Brightest Day or Blackest Night?

Are we getting sick of comic book films yet? That question will have been answered this past weekend when the take from the opening of DC Comics' Green Lantern has been counted out. Reported to be a $200 MILLION picture, its creation represents a huge risk, especially since there are only a handful of films released this year that earned that much. A large number of superhero/comic book films have been released this year as well, as titles from the mediocre Green Hornet to the excellent X-Men First Class making 2011 unparalleled for like releases. To top things off, Green Lantern has always been a B-class superhero for DC comics, with the company rotating the emerald mantle among a number of different characters to attract readers (Alan Scott, John Stewart, Guy Gardner, Kyle Ranier; take your pick). The point is that Green Lantern is a nice idea for a movie, but doesn't quite pack the anticipation for an audience comprised of more than your local fanboys (you know who they are). Despite these concerns I was still interested in seeing this film (and scoffed at by any who were told), not only because I'm a pseudo-comics fan, but because I was also attracted to the talented cast that featured Ryan Reynolds, Blake Lively and Mark Strong. I also heard nothing but good things about Peter Sarsgaard as the film's villain, and with those combined talents I simply couldn't say no to an opening weekend show. I was surely only one of a few (my theater was sadly half-full) but sometimes you go into a film anticipating little more than visual spectacle; sometimes that's all you get. Other times you may come away with something more.

I hereby induct you into the Society of Bro's

After panicking and mentally freezing during a training exercise, test pilot Hal Jordan (Reynolds) is grounded and unable to come to terms with the fear that has plagued him his whole life. That makes the next series of events even more unbelievable, with the arrival of a dying alien, Abin Sur (Temuera Morrison), and a cosmic power ring that he hands to Jordan, naming him the newest recruit to the Green Lantern Corps, an intergalactic police force that protects the innocent. One of the Corps' greatest enemies, a being powered by fear called Parallax (Clancy Brown) has escaped imprisonment and is building strength before attacking the Lanterns outright. With Earth square in Parallax's path of destruction, Jordan must overcome his fears and save the universe, proving he has the mettle to be a true hero.

Hal's awkward prom years...

Though this title is far from the first comic book film released this year, Green Lantern did have one distinct advantage out of the gate; it was the only major property from DC Comics to have a release for 2011. In the past, the products of DC's rival Marvel Comics have often made for poor films, while DC has enjoyed great success, especially with the franchises born from their greatest heroes, Superman and Batman. For a long time, it seemed like their products could do no wrong (Yes, I am ignoring Steel, starring former Celtic Shaquille O'Neal). In recent years, it has been the opposite, as DC has barely maintained a minimum quality to their theatrical releases, with the obvious exception of the Batman reboot. Green Lantern gives the comic company a potential frontline unit, to build not just one but a series of films around.

Yeah, if I were you I'd get that looked at...

On the casting front, at least Green Lantern sports the right names for the job. Hal Jordan for years as a comic character was kind of square, so shoehorning Reynolds into the part works out exceptionally well. Reynolds brings the same blend of talent and humor that he brings to every role, resulting in an entertaining performance that screams "leading man". His natural charisma of course is the reason he's been so successful in the first place, but he really tries to stretch himself to new heights here. It's too bad all his best jokes were revealed in the film's several trailers; many funny moments elicited nary a titter from the audience. Lively again forces herself away from the Gossip Girl spotlight in a more mature role. After being underrated in last year's The Town, Lively doesn't quite ascend to those lofty heights; however, she still acts beyond her years as Carol Ferris, who thankfully is no mere love interest for Jordan, as she's too smart, strong, spunky and brave to be stuck in that gutter. She would probably be seen as the best part of the cast, if it weren't for Sarsgaard. The actor, who was nominated for a Golden Globe for the 2003 film Shattered Glass, does a wonderful job playing Hector Hammond, an acquaintance of Jordan and Ferris who unwittingly becomes exposed to the influences of the film's main villain and becomes one of Green Lantern's nemeses. It helps that the role is sympathetically written, as you actually feel sorry for Hammond over the course of the film. Sarsgaard takes that aspect and runs with it, and how this man hasn't had a high-profile leading role astounds me (mayhaps our good friend Elmo has something to do with it, Sarsgaard being married to Maggie Gyllenhaal, his longtime object of affection). Some of the supporting roles are chocked with talent, but don't do a whole hell of a lot. Angela Bassett is wasted on DC supervillain Dr. Amanda Waller, who doesn't do much more than deliver dialogue in a sardonic manner. Same with Taika Waititi, who plays one of Jordan's best friends but only appears in the few scenes where Ferris doesn't fit in. Morrison may be best known as Jango Fett but does a good job in the small role of dying alien Abin Sur. The Green Lantern Corps as a whole doesn't really do much more than that, with Strong once again putting forth a strong (sorry) performance as Sinestro, and Geoffrey Rush and Michael Clarke Duncan doing some suitable voice work on the side. You get the feeling that if there are future films, they will hold a larger role, but here don't have as much of an impact.

How does one best admit that he has a magic lantern and flies around in tights all day?

And impact is mostly what's missing from Green Lantern, both in the visuals and in the narrative. It's obvious that a lot of money was spent rendering and polishing all the animation and converting it into yet another 3D film. More than a few of the visuals however look unfinished, especially those that take place in space and on the Green Lantern planet of Oa. Though the imagery is better than several similar films over the course of 2011, this was already a film that relied on visuals more than story, and to falter even slightly in that respect makes for an underwhelming experience. The main story's focus on overcoming fear is hardly strong enough to stand on its own, although it is at least done in a realistic manner. Green Lantern also takes some darker turns in the final act which feel out of place amid the rest of the story. Finally, the film doesn't feel like a standalone product, with Parallax and Hector Hammond seemingly holding the fort until a real villain comes along, presumably in a sequel.

A childhood dream of being known as "The Crimson Avenger goes unfulfilled

But a sequel would seem unlikely, given the circumstances. Instead of introducing a new superhero to the masses, Green Lantern only manages to appeal to diehard fans of the character, and even the groundbreaking comic series Sinestro Corps and Blackest Night over the past few years hasn't raised his popularity to the point where a movie is necessarily a great idea. Still, the film is better than it probably has any right being, and overall I enjoyed myself in the theater despite its multitude of flaws. It will probably be remembered as among the weakest superhero films of 2011, but people shouldn't take that as a sign that is a bad movie. It had a good if not great time, and if you can't wait until it comes out on DVD, do yourself the favor of at least not paying premium rates to see it in 3D.

Hex Doesn't Mark the Spot

Just when you think superhero movies are getting better and more sophisticated, Hollywood churns out something that makes you regret that thought. While there's no denying that the genre is seeing a resurgence, with special thanks to Christopher Nolan's Batman films and Jon Favreu's Iron Man, it's still one that can sink into miserable depths if not treated properly. Such is the case with Jonah Hex, a post-civil war antihero film based on the pseudo-popular character from the DC Comics line.

Malkovich proves he CAN be in bad movies

The film follows the trails of bounty hunter Hex (Josh Brolin), scarred by the branding iron of the Confederate officer who killed his family in cold blood, Quentin Turnbull (John Malkovich). Turnbull, thought to have died years ago, resurfaces to threaten the newly-recombined United States still sitting on the ashes of Civil War with an all-new super weapon, and the President hires Hex to track down and kill Turnbull. Jonah accepts, wanting to finish the business he never had a chance to so many years ago.

A face not even his mother would love

Seemingly everything you can do wrong with a movie like this was done wrong: wrong director, wrong actors, wrong soundtrack, bad screenplay, complete lack of respect for the source material, and mediocre special effects. Considering director Jimmy Hayward had no experience in this kind of film - his career prior to this title had mainly consisted of serving as an animator on children's CGI-animated movies - this probably should have come as a surprise to no one, especially the people who green-lighted $47 million to budget this flick. The screenplay by filmmakers Neveldine/Taylor (whose 2009 film Gamer I mostly enjoyed) is a mess, completely glossing over Hex's origin as unimportant while aimlessly shuffling from scene to scene for the first half until the main plot becomes obvious to everyone involved. It also relies too heavily on supernatural elements which either didn't exist or were of much less importance in the comics. What probably hurt the film most however was it's PG-13 rating, which muzzled what would have otherwise been a much more violent film, as befitting the character. While studios may hesitate at making superhero films too bloody, some licenses simply can't be marketed with a younger audience in mind. For every Superman, Green Lantern or Thor who can have stories told about them without being too adult, there is a Punisher, Elektra, Deadpool and, yes, Jonah Hex who simply don't work on that familial level.

"No, really... people aren't going to SEE this, are they?"

Where the actors are not all untalented, they are still largely miscast for this film. Brolin is probably the closest to a believable character in this cast, but one thinks he was chosen more for his rising star and recognizable name than for being right for the part. His role mainly consists of grunting and maintaining the same facial expression throughout the film, with nary an expressed emotion the entire time. I'm looking forward more to his role in the upcoming True Grit remake as a mark of his talent than this film, which simply doesn't let him do much. Malkovich is similarly wasted. Much better in this year's RED, the veteran doesn't get an opportunity to display his disarming charm or wit here, instead forced in an "evil for evil's sake" character as a Confederate officer trying to disable the United States by any means necessary. He's side-kicked by Michael Fassbender as a somewhat psychotic Irish brawler who took part in killing Hex's family. Fassbender, who I liked in Centurion, has an interesting part and does well, but is ultimately more talented than he is allowed to show. Still, his Riddler/Alex DeLarge-inspired role was one of the film's better ones. Revolutionary Road's Michael Shannon, Benny & Joon's Aiden Quinn and The Wire's Lance Reddick are talented performers who have little to do in this film. And Will Arnett should never be cast as anything other than a comedic role. You can tell how bad a film is going to be by how serious Arnett's role is, as it does in casting him as US soldier and useless character Lieutenant Grass. Finally, we have Megan Fox, who plays a whore who can't act... oh wait, that's just Fox being herself. While I don't think anyone can deny her obvious wiles, Fox is no new Jolie, and has no business acting in any capacity. It's only a matter of time before studios realize this and stop offering her roles, most likely at the earliest moment her exotic looks begin to wither and fade.

Who cares if she doesn't have any talent?

The soundtrack for Jonah Hex was scored by the metal band Mastadon. While the music was certainly entertaining on it's own, it completely mismatched the film's attempted atmosphere, which would have benefited from a more traditional western soundtrack, instead of the merely western-tinged metal that littered the film's scenes. It's merely another obvious mistake the filmmakers made putting this movie together, and detracts from what already feels like a rushed, aimless project.

Hex gets set to burn the script. They never needed one anyway!

It's obvious Jonah Hex is nowhere near the top of the list for best movie of the year. What should have been carefully cultivated to an adult audience since it was based on a mid-card comic book character was rushed and hacked out the door and marketed to a younger audience for no good reason except perhaps to try to get more people to see a crap movie. That much is easy to see. What is a more interesting question is whether the film is worse than the one I've been touting nearly all year as 2010's worst, Legion. As we get towards the end of the year, I'll be looking into what I think are the worst feature films of 2010, and putting it into a comprehensive top 10 list might get messy. If anyone wants to name a film for the list, I'll be accepting all recommendations. We're getting down to the wire, the final month of 2010, and lots of films that haven't been gotten to yet. I'm looking forward to finishing this year on a high note, sharing my every movie and game-related notes with you all.

A Return to Form in 2008!

It's never fun realizing you've been neglecting your responsibilities. The holidays, family and computer issues combined are just part of what's been happening to me the past few weeks, but I'm sorry to say a lack of posting on The Latest Issue can be squarely placed on my shoulders and all the other things happening in my life can be pretty much disregarded as just unwelcome distractions. I've tried several times since December 16 to get a new post written, from a summary review of the just-ended World War Hulk, to the new Legion of Super-heroes run with Jim Shooter at the helm, to a Stevereads and Moving Picture Trash-inspired Best and Worst of 2007. Sadly, all these attempts were scrapped before a single paragraph was completed, as my attentions were drawn elsewhere.

I like to write for the Latest Issue, and hate to think I've let down my loyal readers with my neglect and my own issues. So, with enough of my ramblings out of the way (don't you hate when people whine about their lives?) here it is, the first Latest Issue of 2008: Teen Titans, Year One.

Written by Amy Wolfram (in her first print book; She's better known as a writer on such animated series as Teen Titans, Legion of Superheroes, and Xiaolin Showdown) and with pencils by Karl Kerschl (Adventures of Superman, Flash), Titans is both a retelling and revamping of the Teen Titan's origins, as young proteges struggling to establish their identities apart from their mentors. Book one reintroduces us to four original members of the Teen Titans franchise: Robin, Kid Flash, Aqualad, and Wonder Girl.

One of the first things we notice about these characters is how they're properly portrayed as their namesakes suggest, larger than life super-humans, but teens all the same. When we first see Robin, he's deep in the Batcave, using the computer to try and find out information on a sneaky cat burglar who's been terrorizing Gotham (His screen name: BOYWONDER07) by contacting other young superheroes. Before he can get any answers, a particularly bad-ass Batman pulls him away from the computer to do what Batman's always done: patrol rooftops looking for anyone suspicious. It's somewhat a metaphor for the generational differences of the superhuman community ("In my day, superheroes went out to fight crime, they didn't sit in front of the fancy-dance computer all day first") and also sets some friction between the Dark Knight and the Boy Wonder not seen since George Clooney and Chris O'Donnell represented those roles (or was that the friction between the franchise and the movie-going public?).

This in turn leads us to Wally West, better known as Kid Flash. He answers Robin's chat message too late to catch Robin, and we get to see Attention Deficit Disorder at it's greatest level. This is a kid who will run to Paris just to get some streetcar french fries, and that just to pass a few seconds while he awaits for Robin to respond. Instant messaging is too slow for Wally, and this part of the issue is by far the best paced part of the story.

After the Kid Flash intro, we're out-of-the-blue introduced to the next two teen superheroes, Aqualad and Wonder Girl. Of the four, Aqualad is the least believable to become a Teen Titan. He's portrayed as downright cowardly of sea life... sea life he's had his whole life to this point to get used to. He's extremely timid and despite the one hilarious part where he shrieks like a schoolgirl in front of a grown-up Aquaman, he's not very believable as a character who will eventually become one of the mythic teenage superheroes. Wonder Girl is almost as bad, but doesn't hold a candle to Aqualad's pathetic-ness. Her character actually resembles the closest to her original depiction, a naive, cute-boy-crushing, kinda-clumsy little girl who doesn't look like much, but could probably put you into orbit if she wanted. She seems to be searching for her mentor Wonder Woman, but with no explanation as to why. Not a lot of time is dedicated to these two characters, though that will probably change in future issues.

Despite the allusions to the four characters, it's really Robin's story that takes up this first issue (with Kid Flash a distant second) as he comes to grips with the fact that Batman is not himself (as a little bat-on-bird domestic violence proves), and seems to be the most likely to propose the soon-to-be-formed Titans.

After the main story is a little two-page mini story of a tiny green fish who finds himself in an undersea adventure that promises to unfurl over the issues of this run. Although it's never explicitly mentioned, it seems likely that Beast Boy (no doubt one of Wolfram's favorite characters) is getting his own story along with the Titan reboot. I like Beast Boy too, and I can't wait to see how he's portrayed as a full-fledged Titan if the series goes that far.

I really liked Teen Titans, Year One for a variety of reasons. The art of Kerschl is fantastic (and by extension Steph Peru on colors is the same) and perfectly captures each of these characters' settings, from the stark blackness of the Batcave to the bright colors of Kid Flash's suburban home, to the richness of detail underwater and the bustling metropolis that is the big city. There character designs are fantastic, if you can get past the overly-sharp elbows of the characters. Who needs superpowers when you could kill someone with those pointy elbows? Seriously, though, it's a minor art quibble, one that is more noticeable on the cover than in the book itself.

If I liked the artwork, I loved the writing in this book. This may be Wolfram's first comic, but you can definitely draw the connections between here and the Teen Titans television series. Wolfram mixes in equal parts drama and comedy and has a particular knack for dialogue that can come from being a successful TV writer. The characters come off for the most part as believable due to this chatter, interconnectivity that you need to make a successful title. This may be the beginning in a new career for Wolfram.

So there it is! Teen Titans, Year One is the perfect way to start off 2008 for new comic fans. I was never a fan of the Titans until the TV show aired starting in 2003, and with that pedigree behind this new relaunch, I'm excited to see how Year One proceeds, and this will definitely be a title I keep my eyes on for the near future. After all, I don't read nearly enough DC titles this good.

Prince and Picoult: Wonder Women

Recently I was dining with my good friend and confidante Kirima, a member of an Eskimo tribe who migrated from Alaska long ago. We've shared a copacetic relationship; I buy her dinners, and she helps me with the opposite sex (I am a comic book reviewer, go figure). Upon the slightest mention of The Latest Issue Kirima immediately pointed her fork (along with a helping of tofu salad with basil and cashews) at me and declared: "Dammit, you still haven't reviewed any Wonder Woman on your page!"

Naturally, I reminded her that I spoke of Wonder Woman in my review of The Brave and the Bold 5 in the beginning of November, but she quickly shouted (so that all the patrons of the restaurant were peering over their teacups at us) "Not that guest-star crap, you need to review the actual Wonder Woman comic! That Jodi Picoult run just went trade, you should review that, you sexist prick!"

And so I did. Never mind the fact that this advice came from someone who actually owns Wonder Woman pajamas, I did need to review a DC title (lest the hordes that are my ally Steve breathe ever so much more down my neck) and I had to admit that the Jodi Picoult run on Wonder Woman had initially caught my attention, if only for the fact that it was a mainstream author who was coming in and writing one of the most prolific characters in comics. It's something that still doesn't happen often, for good reason or not; Many authors of Picoult's (My Sister's Keeper, Nineteen Minutes) stature don't often sully themselves by "stooping" to write comic books. In Picoult's own words, though, she thought it was "far too cool an opportunity to pass up", citing Brad Meltzer (Identity Crisis, an upcoming arc of Buffy the Vampire Slayer) as someone she admired who often crossed the barrier from author to comic writer. She is also a self-proclaimed Wonder Woman fan, and seems to have a pretty good grasp on the character. But the nagging voice at the back of my mind as I'm picking up this title is screaming: "It's going to suck!! Did Jonathan Lethem teach you nothing??"

Wonder Woman: Love and Murder opens with a black-suit wearing Diana Prince (WW's secret identity) staring at herself in a lavatory mirror, attempting to distinguish between what makes her Wonder Woman and how to blend in with the human population she had been sent to protect. Upon exiting the restroom, we're introduced to Nemesis (Tom Tresser), a c-rate vigilante-turned-superhero shape-shifter and Diana's partner at the Department of Metahuman Affairs. The two have been assigned to work security at a superhero-themed fun park, protecting a reality-show winner who won the chance to be the new Maxi-Man. While working the tables, a roller coaster suddenly falls apart, chaos ensues, and Diana pulls a Clark Kent move and Wonder Woman arrives on the scene to save the day. Wanted fugitive Wonder Woman.

The two realize this when they get back to HQ (Nemesis doesn't know DP is WW) and are told by their commander, Sarge Steel, that the US government wants to question Wonder Woman for the circumstances surrounding her murdering Maxwell Lord one year ago. Fans will remember Wonder Woman murdered Lord because it was the only way to stop the psychic control he used on Superman to make him attack other heroes. The World Court had apparently dropped all charges, but leave it to the US government to take things into their own hands. Wonder Woman can't help but feel that things aren't what they seem, and it eventually leads up to the return of not one but two powerful villains, cloak and dagger plotting, and the eventual lead-in to the DC Amazons Attack storyline.

I actually liked Love and Murder. While it wasn't the greatest story I've ever read, I liked the idea Picoult ran with, conflicting Wonder Woman with the public hero she is and is confidant being, and the human side of her, underdeveloped, as much different from Clark Kent's human side as can be. It goes a little far at times (as Diana Prince, WW doesn't know how much gas costs at the pump... or how sed gas pump works) and turns silly, it's a good idea and is played well for the most part. Less impressive is the scene where Wonder Woman has surrendered herself to the government and is locked in what is deemed an "impervious" cell, I could accept the fact that she turned herself over willingly to avoid an international incident. But when the agent proceeds to apply electrical shocks because WW is unwilling to exchange Amazon technology for her freedom, she has superman-level strength and should have been able to escape any prison in which she was being wrongfully held.

Nemesis is borderline useless. He's got a major crush on Wonder Woman, not realizing that his partner is WW incognito. He berates Diana constantly for her lack of basic human instincts, while lusting not-so-secretly after her superhero persona. He's also a wisecracker. He's a white, shape-shifting Chris Tucker, and it's only in the series' fourth issue that he comes into his own as a useful character, and it's done nicely, too. Also a wisecracker? Don't laugh, but some of the best lines are spoken by Batman during the fourth issue as well, and that is all wrong for that character. He speaks lines you expect from Guy Gardner, not Bruce Wayne. My final writing complaint comes with the way this book ends, as Wonder Woman is locked in mortal combat and Picoult drops a major cliffhanger at the very end... and then turns the reigns of Wonder Woman over to the next writer. I'd have loved to see what Picoult could have done with two more issues, and it seems like she just didn't have the time to help finish what could have been a better series.

The artwork surprisingly jumped around a lot between these five issues. The first two were drawn by Drew Johnson (Supergirl, 52) and Rodney Ramos (Countdown to Final Crisis) with some conflicting styles. Johnson's work is pretty good, the character art looks great, and the frustration that appears on Diana's face whenever she faces something she doesn't understand looks perfect. Ramos' art isn't bad, but it definitely pales compared to Johnson's. Issues 3 and 4 were drawn by Terry Dodson (Marvel Knights: Spider-Man), and are not really much of a step up from Johnson and Ramos. It's obvious Dodson doesn't love drawing backgrounds, as he gives as many panels as he can get away with no backgrounds, characters performing against a blank slate. Some people defend this style, but it's not one I agree with unless used well, and Dodson doesn't carry it well enough. Finally, Paco Diaz (Teen Titans, X-Men: Emperor Vulcan) rounds of the artist merry-go-round with what probably amounts to my favorite work in this book. The fight scenes are incredibly captured, and the character work is the best of all the issues. It helps Picoult end the title in style, even if the writing and dialogue were less than they could have been.

Obviously, Jodi Picoult's run on Wonder Woman has it's flaws. The suboptimal writing and dialogue, the artwork carousel, and Nemesis' sidekick status detract from what could have been a much better take of a high-profile relaunch like WW. Also, there are no special features in this trade, like limited covers or any special interviews (except for an introduction written by the author). Still, despite the cracks in the facade, I liked this title enough to recommend it to Wonder Woman fans or those who might harbor interest in the most powerful female character ever in comics. I think Kirima would approve.