Arrow S06 E07: Thanksgiving

In the lull between the two-part Deathstroke backdoor pilot and the big crossover this year (Barry and Iris’ wedding/Crisis on Earth-X) we’re getting a quiet little holiday episode.  And if you believe that, I bet you’ll also believe Oliver won’t be suiting up as the Green Arrow again.  Villains are on the march this Thanksgiving, and only Team Arrow can stop them. 

As we open on Oliver doing charity work and opening ground on the new police headquarters, and of course as always dodging claims that he is actually the Green Arrow.  Before the real action starts, I am stunned that reporters are still pulling at the secret identity thread.  Has no one noticed the juicier stories of the on again/off again girlfriend, the suddenly appearing son, and a sister in a coma?  Seems to me there are other stories to report. 

Regardless the ceremony is broken by the very public arrest by FBI agent Samanda Watson for his crimes as the Green Arrow. She seems to have it all worked out, including that John Diggle is now the Green Arrow and Roy Harper was The Hood, all under Oliver’s directives.  From the previews and the opening sequences, it’s all too easy to see what will happen here. Multiple attacks by villains, principally Cayden James and the Black Siren, will convince Watson that the Green Arrow is needed. 

With Oliver under heavy watch and Diggle’s drug problems blowing up in everyone’s face, this is not a good Thanksgiving.  Felicity is feeling left out as it’s Curtis that put their company’s prototype in Diggle’s system.  It would seem that Felicity only has leadership skills when the writers want her to. We do see an intriguing consistency with Oliver however, he’s a better leader out of costume than in costume.  Does the Green Arrow costume itself lower the wearer’s IQ?

We get some interesting name drops and returns this episode.  Jean Loring, who in the comics was Ray Palmer’s wife and later Eclipso, is Oliver’s lawyer once again.  The Sunderland Corporation is one of the places raided by the Black Siren.  Sunderland in the comics is a typical evil corporation with ties to Lex Luthor, Doctor Moon, and the Floronic Man that has run afoul of the Swamp Thing on several occasions, among others. 

And then there’s Billy Joel, what the hell was that about?  We also got a few moments with poor forgotten Thea who miraculously woke up in time for the ending of the episode.  The whole plan of the villains was to get a one on one conversation between Cayden James and Oliver, to let him know this vendetta was for his son Owen, and to get video footage to sway the vigilante vote. 

As always, like a tradition, the pre-crossover episode has represented a temporary tying of loose ends, a leveling of the field, and this year is no different.  I just wish it was.  This show is always better when it’s not predictable.

For my other reviews of the entire "Arrow" series, click here. And if you'd like to discuss this episode, anything else in the Arrowverse, or anything in the Marvel or DC television or cinematic universes, please join the Marvel DC Movies TV group on Facebook.

Next: Crisis on Earth-X!

Torso, Justice League, and the Russian Avengers

Confession time.  I hadn’t thought about this in years, decades really, but it came up recently in a Twitter conversation with friend and fellow Biff Bam Popper Tim Murr.  He’d just seen the 1973 pre-slasher era horror classic Torso and I’d mentioned I’d seen it in its initial run, when I was ten.  I wasn’t a bad kid really I wasn’t, but let’s face it, I was that night.

On what might seem like a dare, but was more like a don’t be a body part Trump thinks he can grab without permission, three other boys in my class and I sneaked out after nine during the summer and watched Torso at the drive-in with no sound from the woods near the screen.  My siblings are probably shocked right now, and my parents both passed would have kicked my butt majorly if they’d known, but yeah, I did it.

Len Wein and the Golden Age of Comics

There's a saying among comics fandom, a play on words really, that the real golden age of comics is ten. Traditionally the Golden Age is considered roughly from 1938 to 1951 when all the great characters were created and things were simpler and better in general. Also as implied, when most folks start reading comics they are a magical age when they believe all the wonders they read, and that nostalgia stays with them, forming the basis for their love of the genre. For me, that love came roughly between the ages of six and twelve, and most of the good comics that formed my magic time were by a guy named Len Wein.

The man passed away this past weekend, and many folks have memorialized him, in personal blogs, comics press, and even the mainstream media. Most mention his huge triumphs in the field. Len Wein created Wolverine, Swamp Thing, co-created the New X-Men, and edited Watchmen - all events that advanced, shaped, and transformed comics as an entertainment medium - and all true. However, that's not really what I remember him for. I remember him for the comics that shaped me and my thinking, and my love of comics.

As I was beginning to learn to read, more from comic books and Dr. Seuss than from any of the Dick and Jane readers at school, Len Wein wrote the comics that thrilled and amazed me. When comics were coming down off the social relevance trend of the late 1960s and early 1970s, Wein sought to bring back the characters that made comics fun for him. He re-established the paradigm of superheroes and super-villains, and returned a fun Silver Age and even Golden Age vibe to the oncoming Bronze Age of comics.

In Justice League of America, a comic he was only on for a short time, he turned these characters from a group of heroes who sometimes worked together into a team of friends who were a finely tuned fighting unit, who knew each other, watched each other's backs, and even socialized together. Wein returned not only traditional Silver Age villains like Amazo, the Key, Felix Faust, T.O. Morrow, the Shaggy Man, Eclipso, (and indirectly the Queen Bee and the Lord of Time), but also revived Golden Age superheroes like Earth-Two's other super-team (a decade before the All-Star Squadron) the Seven Soldiers of Victory, and gathered the old Quality Comics heroes as the Freedom Fighters of Earth-X, a parallel world where Germany won World War II - soon to be featured in an animated series on CW Seed. In an age where young readers were being newly introduced to these characters in the reprints of the 100-Page Super-Spectaculars, Wein brought us new stories of these greats.

Wein also, in his all-too-brief fifteen issue run on JLoA, expanded the membership for the first time in years. He added the Elongated Man, a move that was a long time coming; moved the emotional android Red Tornado over from Earth-Two, after killing him in one of comics' earliest hero deaths; and inducted the mysterious and seemingly out-of-place Phantom Stranger into the team's ranks. He was able to make the Stranger work within the team better than any later writers, probably because Wein himself was writing the character in his own title at the same time. He always had a mastery of these new members, as well as guest-stars, the Justice Society, when under his pen. Speaking of the JSA, Wein had the honor of writing the hundredth issue team-up of the JLA/JSA, as well as introducing the concept of adding a third team to the annual mix, and even wrote the only one-issue teaming of them. Speaking of guest-stars, he also helped engineer the first unofficial DC/Marvel crossover at the Rutland Halloween Parade.

Speaking of the JSA, another story that resonates with me to this day is Flash #215, written by Wein during his short stint on that title, which I've briefly talked about before. With a dramatic Neal Adams cover and interiors by Irv Novick, in my opinion, the Flash artist, this story told the tale of Barry Allen waking up in bed with his Earth-Two counterpart's wife Joan, finding that he'd replaced Jay Garrick. After that weirdness, Barry goes on the find Jay in the limbo dimension and fighting the Vandal Savage, yet another Golden Age character that Wein breathed new life into. This remains one of my favorite Flash stories, and made me love Jay Garrick.

Also notable from this era were his Adventure Comics stories with Supergirl and Zatanna respectively, which I still love. I bet if he'd stayed on JLoA longer, he would have brought Zatanna on to the team much earlier than she ended up joining. While they were going on at roughly the same time, and I did not read them at the time, I did eventually read Wein's fantastic stories of the Swamp Thing, Phantom Stranger, and Korak, and dug them. And let's not forget that he also co-created the Human Target, a back-up feature I never understood as a kid, but loved as an adult.

This was the mid-1970s now, and Len Wein had moved across the street to Marvel Comics, where he would create Wolverine as a Hulk foe; assemble the New X-Men, reviving that title which had been in low-selling reprints for a while; and had longer (if not as memorable, to me at least) runs on titles like Amazing Spider-Man, Thor, Fantastic Four, and Marvel Team-Up. What I do remember him on was Defenders, which he picked up on after Steve Englehart left the book. Wein would recruit Nighthawk to the team, one of my favorite Defenders, after an eerily familiar clash with Marvel's parallel universe evil Justice League, the Squadron Supreme (or was it Sinister? I always get confused).

Len Wein would return to DC Comics however as an editor. He was editing both Justice League of America and Flash ironically when I met him at a Creation convention around the time of those two titles' 200th and 300th landmark issues respectively. I told him how much I enjoyed his Justice League stories, but also expressed, perhaps too cockily, an opinion that the 200th issue shouldn't be so full of guest-stars as the 100th issue was. He took the left-handed compliment well, smiled, and said I would be pleased with Justice League of America #200. I was, the tale, which pitted the original members against all the later members of the team in a retelling and return to their origin, is not only one of my favorite stories, but also a lot of folks' too.

Later Wein would go on to edit Watchmen, write the new Blue Beetle series, and oversee the Who's Who project, all wonderful stuff. He continued to write and edit for years to come, including Batman, Wonder Woman, and After Watchmen. He won many awards, even wrote for television animation, the last work I saw from him was the adaptation of Harlan Ellison's script for Two-Face on the 1966 "Batman" television series. We have lost one of the greats in the comics field, and we are all poorer for it. Len Wein was and is a legend, and he'll be missed.

Wonder Woman 2017

Wonder Woman ~ I hated the first two film entries in the DC Extended Universe, absolutely hated them. Man of Steel and Batman v. Superman: Dawn of Justice were seriously bad enough to put me off DC superhero movies forever. That said, I gave number three, Suicide Squad a chance, and while it wasn't great, it wasn't bad. Maybe DC movies weren't cursed after all. I sincerely hoped not, because number four in their film plan was very special to me. Wonder Woman is one of my favorite characters in comics, and a misstep with this one would cut the cord for me and DC Comics movies. I shouldn't have worried. Wonder Woman was amazing and astonishing, better than any of us could have hoped.

Suicide Squad

Now right up front I was not happy going to see this flick, the third of the DC Comics Extended Universe after Man of Steel and Batman v. Superman: Dawn of Justice.  After them, I figured it could only get worse, a point that has since been reversed by the vastly superior Wonder Woman.  But Suicide Squad?  I didn't even have invested interest in the comics. 

I have read the Suicide Squad here and there, even seen them on TV.  I knew the characters and the motives but it never really rang any bells for me.  Mind you, no offense meant to the work of John Ostrander, he's a genius, and the stories were good, just not in my wheelhouse is all.  Of course it seems only a few things from the comics of the time made it to the screen. 

The concept is here.  Super-villains offered time off sentence for doing the dirty jobs the superheroes can't do, and a few of the characters are here, but others that just seem odd.  Some are originals from the comics I remember, some from the newest iteration, and some from left field.  All are still from Belle Reve prison (I have some question on the proper pronunciation of that, but I'll let it go) and all still manipulated by Amanda Waller, though much thinner. 

There's Will Smith's Deadshot, who like co-star Margot Robbie, is simply electric when onscreen. He's a family man driven to crime and put away by the Batman.  He's got a moral code, but is still a criminal, we feel for him.  He might just be the sanest of the bunch, a great counterpoint to his co-star and glory hog (not that that is a bad thing) in this flick, Harley Quinn. 

I have never been a big fan of Harley outside of her original source material in "Batman The Animated Series," so I'm not down with the New 52 slutty stripper version.  Give me the jester outfit and the Mark Hamill Joker any day of the week.  This version, while charismatic and making love to the camera like crazy town, is slavishly dedicated to her Joker, who I'll get to in a minute.  She's good, and Robbie is terrific in the role, but there's a better Harley that could've been portrayed here, ya know?  She's also stolen the movie, in that, other than the New 52, Harley is not even a character I associate with Suicide Squad.  It feels mismatched.

Waller, played with skill by The Help's Viola Davis, at a discreet government meeting introduces her idea for this team, and in simplistic flashback method to each character.  It's easy, and it works.  We see in vignettes Deadshot in action and apprehended by the Batman, the origin of Harley Quinn as well as verification she may have murdered Robin as seen in BvS, Captain Boomerang captured by the seen but unnamed Flash, and much shorter ones with El Diablo, Killer Croc, and the Enchantress.

Waller describes a nearly fully formed world of metahumans just beneath the headlines, just waiting for others like the now deceased Superman and the Bat to open the gateway to public acknowledgement.  Whereas Marvel built their movie world, DC's was already there, waiting to be revealed.  We're twenty minutes in and we know the players, the world, and getting a good vibe on the plot - ain't nothing wrong with that. 

The Harley sequence includes a chase through Gotham from Batman, once again more than ably portrayed by Ben Affleck, and far too much of the Jared Leto Joker.  This tattooed metal-grilled psychopath is very scary, but, I'll say it, he's no Joker.  And I don't think the filmmakers thought so either, because his entire subplot fizzles as if it didn't exist - it certainly doesn't matter in the course of the film - why is he here?  I would have rathered a tetherless Harley than this substandard Joker wannabe waiting in the wings for a payoff that never really comes. 

The Enchantress, an extradimensional entity that possesses June Moone is said by Waller to be the most powerful metahuman she's catalogued. She has a brother, named Incubus, trapped in a jar, and that's where it gets crazy.  Waller has her heart, and June is in love with Rick Flagg, a special operative with ARGUS and under Walker's command. 

Flagg is played by Joel Kinnaman, not the first choice for the role, but one of my favorite actors.  I loved him in "The Killing," but not here, here he is a disappointment, and apparently a one note actor.  It's a shame, along with Leto's Joker, they're among the worst things in this otherwise entertaining flick. 

When Midway City (love the shoutout to Hawkman's hometown) is under attack by the Enchantress and her brother the Incubus, the Squad is gathered, and sent onsite, with super heroine Katana added almost as an afterthought.  Again, almost casually the fact that her sword drinks souls is thrown out there as if that kind of thing happens everyday.

Once on the ground, it becomes a mission movie and we get to see the villains interact, and fight the badder guys.  Of course around now the producers seem to forget half the team is there and it becomes about Deadshot, Harley, and Flagg, and unfortunately and pointlessly, the Joker - the threat that never actually manifests.  Boomerang, who in the comics is, along with Deadshot, Enchantress, and Flagg, the only recognizable Squad members, is hardly in this, and barely acts like his source material. 

The ending however turns into another mess like Man of Steel with weird streams of blue light in the sky.  Other than that silliness this was good, it's true, Suicide Squad was good, and the battle at the end is the type we want all metahuman brawls to be like, especially on the big screen.  Victorious and tragic at once, this was a winner. 

Up until a few weeks ago, with the debut of Wonder Woman, this was the best of the DC films.  I don't know what all the haters are on about, I dug Suicide Squad. 

Back in a Flash

Back in a flash, and gone in a flash as well. I haven't read a DC Comic in quite some time, maybe a year at least. There was a moment there, just a moment mind you, when there was interest, but the event fatigue that has almost killed Marvel Comics, drove me equally away from DC. Notice that the thrust of this single issue of The Flash I'm looking at today is pretty much following up storylines from my reviews a year ago, not cool. Whatever happened to one-and-done comics? Hell, one story in one issue could be the next hot gimmick - that's one gimmick I would gladly put my money down for.

Speaking of money, and I hope the powers that be are reading this, the first comic book I had to have, and actually sought out a comic shop to go and put money on the counter for was The Flash #22, and that was for Jay Garrick, the real Jay Garrick, the original Golden Age Flash. That's $2.99 sight unseen, from the shelf to the counter and out the door. Think about that, DC Comics, you put the real Jay Garrick in a comic book, and I hand you money. Otherwise, I'm not interested in your line for a year or more. Someone says there's a traditional hero from my childhood acting like a hero, and I'm a customer again. Do the math.

This issue is the fourth part of a storyline called "The Button," some hogwash trying to connect Watchmen to the DC Universe. I'm really not interested honestly. Watchmen's story is over. Anyone who read the acclaimed maxi-series knows this. Any further use of the characters, who are technically Charlton heroes and barely Alan Moore's creations, is just DC giving Moore the finger. So as far as any of this button nonsense goes, I really don't care. It's the Jay Garrick stuff I want to talk about.

Jay Garrick is the first Golden Age superhero from Earth-Two I got to know. I never had a problem with the multiverse, it's only DC's writers who had trouble with that. I was fascinated by this older Flash from another world, and as I got older, I grew to love those Golden Age versions of the heroes more than the rest – Green Lantern, Hawkman, Doctor Fate, they ruled, but Jay was the first and the best.

Jay Garrick is cover-featured on The Flash #22, shown burning through the original cover of Flash Comics #1 from 1940 to appear today. Nice effect, as if the book wasn't already sold on me. Sadly, Jay only appears on five pages of this roughly twenty-one-page comic. It was enough to make me cheer for a moment, but then again that's something Marvel hasn't been able to do for quite some time.

Batman and the Flash, the Rebirth versions of these characters, are in pursuit of the Reverse-Flash through the time stream. The villain is apparently destroyed by a force - maybe God, maybe Doctor Manhattan – that also leaves our heroes without their Cosmic Treadmill and swept away into the winds of time. Metaphoric and cosmic, but it's that kind of comic. Then they hear a voice, telling Barry to say his name, "Jay."

There's a weird Shazam! like vibe in that, but the name summons Jay Garrick, and he uses his speed to get Batman and Flash back to their universe, back to the Batcave, back home. He looks like our Jay Garrick, sleeker, maybe not as much of an old man, and the costume has a few tweaks, but nothing to complain about – shinier helmet, new boots, and his sleeves cover his hands more. It was still Jay, not that guy from that Earth 2, this was the old Flash I loved.

Jay mentions being free, perhaps from the Speed Force, or some other dimension, or maybe some other Earth invisible from the 52-Earth multiverse… or maybe from Doctor Manhattan himself. Like Wally West in DC Universe Rebirth #1, he tries to get Barry to remember him, to no avail, and he vanishes into oblivion. I got my five pages and DC got my three bucks.

The deal still stands however. Give me back my Flash, hell, I'll get greedy, give me back my Justice Society, and I'll give you my money, DC Comics, deal?

Justice League: Throne of Atlantis

Justice League: Throne of Atlantis ~ Throne of Atlantis is the first sequel to Justice League: War, which in turn was a result of the New 52 continuity created by The Flashpoint Paradox.  Confused?  Don't be.  Suffice it to say, the DC Comics Universe used to be different and fun, and now it's not.  These are the adventures of what passes for the Justice League in that new world. 

This is a Justice League that doesn't get together for meetings, doesn't look like themselves from the comics (or the ones I fondly remember), and doesn't particularly even like each other - except for Superman and Wonder Woman of course, who are romantically involved.  This team dynamic is a darned shame because the cast has great chemistry.  Nathan Fillian's Green Lantern joins Rosario Dawson as Wonder Woman, Jerry O'Connell as Superman, and Sean Astin as Shazam (who is again sadly neither the wizard nor the real Captain Marvel). 

Thankfully this is not really a story about the Justice League, but more of a(nother) retelling of Aquaman's origin, something done much better in the comics, and in the animated "Justice League" episodes "The Enemy Below."  I really didn't care for the re-jiggering of characters like Mera, Black Manta, Atlanna, and Ocean Master however.

I liked the pseudo-anime style animation and the majestic score by Frederik Wiedmann, who had previously composed for "Beware the Batman" and the much-missed "Green Lantern: The Animated Series."  But that's really about it.  Like previous entries in this new series of animated features, there's a lot of violence, both bloody and lethal, not something I watch superhero cartoons for, at least not to this extent. 

Look for a cameo by pre-Steel as John Henry Irons and a reference to "Mercy Reef," the cool Aquaman spin-off from "Smallville" that never got past the pilot stage.  Not recommended unless a hardcore fan, or you like the New 52 Justice League. 

More DC Rebirth

DC Rebirth continues, so do my reviews. If you want to see what I've said before, click here, here, and here. Today I'm looking at a few more, enjoy.

Hal Jordan and the Green Lantern Corps - When I looked at the Rebirth issue of Green Lanterns I expressed disappointment at not really seeing much of Hal Jordan. While he's not my favorite (that would be the Golden Age Alan Scott), he's a close second, and it's good to see he's at least headlining a title. After an intriguing opening with an aged Sinestro, we get the convoluted recent history of Jordan, which frankly put me to sleep. We get Hal Jordan reborn finally, and possibly a call out to a new Corps, but it seems too little, an attempt at hope, but not quite enough.

Nightwing - I wanted to like this, I really did, but like the first title here, it is bogged down in unnecessary continuity. I have always liked Dick Grayson. I thought he was a bit of a dope on the 1966 TV series, but when I read his solo college stories in the comics, I was all in on Dick, he was cool. I dug him as Nightwing in the Titans, solo not so much, and I did enjoy the comics when he was a spy in Grayson when I picked them up. This comic didn't have any of the stuff I liked in it, and I really wish it did.

Red Hood and the Outlaws - I hated this book and concept the first time I read it waaay back in The New 52, and it does not seem to have aged well since then. At least we get a solid origin for Jason Todd all in one place, but that's about the best I can say about it. I still don't know what Bizarro and is that Circe? have to do with this title.

Suicide Squad - With the specter of a bad received movie haunting this one, I don't know what to think of this one. Why is Harley Quinn here? This is like going to a remake of a movie you loved and having it be nearly unrecognizable. I probably won't be back.

New Super-Man - Unlike those above, this one was probably so good because it was refreshingly new - new character, new situation, no baggage - more like a birth than a rebirth. Most importantly, it was a lot of fun. I want to read more. This one is a keeper.

Arrow S05 E15: Fighting Fire with Fire

First thoughts - the showrunners at "Arrow" simply have to stop trying to make me care about Bratva and all of its subplots and entanglements.  It's just not what Green Arrow is all about, not what I want to watch, and most of all - it's boring.  It was cool for two minutes in the first season when Oliver showed off his tattoo and got favors from the Russian mob, but now, zzzzzzzz...  Put it to bed, folks, it's old - five years old to be precise, move on. 

We open on the current scandal in the mayor's office about the cover-up that Green Arrow killed Billy Malone.  Don't get me wrong here, all this political crap is only slightly less boring than the Bratva.  More costumes and less mindless subplotting.  When they do talk about super-villains, it borders on extreme paranoia, that Prometheus is behind it all.

This all leads to impeachment hearings for the mayor with Adrian Chase defending Oliver.  When Vigilante attacks the mayoral motorcade, Dinah, Thea, and Ollie defend themselves a bit too well to prevent their secret identities, but Vigilante runs when the police arrive.  Chase arrives shortly after that.  In the comics Chase is Vigilante, but in the Arrowverse, I'm not so sure. 

As the political drama goes on and on, Diggle organizes Team Arrow to pursue Vigilante.  Ugh, this guy again, I thought we'd had a break from him like we'd had from Prometheus.  Speak of the devil the two run afoul of each other with Prometheus revealed as Adrian Chase!  Now this is an interesting turn of events.  Other folks have been Vigilante in comics, that's one thing, but Chase as Prometheus throws a monkey wrench into quite a lot here. 

So with Oliver throwing Green Arrow under the bus as a vigilante and cop killer, he doesn't get impeached.  Also everything got patched up with Susan Williams, thanks to reverse hacking on Felicity's part, but we once again lose Thea, who had turned her assassin training to politics.  Other than the bad guys, it's status quo again on a few fronts. 

There were highlights in the episode, like Curtis working to his technical strengths and revealing what are Mr. Terrific's cool T-Spheres from the comics. With Felicity moving more and more to the dark side with Helix and Pandora, they'll need all the tech help they can get.  We also get a return of Dr. Schwartz, who knows Oliver's other identity, she might be a nice addition to the regular cast. 

One of the end of episode stinger with Curtis thinking he's getting back together with Paul then backfires when Paul hands him divorce papers.  Hold that thought above the other bits of Felicity joining Helix and Chase threatening Susan - but it occurred to me, could Paul be Vigilante? 

Next: "Checkmate!"

For my other reviews of the entire "Arrow" series, click here. And if you'd like to discuss this episode, anything else in the Arrowverse, or anything in the Marvel or DC television or cinematic universes, please join the Marvel DC Movies TV group on Facebook.

Ghostbusters II

Ghostbusters II ~ We've talked about how much I love Ghostbusters, and even the recent remake, but back in the day, we all wanted to like the sequel, we really wanted to, and most of us were disappointed. Although, in hindsight, that just might be questionable. In light of friend Derrick Ferguson's positive review of the film and recent TV viewings, I might have changed my mind. Go read it now, and all his other reviews, he rocks. 

I remember distinctly however the moment when I started to doubt the sequel. Run DMC covered the title theme song, and I was a huge fan of theirs and always loved the tune (seriously who didn't, and doesn't?), but the cover was a disappointment, no one's favorite Run DMC song, delivering none of what could have been so cool, just a meh version. This was the first omen.

Then came the movie. I remember even before I saw it, much like recent DC Comics movie releases like Batman v Superman: Dawn of Justice and Suicide Squad, the word was bad even before it was released. Despite warnings I was there first night to see it, and first impressions, it was not good. As I recall, it did not last in theaters for very long, nowhere near the blockbuster the first movie was.

There was much reference given to the successful cartoon based on the original movie, so all the characters had to appear, and Slimer was given special preference for screen time against folks who more deserved it. More than lip service was given to the slime that was too integral to this plot, but only funny in the original in one line. Worse than that, it led to the bad special effects of the Statue of Liberty ending that made audiences groan when it was supposed to make them cheer and sing along.

More screen time was given to the 'nerd love' subplot with Rick Moranis and Annie Potts, and of course the biggest drain was Bill Murray (not as enthusiastic, or as funny, this time) and Sigourney Weaver romance/non-romance and baby. Notably the original film was almost flawless, but the only slow parts were with these two I thought. To build on that was a mistake.

All that said, the rest of the film is not bad, and actually a good follow-up to the original. We get a viable and evil-looking villain (Vigo's visage alone, especially in a picture that may or not move is the stuff of nightmares), and a patsy comparable to Weaver and Moranis played by the underappreciated Peter MacNicol who still makes me laugh with that accent (definitely in agreement with Derrick on this). I especially loved the connection to the first film and homage to Son of Kong as the Ghostbusters are put out of business by property damage lawsuits.

As I said, upon re-watching and reading the above-mentioned review, I may have changed my mind. Derrick might be right.  I think it's bad, but not that bad. Unfortunately the experience may have soured much of the cast on doing a third one, but happily on not cameo-ing in the new film. This is not necessarily a recommendation, but maybe give this one another look with an open mind.

Justice League Rebirth

I've looked at the comic that started the whole Rebirth thing for DC Comics, and several of the Rebirth restarts for various characters. Now I'm looking at the restart of one of my favorite comic book franchises, Justice League Rebirth.

The monumental task of relaunching DC's major superhero team goes to Bryan Hitch, handling both writing and illustrating duties. Hitch has worked on the team before and is probably best known, at least to me, as the artist who brought Marvel Comics Ultimates - a super-realistic version of their Avengers - to life. I admired the attempt, disliked the story and the characters, but dug the art. I still like Hitch, somewhat (he draws an ugly Wonder Woman, sorry, but it's how it hits me), but this is not his best work, or perhaps his style is not right for the Justice League. I think it might be the latter, at least on the visuals. His Flash also bothers me, never looking like the Flash, but more like just some guy in a Flash suit.

Bryan Hitch is aware of the new continuity, and the old continuity. He's better than some of DC's guiding editors in this instance. I loved how he wove in the new/old Superman and the two semi-new Green Lanterns into the story to aid the remaining five Leaguers - Batman, Wonder Woman, Flash, Aquaman, and Cyborg - against an oncoming alien threat.

At first, the giant alien monster attacking the unnamed city seems almost Lovecraftian, then kinda downgrades to a cheap Starro knock-off. Either way, the Justice League's triumph is straight out of "Doctor Who," specifically that first Matt Smith episode, "The Eleventh Hour," when he tasks the Atraxi to run, and tells everyone that Earth is defended.

Despite some problems, I liked this issue, not as much as some other Rebirth books, but enough to give it a chance if I come across it again.

DC Comics Rebirth Continues

A couple weeks back, I looked at the introductory comic, DC Universe Rebirth, and since then more than a few first issues of this new continuity dynamic have come out. Here I'll look at some of them briefly.

Superman - One of the bits in the above-mentioned comic that I didn't care about was the death of the New 52 Superman. This comic picks up on those hanging threads as the pre-Flashpoint Superman visits the Fortress of Solitude and reminisces about Doomsday with the New 52 Lana Lang. It was more fun and much better than I expected. I want to read more, despite the huge amount of baggage here to move forward.

Batman - Much like Superman, I'm not thrilled with the new Batman costume. Sorry, I'm a traditionalist and resistant to most change. If it was an alternate Batman, I'd be cool, but not the 'real' Batman. Much of the issue is taken up by the Calendar Man and his antics, including a weird new supernatural twist of his aging and rejuvenating through the seasons. There is also the inclusion of Duke Thomas, who may or may not be a new Robin, or perhaps a Lark, or something new. Darker and more sociopathic than I like my Batman, I'll pass.

Wonder Woman - Greg Rucka returns to the Amazon Princess in this issue, and while his run was critically acclaimed, it was not by me, as you can see here. This Rebirth issue, while well done, enticing, and encouraging, is one of those 'everything-you-know-is-a-lie' stories that may or may not return Wonder Woman to what I consider greatness, or create yet another version of the character I won't be reading. It's a great start, let's hope it's the former and not the latter.

Titans - I miss the Teen Titans, and yeah, I'm in get-off-my-lawn-mode, but I was never a big fan of the New Teen Titans that everyone went gaga over in the 1980s. They were cool, yeah, but my Titans were the Nick Cardy teen hero generation of the early 1970s. What's weird is that these Rebirth Titans are twisted versions of the ones I dug. I looked forward to this book as Wally West was the best thing about DC Universe Rebirth and I wanted to see more - what I got instead was a distorted revisionist history of characters I thought I knew. It isn't the same, as a matter of fact, it's all-new. I don't know who any of these people are, and I'm not interested.

Green Arrow - One of the tragedies of the new 52 in my opinion was the rejuvenation and Tony Stark-ization of Green Arrow, as well as the removal of Black Canary as his romantic and 'business' partner. Their reunion is about all I liked about this new start, I disliked the art and the story as well.

Green Lanterns - I'm sure Simon Baz and Jessica Cruz are someone's favorite Green Lanterns but I'm just not that into them. This book is more about them than Hal Jordan, and if I'm going to read a Geoff Johns Green Lantern comic, I want Hal Jordan. Pass.

Aquaman - Speaking of Johns, another great bit from the original Rebirth comic was Aquaman proposing to Mera, thereby breaking the unspoken rule about no happy marriages in the DC Universe. The problem of course is that Johns is not writing the new Aquaman series, so who knows what happens next. Dan Abnett, who had been writing the regular series, feels right at home with this soft reboot. I look forward to more of this, and more of Black Manta.

Flash - As I said, Wally West was my favorite part of the book that started all this, so like Titans, this was another I was looking forward to. The first thing that struck me was the art. It's not bad per se, but it's definitely not suited to the character of The Flash. Carmine Di Giadomenico is a terrific artist, and I admire his attempts to pay homage to Carmine Infantino, but for me, it just doesn't work. We don't get much more in the way of story than we did in the initial Rebirth book. It reminded me very much of the retelling going on in Marvel's Civil War II. I'm still on the fence with this one.

Batman v Superman: Dawn of Justice

Batman v Superman: Dawn of Justice ~ So many folks have requested a full review from me of Batman v Superman, but the truth is I am worn out by this movie. I hated it in the theater, and have hated talking about it since, which I have done multiple times.

What I'll do instead is direct you to where you can read and hear some of my opinions on the movie, and then present a comic to read, one that shows what Superman is supposed to be like. Here you go…