twists and turns and Hideo Kojima, Metal Gear creator, is able to tie up almost every loose end in the entire series, which is no small feat considering the plots of previous games. The Metal Gear Solid series has long been criticized for the obscene length of cut scenes and dialog between the characters, and while MGS4 is not exception this reviewer found most of the exposition and cut scenes so interesting that it wasn't noticeable. While there are definite plot holes and a seeming Star Wars-prequel level of retcons, the plot stands up and can still please most of the obsessive fans of the series.

The graphics are spectacular and are truly a showcase for the PlayStation 3 hardware. The characters look fantastic and the environments are extremely well done. The attention to detail is unbelievable as areas within the same stages still feel unique and interesting. There is always something amazing around each new corner in MGS4. The voice acting is well done, as it should be after so many games in the series with the return cast. Of course, the voice acting can become a bit melodramatic now and then, but nothing that is out of character for the series. The music is also well done, though perhaps not as strong as previous games.

MGS4 walks a fine line between serious discussion of war, economics, genetics, and the future while still having puns, sexual innuendo, and toilet humor. This isn't out of the ordinary for the Metal Gear Solid series and the fact that much of the plot and characters are so bleak, broken, and serious is well balanced by the lighter side of the series. MGS4 has a copious amount of replay value as the story scenes are skippable and you can experiment in a multitude of ways with the gameplay. Items and weapons collected can transfer over from one playthrough to another and, in a series tradition, there are many secret items, weapons, and bonuses to unlock. Each subsequent playthrough will reveal more and more of the detail in the game and the nods and nostalgic throwbacks to previous games become more apparent. This is a game that is able to be almost completely fanservice, but still remain a compelling experience to those not steeped in the minutiae of everything Metal Gear.

Verdict: 5 stars out of 5.

Triple Hit of Quick Hits

Here are the comic reviews for 5/21, 5/29, and 6/4:

Brave and the Bold #13: This series has been strong so far, but this issue is weaker for the lack of the larger plot that had driven the previous twelve issues. The story itself is a bit too corny, but is balanced by some good moments between Jay Garrick and Batman. The art is suitably classic by Jerry Ordway. Verdict: 2 1/2 stars out of 5.

Justice League of America #21: This new volume of JLA has been besieged by crossovers and problems since the loss of Brad Meltzer, but this issue does manage to remain interesting even though it ties into the beginning of Final Crisis. The art is well done with several strong moments. Verdict: 3 stars out of 5.

Justice Society of America #15: This series continues to fire on all cylinders as the Gog storyline concludes its first chapter. For a series that has been criticized for not having enough action, Justice Society of America #15 is a fine example of comic book action scenes done well. Geoff Johns continues to weave in interesting character moments even in the midst of the action though he is aided by the phenomenal work of Dave Eaglesham. Verdict: 5 stars out of 5.

Final Crisis #1: This issue is the definition of a set-up issue. The storylines begin to come together and Grant Morrison has some great moments in this opening issue, but the opener does not come with the impact that many would assume from the beginning of such a big event. In terms of strength of story though this issue will be remembered fondly if Final Crisis is well done and will be looked back upon poorly if the event falls apart. Special notice must be taken of the art though. J.G. Jones has done good work for both Marvel and DC, but his work in Final Crisis #1 is fantastic. The art of this series will long be well thought of regardless of the outcome of the story. Verdict: 4 stars out of 5.

Action Comics #865: A solid one-shot story before the Brainiac arc begins in the next issue. Longtime Superman villain the Toyman is the centerpiece of the story and his character is definitely taken to new depths by Geoff Johns in this story. Jesus Merino has the unenviable task of being sandwiched in between Gary Frank issues of Action Comics, but his pencils are strong and the way in which the flashbacks are handled is extremely well done. Verdict: 4 stars out of 5.

All-Star Superman #11: This penultimate issue of one of the most amazing runs on a Superman title in years continues the fantastic tradition of the first ten issues. The story is leading to a satisfying conclusion and the dialog by Morrison is pitch perfect for these characters. This series is truly one of the best distillations of the character of Superman ever done, and it also shows that it is possible to make fantastic Superman stories that pay respect to the tradition of the character while still being inherently interesting. Frank Quitely's work on this series, including this issue, is definitely part of the appeal as he has created a Superman, Metropolis, and whole world that is both distinctly Superman and distinctly his own. Verdict: 5 stars out of 5.

Thor #9: Thor continues at the leisurely pace that J. Michael Straczynski has employed in this revamp of the thunder god, but the pacing is definitely becoming a bit of an issue. Where exactly this series is headed both in regards to some of the smaller issues and in regards to the Marvel Universe as a whole is still rather vague. Just as the gods of Asgard are wondering in the issue what future they have open to them now that Thor has awakened them and brought Asgard to earth so to are the readers wondering what exactly is the future for this often-delayed title. The art is strong but Coipel's take on certain characters is still too strange for this reviewer. Verdict: 3 stars out of 5.

Green Lantern #31: The "Secret Origin" arc of Green Lantern continues in this third issue retelling the origin of Hal Jordan as the Green Lantern. While many of the hints that Geoff Johns has seeded into the story concerning the current events in the DCU and the upcoming Blackest Night storyline are interesting there is only so much excitement that can be gained from yet another origin of Hal Jordan. The art is strong and the writing well done and for those who are new to the world of the Green Lantern this should be a very fun read, but for those older fans it definitely seems a bit too much like a rerun; an enjoyable rerun of a show you enjoy but a rerun nonetheless. Verdict: 3 1/2 stars out of 5.

Dark Tower: The Long Road Home #4: This miniseries has had the advantage over the last in that the material had not been covered in a Dark Tower book, but the pacing does not seem as strong in this series as in the last. Personally, the Crimson King, while interesting, both did not seem to jive with the character in the books but also did not fit the creation that I had long ago imagined. Overall though the writing is strong and the artwork beautiful if a bit too reliant on large panels and splash pages. Verdict: 4 stars out of 5.

Justice Society of America #16: The Gog arc starts in a new and interesting direction and the character moments are as well done as they have been throughout this series. The introduction of Black Adam back into JSA storylines is great to see though it is too bad that Captain Marvel is indisposed. The combination of art by Alex Ross for some sections and Eaglesham on others is well executed and is visually striking. The scope of this series continues to widen just like the team, but Geoff Johns is able to handle the scope and the size of the team with ease. Verdict: 4 1/2 stars out of 5.

Trinity #1: Mark Bagley and Kurt Busiek bring us the beginning of the next DC weekly. Focusing on Superman, Batman, and Wonder Woman seems like a good idea and the fact that they are keeping this events of Trinity confined to the pages of the book rather than have it sprawl outwards like Countdown is certainly a well made decision. Busiek has the characters down and is able to quickly paint their personalities and play on their differences. Much like the opening issue of Final Crisis the previous week this issue is definitely a launching pad for bigger and better moments, but it is a good foundation to build. Bagley continues the work he is known for though if you were not a fan of his Marvel work his work on Trinity will do nothing to change your mind. There is a bit of inconsistency in his portrayal of the Trinity characters, with Wonder Woman being handled the best, but one assumes that after a few issues Bagley will begin to create a more consistent and cohesive world. The 'backup' story by Fabian Nicieza is more of a second chapter than a backup and introduces us to some of the villains of Trinity though Busiek and company are definitely taking a risk in not choosing more well known villains. Verdict: 4 stars out of 5.

Remember readers if you want a full review of any of these comics simply request it in the comments section and I'll do a full review that discusses the comic in much more depth.

Review - Twin Peaks

Twin Peaks
Season 1 - 2
Pilot + 29 episodes
1990-1991

Twin Peaks is one of the most unusual television shows ever produced and has influenced television both in style and substance. Created by surrealist film savant David Lynch (Eraserhead, Blue Velvet, Lost Highway, Mulholland Drive) and Mark Frost, Twin Peaks captivated American audiences and became a sensation.

The plot begins with the murder of Laura Palmer in the small town of Twin Peaks in Washington state. FBI Agent Dale Cooper comes to the small logging city to investigate and is quickly immersed in the mysterious circumstances surrounding the death of the high school student and the variety of people who become suspects. To describe the plot any further becomes difficult as more and more new layers are revealed as Cooper investigates and learns more about the inhabitants of the city. The characters, their relationships, and their idiosyncrasies are the heart of the show.

The show is obviously from the mind of David Lynch as dreams, portents, symbolism, and a surrealist bent are firmly within the makeup of the show. In some ways these hallmarks of Lynch's work are quite effective in the serial episodic nature of a television show like Twin Peaks. The mysteries of the show grow and expand in ways that are not possible in 90 or 120 minute film, and the audience is constantly creating their own theories of what is happing in Twin Peaks. There is a quirkiness to Twin Peaks that is refreshing in comparison to what can often pass as a mystery in many other television shows.

It seems almost destiny that a show as original and unique as Twin Peaks would burn brightly but fade quickly. Under pressure from ABC Frost and Lynch wrapped up the central murder mystery in the seventh episode of the second season, a fantastic episode directed by Lynch himself. The pilot, the seven episodes of the first season, and the first seven of the second season are simply some of the best television this reviewer has ever seen. Once the central mystery is resolved the show begins to wander and is unable to refocus quickly enough to keep the momentum the show had built up. In the special features of the DVD release Mark Frost admits to several issues in the collapse of Twin Peaks; the show spent too much time building up the next mystery and several episodes were without the forward direction that had served the show so well, secondly Mark Frost and David Lynch themselves were busy directing other projects, the films Storyville and Wild at Heart respectively. Lynch, himself, admits that they should have never revealed the killer of Laura Palmer. Without the guiding hands of Frost and Lynch the series began to lose much of the heart that had propelled it to the great heights that it had attained. Most painfully the show began to become a sort of parody of itself and became almost too similar to other television shows. The vision of Frost and Lynch was far too unique for others to simply ape. The show would simply have shuffled off to a sad cancellation had this continued, but the last four or five episodes of the second season saw Frost and Lynch come back and attempt to salvage the series. These episodes, while not as strong as the earliest episodes, were a strong return to form and which culminated in a cliffhanger second season finale, once again directed by Lynch, that is among the best episodes of the series. The strong finish was not enough to save the series, but it remains a fantastic experience and is a perfect show for the TV on DVD revolution of the last decade. The show also lives on in the series that clearly owe much to the trail that Twin Peaks blazed in the television landscape.

The continuing mystery and serial nature of the X-files owes much to Twin Peaks. Perhaps most in debt to Twin Peaks is another ABC series; Lost. Lost is similar in many ways; the strength of the show lies in the intricate characters and their relationships, the overarching mystery, the symbolism, and the audience participation and obsession.

The acting is superb and the characters of Twin Peaks are the sort who will stick with the viewer. Quirky, but not defined by their quirks. Standouts include Lynch favorite (Dune and Blue Velvet) Kyle MacLachlan as Agent Dale Cooper, Lara Flynn Boyle as Donna Hayward, Sherilyn Fenn as Audrey Horne, and many more. As a television series the direction of each episode varied in quality with each director, but standouts include each episode directed by Frost or Lynch.

In the end, Twin Peaks is a unique, interesting, and powerful television show. While there is a definite drop in quality in the middle of the second season the show returns to form in the end and needs to be experienced to be believed.

Verdict: 5 stars out of 5.

Quick Hits - Comics for the week of 5/14

Quick and to the point reviews of your (my) weekly comics:

Superman #676: This issue is an interlude before the coming of James Robinson in the next issue and, while the issue feels like it should have been an issue of Superman Confidential rather than Superman, it isn't a total loss. The issue's focus is on the early days of Superman in Metropolis and what it really means to be a hero in light of Memorial Day. There is a good appearance by Alan Scott and a good classic Superman vibe to the proceedings. The art is passable, but not memorable and the writing is similar. Verdict: 2 1/2 stars out of 5.

Green Lantern Corps #24: Mongul continues spreading fear as new and powerful member of the Sinestro Corps. This issue features a refresher on the origin of Mongul and the fate of the original Mongul. Depending on which direction Tomasi and Johns wish to take the Green Lantern titles Mongul could become a great villain for the GL Corps. The art is not my taste and it is difficult for me to discern details in several panels, but it certainly isn't much of a detriment to this fine book. Verdict: 3 1/2 stars out of 5.

Locke and Key #4: This series has really begun to press on in the most fantastic fashion. While starting out a bit slow Locke and Key has become a do-not-miss treat for horror and mystery fans. With each successive issue the characters come to life more and more and the vastness of the horror and deepness of the mystery involved becomes ever more interesting. For the most part the art is quite good, but a few characters aren't as strongly done visually as others. Verdict: 4 1/2 stars out of 5.

Review - Speed Racer

Speed Racer
dir(s). The Wachowski Bros.
2008

Here he comes,
Here comes Speed Racer,
He's a demon on wheels!

The classic anime Speed Racer makes it to the big screen with the help of those Matrix-famous Wachowski brothers. The anime that the film is based on premiered in 1967 in America and was the first successful animated shows to make it over from Japan. The film is in most ways very faithful to the anime, taking both characters and images from the show. This isn't just a film based on an anime or cartoon but one that is brazenly, and for the most part succeeds, in being a live-action cartoon.

The world of the film is one in which racing is the dominant world sport and with advanced technology the internal combustion engine has been replaced by something far more powerful that allows for speeds far higher than in our world. The film follows young Speed Racer as he starts to win acclaim for his driving on the WRL circuit. His family has lost a son, Rex Racer, already to the sport and Speed idolizes his older brother and sees himself as continuing on in his brother's footsteps. Speed is tempted to join the racing team of Royalton Industries, but when he decides to stick with his family and stay independent he is threatened by Mr. Royalton and shown that racing has always been fixed and is a sport not for the driver or the fan, but a sport dominated by money. With the help of the mysterious Racer X, his girlfriend Trixie, and his family Speed tries to take down Royalton and save the heart of racing itself. The story, both for those who have experience with the anime and for those who do not, is simple and basically follows the beats of the underdog sport genre of films. What makes Speed Racer different is the style of the film.

Filmed with a new HD technique that allows all images on the screen to be shown in focus Speed Racer is a beautiful piece of movie making. Following in the steps of Sky Captain and the World of Tomorrow and Sin City, most of the world of Speed Racer was created in a computer with filming happening in front of a green screen. The whole world inhabited by Speed Racer and his family is hyper-colorful and pops from the screen. The races are a filmed frenetic chaos and definitely are the films main draws.

The acting is largely serviceable with John Goodman standing out as Pops Racer. Matthew Fox is obviously having a fantastic time with Racer X. Christina Ricci is stunning as the love interest Trixie, and also has a toughness and strength not seen in the anime. The rest of the cast handles their roles with varying degrees of success, but nothing is too cringe worthy when one takes into account the goal of the film. In many films of this ilk the comic relief can be painful for anyone above the age of 10, but Spritle and Chim-Chim are not as bad as Jar Jar Binks or other ill-fated characters.

The film does have its share of issues though. As a family and kids film Speed Racer could have definitely stood to be 10-20 minutes shorter and does drag a bit before the two big races of the film. Sometimes the frenetic action on the screen is too much to handle though that breaking point will vary from person to person.

With the multitude of negative reviews pouring out, I feel the problem that Speed Racer has had is that people simply refuse to understand who this movie was made for and what the intention was. Various reviews condemn the film for being too cartoony or too manic. The movie isn't too cartoony though it is a cartoon. This is a film that defies the fetish to redo a nostalgic franchise in a gritty, edgy, realistic, and dark tone that so many seem to call for. Speed Racer is trying to be nothing more than Speed Racer. Oftentimes films will use the term "popcorn movie" as a defense for being incomprehensible and vapid, but these films are often trying to be more. This movie functions fine on logic, only it is Speed Racer logic. Logic of a day-glo world with superfast cars. While I can fully understand someone saying that they didn't enjoy the film because it isn't their taste, to fault the film for not being something it wasn't intended to be or something you wished it to be is a strange way of thinking. This idea is also something that they filmmakers could never escape as if they made the film dark, gritty, and realistic many would be calling the out on the fact that they betrayed what made Speed Racer so fun in the first place. Fun. That, to me, really is the key for Speed Racer. Speed Racer isn't necessarily a good film, but it sure is a fun one.

Verdict: 4 stars out of 5.

Quick Hits - Comics for the week of 5/7

Quick and to the point reviews of your (my) weekly comics:

Detective Comics #844: This issue is definitely a double-edged sword. On the one hand, the art is well done, especially the fantastic cover, and the story is a good wrap up of a two parter featuring the new Ventriloquist and Zatanna. On the other hand, we are seemingly forever stuck with a "personal demons haunted" Batman who refuses to start a relationship with Zatanna. Batman's personality has not always been this way, but DC definitely seems to want to push the grim, haunted, dark, and moody Batman to a degree which often leaves me cold. See last week's Action Comics #864 for a good mocking of this Batman. All this isn't to say I want him to be with Zatanna for years worth of comics, but there would be interesting stories available and a new facet of his character revealed if they were allowed to have a relationship for a few months worth of comics. Verdict: 3 1/2 stars out of 5.

Action Comics Annual #11: The long (by which I mean extremely long) awaited wrap up to the "Last Son" arc that began over a year ago finally hits store shelves. Geoff Johns and Richard Donner had a great arc on their hands if it weren't for the horrible tardiness of Andy Kubert's artwork. This final issue is well written and would have been a very memorable finish to this arc had it come months ago, but as it stands now it is hard to emotionally reconnect with the story. Kubert does give some good work and several panels are spectacular, but this is definitely the type of case in which a fill-in artist would have been acceptable. The story does reestablish General Zod, Ursa, and Non as great adversaries for Superman, and Zod warns of something far more frigtening and powerful still to come from the Phantom Zone, so there should be lasting impacts from this storyline. The way in which the storyline climaxes though seems discordant and strange in light of the the last eight or ten months of Superman books, and one wishes they would have added the obligatory editors note from days long past telling when the events of this book took place. Verdict: 3 stars out of 5.

The Dark Tower: The Long Road Home #3 of 5: Another superbly written and drawn issue of Dark Tower hit stores this week. While I think Peter David has the tone of the Dark Tower books down and the art is almost uniformly stunning, I do wish there'd be a bit more straightforward gunslinging going on. The stories in the end of the book by Robin Firth continue to be strong tales that help elaborate the world of the Dark Tower. I did love the teasing of the adult Roland pre-The Gunslinger that we are shown in this issue. The time period of Roland's adulthood but before the books is a fertile one that could be a great foundation for more and more tales. Verdict: 4 stars out of 5.

Quick Hits - Comics for week of 4/30

Another round of Quick Hits:

DCU #0: Different in concept from Countdown to Infinite Crisis and Brave New World, DCU #0 is basically a set of short trailers for different storylines for several titles coming through the rest of this year. The art was well done, though your mileage may vary due to the different artists working on each trailer, and the writing was strong enough to make most of these trailers successful. DC could publish a book like this once or twice a year to promote upcoming stories and to help raise awareness of certain titles, for if DCU #0 has anything questionable about it is that each of these titles, save Wonder Woman, has already been heavily promoted and this is the icing on the cake. This book could have been ruined by focusing too much on the "big reveal" of the final page, but the writing is strong enough and the hooks in each trailer are well done enough that the book is more than the final page. Verdict: 4 1/2 stars out of 5.

Action Comics #864: Taking a cue from DCU #0, this issue is largely a preview for the upcoming Legion of Three Worlds arc coming later this summer. The art is strong though and the interactions between Lightning Lad and Batman are exceedingly well done. The ominous voice over is handled well and the reveal at the final page, while not unexpected, was put together well and certainly builds excitement for the coming miniseries. Verdict: 4 stars out of 5.

Green Lantern #30: The cleverly done set up of the upcoming Blackest Night storyline with the retelling of the origin of Hal Jordan continues along. The art continues to be consistent in this book with Ivan Reis creating a cohesive and strong look for the book. While part of me wishes we were investigating the different colored lanterns and continuing to hunt the Sinestro Corps, I will admit that this is an origin story done right. Verdict: 4 stars out of 5.

Thor: Ages of Thunder: Matt Fraction continues his apparent quest to write every non-Bendis or Millar book in the Marvel stable with this first in a small series of Thor one-shots. In Ages of Thunder we have two stories of Thor in a more Norse mythological setting than we usually see him. Fraction for the most part does a good job in maintaining a mythical quality to this Thor stories, though there are a few clunkers in the dialog in which Fraction breaks his mythic prose with a far too modern turn of phrase. The pencils of Patrick Zircher are well done and he certainly captures an Asgard that we do not see in the comics. Good moments with Loki, the Enchantress, and Odin help these stories keep from being too centered on Thor killing frost giants. Verdict: 4 stars out of 5.

Quick Hits - Comics for week of 4/23

In this new Critical Critiques feature I will post a one or two sentence review of each comic I pick up every week. I do not want to clutter this site with reviews of each and every issue of any given comic series. I will however still post full reviews for comics if I feel that the issue justifies a full review. This could happen at the beginning or end of a big arc, if a big event has happened, or if it is otherwise noteworthy. Also, because I'm always there for any who dares read Critical Critiques if someone comments that they'd like a full review of a comic in which I've posted a Quick Hit review I'll try to get one up as soon as I can. I may venture out into weekly Quick Hit reviews for the various television shows I watch, though after the fact full reviews may be more difficult since I don't record and save everything I watch.

On to the Comic Quick Hits for the week of April 23rd (Wednesdays are used because that is when comics are released).

Justice League of America #20: Fantastic art by Ethan Van Sciver. If he were on this series monthly it would immediately become one of my most anticipated books. McDuffie also puts together a good one-shot story when he doesn't have to mess with crossovers and story back-ups. Verdict: 4 1/2 stars out of 5.

Thor #8: Marko Djurdjevic really has knack for the Norse flavor of Thor. While this will not be agreed with by many fans I do not enjoy Copiel's art in this series. Thor looks far too square and neanderthal-esque usually in this series. On the story side this issue once again is a bit slow and I found the reveal at the end to be a bit obvious. Still has potential to build to something memorable though. Verdict: 3 stars out of 5.

Death of the New Gods #8: In the final issue of this miniseries it is apparent that Jim Starlin could have done so much more if not for the problems of plotting that Countdown presented. Too much of the plot is resolved elsewhere and it makes this issue and series flounder in the end. The art is, once again, quite strong and has a very good old-school feel. There are several strong pages including a great final page. Still, this series could have been so much more. Verdict: 3 stars out of 5.

Sorry for the Delay

Hey to anyone who has been checking this, I'm sorry for the delay in publishing new content. I haven't been intaking too many new items to review, but there are several and I'm planning on putting out late reviews. These will include Leatherheads, The Ruins, Crisis Core: Final Fantasy VII, and a few others. I'm also going to debut a new weekly feature.

Thanks,

Management

Review - Doomsday

Doomsday
dir. Neil Marshall
2008

After having success with Dog Soldiers and, to a larger extent, The Descent Neil Marshall brings us Doomsday. While not as inspired as The Descent, Doomsday deftly skirts the line between a tribute and a blatant ripoff.

Doomsday begins in 2008 with a plague, named the reaper virus, breaking out and killing virtually everyone in Scotland. Opening narration by Malcolm McDowell paints the horrific picture of the cannibalism and violence that breaks out after the rest of the UK walls Scotland off using the old Roman Wall as a line across the country. Our heroine is shown to be a child at this point who by her mother's sacrifice has escaped Scotland just before it was sealed off. Our main plot then begins 27 years later in England.

By this time England, which the world has turned its back on just as England did to Scotland, has been cut off from much of the world and has large problems with overcrowding and food shortages. Our heroine, Eden Sinclair, is shown to be a hard-nosed military agent who can handle herself in combat in a quick battle against criminals. The government learns that the reaper virus has appeared again in London and plans are set in motion to abandon the city, but a small team led by Eden is sent into Scotland to see if there are any survivors and if a doctor who had been working on the virus had discovered a cure before Scotland had been left to fall apart.

At this point the film plays out just as one might imagine it to: Eden and a small team, most of whom are destined for death, go into Scotland and find survivors who are none too friendly. Eden is captured by two different groups of survivors, one which is straight out of Mad Max, and another group which had decided to restart medieval civilization in a Scottish castle. She and a continually smaller number of her team escape from each location while always being chased. There is a lot going on in Doomsday, but much of it including government corruption, critiques on modern society, and more are barely touched on.

The film has two obvious sources of inspiration, or imitation if you prefer, in Mad Max and Escape from New York. Eden is the consummate badass character and is in many ways a female Snake Plissken, even going so far as to be missing an eye after her escape from Scotland as a child. Marshall attempts to draw from these two and other films for touchstones while not relying too much straight imitation. There are definitely some unique and strong scenes and, for the most part, the action and special effects are done quite well. In the final scenes the callbacks to Mad Max are perhaps too strong, but for the most part the film manages to draw upon the past without plagiarizing it. Doomsday is not strong enough to stand up against the sources of inspiration, though Escape from New York has aged rather poorly, but it is a good hard R-rated action film that does effectively recall a time when screaming leather clad villains in a post/near-apocalyptic setting was reason enough to go to the theater.

Verdict: 3 1/2 stars out of 5.

Review - Duma Key

Duma Key
by Stephen King
2008

Whether you like him or not, Stephen King is one of the giants of American fiction for most of the last thirty years. Your reviewer has found both enjoyment and annoyance in the many works of Stephen King, and has read most of his novels and short stories. The writing career of Stephen King can be split in many different ways, but most would agree that his work has seen rather large changes twice in his career: first after he stopped his substance abuse problems and, more recently, after his near death accident involving a van while he was walking the roads of Maine. Some prefer the earlier Stephen King while others prefer his later works, but anyone who has read several of his works will see many of King's touches, some would call them cliches at this point, throughout Duma Key. While the protagonist is not an author, there is extensive foreshadowing, arguably a weak ending, long stretches without any touch of suspense of horror, unexplained or barely explained supernatural phenomena, and many more trademarks.

While Duma Key is covered in many King trademarks, there is a strength to the novel and it certainly does play as an interesting contrast to Lisey's Story, from 2006. While Lisey's Story was the story of a marriage, Duma Key is the story of the divorce of Edgar Freemantle and his movement into the next part of his life. Freemantle loses an arm and suffers brain damage in an accident and the problems that arise during his recovery drive him and his wife apart. His accident and the divorce are handled quickly in the first few chapters as this is truly the story of his new life on the small island of Duma Key off the western Florida coast. Edgar leaves Minnesota and his previous life as the head of a construction company and stays in a rented house on this small island. Here he begins to paint quickly learns that his paintings start to take on a sort of power on Duma Key. Slowly we learn of the history of the area, the source of the power, and the horror that lies around our protagonist. As with many King novels there are some terrific scenes and King never shies away from killing a character to heighten the emotional impact of his narrative. To discuss the plot any further would ruin it for anyone wishing to read it, but suffice it to say it is thoroughly King-ian but with enough differences to keep it mostly fresh.

Because of King's trademarked foreshadowing this reviewer felt that too many of the major plot points were obvious long before they happened, but this isn't something new to Duma Key as it has plagued many of King's works for years. Also, the novel could have perhaps been a bit tightened as it takes a good amount of time to start to build momentum. Still, Duma Key is King at what he does best and this reader, and many others, are still along for the ride and any more that he has in store.

Verdict: 4 stars out of 5.

Review - Professor Layton and the Curious Village

Professor Layton and the Curious Village
Nintendo DS
2008 by Level-5

Professor Layton and the Curious Village is a perfect example of what the Nintendo DS needs to see in order to show what the handheld has to offer. Professor Layton and the Curious Village would not be the same on one of the consoles or on the PlayStation Portable. This is a game that is designed for and exemplifies the strengths of the Nintendo DS.

The game mixes the usual adventure game conventions of puzzles and point-and-click, here touch-and-tap, with a European styled animated story reminiscent of Sherlock Holmes. The difference between Professor Layton and other classic adventure games such as the Monkey Island series and Grim Fandango is that these are the types of brain teasers that are usually seen in collections of logic puzzles and optical illusions rather than the inventory and environment puzzles seen in Lucasarts and Sierra classics. Puzzles in Professor Layton are the sort of word play, logic, and visual puzzles that many of have dealt with in our lives exemplified by the classic "bring 'x' wolves and sheep over the river puzzle" that everyone has worked on.

The difficulty in the puzzles can vary wildly though it is undoubtedly the sort of difficulty that depends greatly on the person playing the game. While logic puzzles may stump some the visual puzzles may stump others. One problem with the puzzles is that you'll often be angry when you find out the answer which seemed to be too obvious, and once you see how certain puzzles are done it becomes rather simple to answer similar puzzles. Also, since many of the puzzles are multiple choice it isn't difficult to find the correct answer simply through trail-and-error even if you were working on the problem one or two incorrect answers will lead to the answer.

The visual style is quite unique and is well executed. The music is adequate though there aren't very many tracks which is probably due to the limitations of the DS carts. The animation is well done, but sparse which is also probably due to the DS cart memory and the game certainly could have used a few more animated scenes between all the puzzle solving. Although the game is short, I finished it in about 10 hours, there are downloadable and hidden puzzles to extend the life of the game and unless the animation and story were extended more puzzles in the story section of the game would have probably been too many.

Since there are sequels in the pipeline, one already finished and one in the works, there is hope that the pacing issues and a more dynamic story will be found in the future, but for the time being Professor Layton and the Curious Village is a unique and great experience that is perfectly suited to the Nintendo DS.

Verdict: 4 stars out of 5.

Review - Intolerable Cruelty

Intolerable Cruelty
dir(s). Joel and Ethan Coen
2003

While this site has started by reviewing new-ish movies, comics, and more, Intolerable Cruelty will be the first of many reviews of older items because not everything I consume is brand new and I don't want to inundate the site with reviews of the same comics each month. Reviews will still be written after having recently experiencing, or re-experiencing as the case may be, a given title.

Intolerable Cruelty is often seen as a miss from the Coen brothers by many though there is disagreement whether their slump started with this film or with The Man Who Wasn't There in 2001 and continued with the release of The Ladykillers in 2004. I do tend to see this film as a departure for the Coen brothers, but I don't see it as the failure that it has been painted by so many. The Coens themselves admit in the bonus feature on the DVD that it is a departure for them both in tone and in the perceived commercial heights it was aiming for.

The film stars George Clooney as Miles Massey and Catherine Zeta-Jones as Marilyn Rexroth. Massey is an accomplished divorce attorney who feels an emptiness creeping into his life while Marilyn is well-to-do wife looking for a large divorce settlement from her buffoon husband Rex Rexroth. The film pays an obvious homage to the screwball comedies of the 30s and 40s such as His Girl Friday (1940) staring Cary Grant. The dialog is also of that era with fast talking, witty characters who always have a barb for one another. Clooney and Zeta-Jones have a strong chemistry throughout the film and their performances make the film memorable. The direction and styling of the film are also recognizably Coen brothers. Although the film is clearly a Coen brothers film which features strong performances and great dialog there is a certain airiness to the proceedings that keeps it from being as memorable and remarkable as their other features. Other Coen brother features, from the great to the not-so-great, have a depth to them that will keep the film playing in the audience's mind long after it is over. Those are films that stand up to multiple viewings whereas Intolerable Cruelty is an entertaining diversion but seemingly not much more than that.

Verdict: 3 stars out of 5.

Review - Justice Society of America #12

Justice Society of America #12
Writer: Geoff Johns and Alex Ross
Pencils: Dale Eaglesham and Ruy Jose
Cover: Alex Ross

While some reviews, noticeably those on IGN, have been harsh on the current trajectory of JSA with the addition of the Superman of Kingdom Come, I could not disagree more with the sentiments that the current plot is beyond Johns and Ross. While it has certainly taken some time for some of the pieces to come together in JSA, this arc has obviously been planned with quite a bit of foresight and I will keep any criticisms in the overall plotting to myself until the arc wraps up.

This issue sees several more legacy heroes joining the ranks of the Justice Society and the sense that the team is beginning to get to the point in which something will go terribly wrong with one of the new members is looming large over the narrative. JSA is one of the great DC books because it currently perfectly displays one of the key differences between DC and Marvel comic books. In DC, and shown perfectly in JSA, there is a sense of history and legacy in both the heroes and villains that Marvel rarely has. The Justice Society has some of the oldest and greatest heroes in the DC Universe including Jay Garrick, the Flash, and Alan Scott, the Green Lantern and also has some of the newest heroes such as Cyclone and Damage. The older heroes are attempting to teach the newer ones the lessons they have learned so that they don't have the same problems they had. JSA is a connection between the Golden Age of comics and the Modern Age.

In this issue we are treated to further information on who is the mystery behind the appearance of the Superman from Kingdom Come and that he may not be the only one to come from that world to the current DCU. We also see the team in ways that we rarely see other superhero teams, specifically we see them joking and sparring with one another. The balance between the many different characters and story threads in this issue and in the series as a whole is handled well. Eaglesham once again brings the Justice Society to life and it is apparent what a asset he has been on all these issues of JSA. If JSA were to come out on a regular schedule it would probably be one of my top reads, but the story definitely suffers for the lateness and it is difficult to keep the momentum in the series.

Verdict: 4 stars out of 5.

Review - Uzumaki Vol. 1

Uzumaki Vol. 1
by Junji Ito
2007 2nd English Edition

Uzumaki is a horror manga done by Junji ito who is perhaps best known for his work Tomie. Drawing his influences from Kazuo Umezu, known for his work The Drifting Classroom, and H.P. Lovecraft, Ito has crafted a great piece of horror fiction.

The story is centered in in the small Japanese town of Koruzo-Cho which is infected with the spiral, appropriately hinted at by the subtitle "Spiral into Horror" for the series. The spiral shape, on everything from a snail to the curls in a woman's hair, has taken on a sinister significance in the town. Characters become obsessed with the spiral or are otherwise "infected" with it when they are obsessed by a variety of things. This first volume and from what I understand the following two volumes are filled with tales from this town from the point of view of high school student Kirie. The first story chronicles the obsession that overtakes her boyfriend Shuichi's father and how he loses himself in the spiral. Kirie at first seems to be outside the psychological and physiological effects of the spiral, but soon we find that anyone in Koruzo-Cho is vulnerable to the horror.

Ito's work in Uzumaki can be solidly categorized by what many refer to as "body horror" as the characters are often twisted by the spiral into horrible shapes and monstrous beings. H.P. Lovecraft's influences are felt in the mysterious almost cosmic nature of the "spiral infection" and how people are not only warped physically but also mentally. This is a manga in which there isn't simply gore and body horror, but also the psychological horror of insanity, madness, and obsession. This recalls the way in which Lovecraft would often have his characters lose their minds in the face of his horrors rather than die since in many ways insanity can be seen to be worse than death.

The artwork is well done and Ito creates a unique feel to this mysterious and horrible world he has created. The manga is laid out quite beautifully and panels are broken down in a manner in which to build the tension and horror of the moments. The way in which the spirals are done is easily the highlight of the first volume and they are often drawn so as to draw you into them and keep you mesmerized just as the characters themselves are lost in the spirals.

Uzumaki is not for everyone both because of the gore and the resulting body horror and because of the psychological aspects of the story can be rather disturbing, but those who enjoy the works of Lovecraft and psychological horror in films such as Jacob's Ladder and video games such as Silent Hill should find much to enjoy in the town of Koruzo-Cho and in Uzumaki.

Verdict: 5 stars out of 5.

Review - Ring

Ring
Author: Koji Suzuki
1991 (trans. 2004)

Translated after the success of the American remake of the Japanese film based on his novel Koji Suzuki's Ring is the start of it all. Although the films, especially the Japanese film, share much with the novel there are several key differences and a difference in tone that in many ways radically alters the way in which the book is perceived.

The narrative, like the films, deals with a reporter attempting to unravel the puzzle of a VHS tape that pronounces that you will die in seven days after watching it. Unlike both film adaptations there is no spooky phone call and the film actually has a charm that explains how to live but the charm has been erased by the teenagers first killed by the video. Although several plot points remain the same between the films and the book there is significant differences in some places so fans of the films will still find much to interest them in the novel.

The writing is a bit odd in style and tone though it is difficult to say whether that is because of the different culture producing the novel or because of the translation. Point of view changes from one character to another quickly and does not follow breakdowns which readers may expect. The novel does build significant suspense, but only towards the final moments, since it spends much time delving into the characters currently embroiled in their final week and in the past of Sadako, called Samara in the American film remake, who they find created the video. The problem for many, and for this reviewer, is that the mysterious and supernatural tone of both the Japanese film and the American remake are quickly dropped for a quasi-scientific-fictional interpretation of the video. Here the evil of the tape is not necessarily unknown supernatural forces at work, but rather a strange mating of psychic abilities and an actual virus. Although there are hints at a darker supernatural mystery, the book deals mainly in scientific reasoning. For many, part of the uniqueness and attraction of the films is that the evil of Sadako/Samara is an unknown that consumes those who partake in it, but in the book the concept is treated wholly different in tone. Finally, it must be mentioned that the scene made most famous by the films, which is present in both the Japanese film and the American remake, in which Sadako/Samara comes out of the television to kill her victims is not present in the book and that the manner of death is quite different.

Overall the book will be enjoyable to fans of the films and can be appreciated on its own merits also. There are strong moments and interesting characters, but for many the missing style and tone of the films will detract from the novel.

Verdict: 3 1/2 stars out of 5.

Review - Action Comics #861

Action Comics #861
Writer: Geoff Johns
Pencils: Gary Frank

In "Superman and the Legion of Super-Heroes Part 4" we are once again treated to the combination of Geoff Johns and Gary Frank and once again see Johns revitalizing a title that had had weakness before his arrival. This arc centers around Superman being taken to the 31st century and trying to help the Legion fight the newly minted 31st century Justice League of Earth. The new Justice League has been perpetuating the idea that the ideal hero Superman was really a human and not an alien from Krypton. The Earth has become a xenophobic world, as shown brilliantly in this issue with school children visiting the Justice League headquarters, and the new Justice League is attempting to get rid of all the aliens on Earth, having already captured many familiar alien faces from the Legion of Super-Heroes.

While all this may sound complicated and only worthwhile for huge fans of these respective titles, Johns and Frank are able to create one of those rare marvels; a storyline that is as enjoyable to the newcomer as to the hardened fan. While the story touches on the past relationship between Superman and the Legion, the fact that Superman, and the ideal hero that he represents, are so important to the future is easily shown by Johns. Fear not though for the interested fans as there are many great tidbits and moments to remind them of the past and Johns attention to the history of the DCU including the still questionable differentiations between this Legion of Super-Heroes, the same from the earlier JLA/JSA Lightning Saga crossover arc, and the current Legion of Super-Heroes comic currently being rehabilitated by Jim Shooter.

This issue specifically is part 4 out of 6 and while in many other 6 issue arcs there is often a lull in issue 3 or 4, here we do not suffer from such a problem. Superman and a few Legionnaires are captured on Colu where Brainiac 5 has taken over as ruler. Johns writes a great exchange between Brainiac and Superman while Frank captures it all with the same great quality he has shown during this whole arc. The scenes on Earth with the new Justice League, which is made up of several Legion of Super-Heroes rejects, perfectly displays the dire situation and what has led to it. Earth-Man has definitely become a worthy adversary with his collection of Legionnaires to draw different superpowers from and his eventual confrontation with Superman and the Legion should prove to be quite exciting. While there are still two issues left this arc should be the beginning of great things for the Johns-led Man of Steel especially with the teasers of a Brainiac arc to follow.

Verdict: 4 1/2 stars out of 5.

Review - No Country for Old Men

No Country for Old Men
dir(s). Joel and Ethan Coen
2007

Based on the novel by Cormac McCarthy No Country for Old Men is a beautifully shot and directed thriller from the Coen brothers. The film calls back to the great landscapes and quiet moments of the Western genre and also adds a touch of noir to the proceedings. What becomes obvious early into the film and is driven home in the third act is that this is not a film that can be trusted to act as it is expected. These are not the heroes and villains of yore and they do not conform easily to the preconceptions of the audience. Some may be turned off from the world displayed by the film, but those who endure are treated to a film with great performances, beautiful camera work, and a multitude of themes.

The narrative is driven by a case of 2 million dollars found by Llewelyn Moss (Josh Brolin) after a drug deal gone bad in the emptiness of west Texas. Moss decides to keep the money, but is hunted by hitman Anton Chigurh (Javier Bardem) and the Mexican drug dealers who want their payment. While it may seem at first that Moss is our viewpoint for the film it becomes apparent that Sheriff Ed Tom Bell (Tommy Lee Jones) is truly our key to the film. Jones' sheriff stands on the periphery of the action in the film, but his struggle with the violence that takes place and his final decision are truly the thrust of the film. Bardem's performance as the hitman Chigurh is powerful and iconic. Chigurh is at times simply a psychopathic hitman and at other times more of a supernatural force of nature. Brolin also turns in a great performance as do Woody Harrelson and Kelly Macdonald in smaller but important roles.

Comparisons to Fargo (1996) are inevitable, and while the films can be seen as opposites in many ways they both are expertly crafted by the Coens. The ending of No Country for Old Men, faithfully adapted though the chronology of the scenes has been changed, has become controversial and it is one that will leave many annoyed, but that does not make the ending any less powerful for those that escape their expectations.

Verdict: 5 stars out of 5.

Review - JLA Classified #50

JLA Classified #50
Writer: Roger Stern
Pencils: John Byrne

JLA Classified along with its brother JSA Classified have always been problematic in the grand scheme of the DCU. Both "classified" series take place at some point in the past of the DCU and regularly feature the more famous lineups of these teams and can be considered to reflect the "classic" approach to these teams. Because of this though these two books are often not read by many who are largely concerned with continuity and who care most about what is happening "now" in the DCU. These titles also do not always attract the highest talent and often have quick turnover among talent after the conclusion of a story arc. It's too bad that these issues will keep many people from reading this arc as this issue starts with a classic Justice League of America feeling and if they the arc maintains the flow of the first issue it should be a very interesting and entertaining story.

On to the issue itself; although some may dislike the explanation of the Martian Manhunter's origin and abilities I find that it is both a welcome reminder, which could well have greater impact on the larger story, and it is important to have such explanations because JLA Classified is a great place for someone to new to the DCU to get some good Justice League stories. While opinions vary greatly concerning John Byrne the man, I find it difficult to argue that his art is both iconic and well done. A good touch of humor occurs early in the book via a Flash vs. John Stewart pickup basketball game. Stern has a great handle on the personalities of each of these Leaguers. The introduction of the villain and the mystery concerning his origin and backstory is well put together and his battle with Superman and Wonder Woman is well done. This is a strong first issue to the story arc and I hope more people will give this series a chance.

Verdict: 4 stars out of 5.

Review - Justice League of America #17

Justice League of America #17
Writers: Alan Burnett and Dwayne McDuffie
Pencils: Ed Benes and Jon Boy Meyers

This issue exemplifies some of the current problems in the DC Universe, hereafter called the DCU. Because of wide ranging storylines and crossovers such as Countdown and Salvation Run the timing of the litany of DC books has become problematic. The first story in this two story issue of JLA written by Burnett with art by Benes concerns itself with the abduction of various small time villains by the Suicide Squad. Our heroes are attempting to figure out what is happening to these villains and they have an interesting conversation with Amanda Waller, but the problem for the reader is that they already know these things and our quite a bit ahead of this story in other DCU titles. DC had this same issue with Countdown revealing spoilers concerning the Sinestro Corps War and the Death of the New Gods story arcs. Marvel is not immune to this issue as currently the Mighty Avengers title is about three months behind the other titles in the Marvel stable.

Sadly, if you disregard the timing problems this issue has some strengths to it. The story by Burnett is well constructed with good dialog. Without our other knowledge this issue would increase our interest the mystery of what is happening to the villains. The look into the the fears of the low level villains is well written and their battle with the Suicide Squad is done well. Also, the visual of the Superfriends-esque Hall of Justice is a welcome tidbit for longtime fans.

The second story by McDuffie tackles the continuing issues that Vixen is having with her powers, and while it does continue to expand on the problems she is having one wonders after this long what they have planned for the character. Jon Boy Meyers pencils are perhaps a bit cartoonish for some, but his panel breakdowns are strong and I felt his art worked in this short backup story. I just hope that the Vixen story thread pays off soon and in a smart way.

Verdict: 3 out of 5 Stars.

Review - Cloverfield

Cloverfield
dir. Matt Reeves
2008

The hype has arrived and it is named Cloverfield. The film uses the "discovered footage" angle that the Blair Witch Project had made use of so effectively back in 1999. The story shouldn't surprise anyone who has seen the trailers and television spots. Giant monster-thing attacks New York City and these characters are our eyes in the destruction. The fact that the film plays completely from the point of view of the small party of survivors we follow is what makes this film different than so many Godzilla-esque movies in the past. Oftentimes we see the President fret over attacking the monster, we see the generals discuss it, we see a wily scientist discover the origin and often weakness of the monster. Cloverfield is not those things. It does have a monster destroying the city, but it is definitely not the type of film Hollywood usually makes in terms of monster movies.

The acting is competent enough although some will find fault with the endless casting of young good looking hipsters in the film, as if we don't see enough of them on television, but overall the cast does give you mostly believable performances. The special effects are sufficient for the film and undoubtedly benefit from the low quality of the camera work. Also the CG effects are kept to a minimum although the monster is given a few moments to shine in its full glory.

The film is short, but that helps keep the tension at the maximum and avoids too many obvious lulls in the action. Perhaps the biggest downfall of the film is that there isn't as much to it as many were lead to believe with its mysterious trailer, dozens of viral websites, and the secrecy that surrounded the project. When taken on its own though the film does an admirable job of keeping the tension going and creating the sense of awe and fear that such a situation would create. Some will find the lack of knowledge about the origins of the monster and other view points to be problematic, but this film makes not attempt to cater to that view point. A word of warning though; if you are prone to motion sickness in other shaky-cam laden films or have trouble playing similar video games you may want to avoid the film or come prepared as someone did become sick at our preview showing.

Verdict: 4 stars out of 5.

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This site will be home to my reviews on a variety of subjects including: movies, comic books, video games, trading cards, TV shows, books, and so much more. Currently a scale will be used from 1 - 5 stars including half stars to indicate my thoughts. This may change if I find a better system. Reviews on this site in the appropriate genres will have SPOILERS but I will attempt to be reasonable and warn if I plan on revealing anything outside the scope of usual conversation (eg. Darth Vader is Luke Skywalker's father).

And so on with the critical critiques.