Tagged: Batman

Superheroes, the Richard Mullins Way

Our pals over at Fanboy.com recently posted some really great work from artist Richard Mullins featuring Batman, Robin and a few other familiar characters. I’d love to have any one of these pieces hanging in my office, to be honest.

Since I’m probably the last person you want to consult when it comes to describing art (I’m more of a "I know it when I see it" sort of guy), I’ll let Fanboy.com’s Michael Pinto handle the synopsis:

What I like about his work is that in addition to be inspired by pop art subjects, his style of painting and bold use of vivid colors reminds me a great deal of the Fauvism of Henri Matisse.

Yeah, I agree. I think he summed it up there.

(Psst Between you and I, I had no idea what "fauvism" was before I read this.)

The Real Hero, by Dennis O’Neil

Deju vu all over again? Why, sure.

About 19 years ago, I was being pulled into the summer movie/blockbuster season anticipating two of the myriad entertainments soon to be playing at a theater near me. One was Tim Burton’s second Batman flick, with Michelle Pfeiffer as Catwoman and Danny Devito as a particularly nasty Penguin. Oh, and Michael Keaton in his final appearance as the Caped Crusader. (Back then, although he was not a barrel of laughs, he may have been just an eensy-bitsy too cheerful to qualify as a Dark Knight.) Batman was soaking up most of my professional life – I was editing the comic books – and I was writing a comics version of the screenplay, and so I had a distant, tenuous but real interest in the movie. And anyone who’s ever been involved with a Major Motion Picture knows that there is an excitement to such projects that ripples outward to touch even us at their distant edges. (Which may be why working in movies seems to be, for many, so addictive.) In sum: yeah, I was awaiting the Batman flick with more than idle curiosity.

But what I was really waiting for was Indiana Jones and the Last Crusade. Batman was my job; Indy was my hero. I may have been associating him with an earlier hero, Mr. Paladin, who was the central character in a once-popular, 30-minute TV western called Have Gun, Will Travel. What No-First-Name Paladin and Indiana Jones had in common, besides impressive looks and charisma, and the ability to look good riding a horse, a powerful sense of right and wrong, and great prowess in combat with either fists or weapons, was this: They were smart. More – they were readers! And more – they were even intellectuals!

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I Lost It at the Movies, by Martha Thomases

Last weekend, my son and I went to see Iron Man. We went in the middle of the day to a movie theater in Manhattan’s Tribeca neighborhood that is rarely crowded, so the only other people there were geeks like us.

We had a great time, and that’s what this column is about. Tomorrow is Mothers’ Day, and last week is the last time I’ll be able to go to a superhero movie with my son, without involving an airplane. He’s moving to Los Angeles next month. That’s as far away as he can go without crossing an ocean or a border.

Our movie-going habits started early. When he was six weeks old, we went to see the original Ghostbusters, with the baby in a Snugli. It’s not that we were those horrible parents who take a screaming infant everywhere, as if the world deserves to share their headache. We knew his sleep schedule, and we knew that if we fed him just before the movie started, we should have at least two hours before he woke up. And we went in the middle of a weekday when there would be few other people, and sat in the back, near the aisle, so we could make a hasty retreat if our calculations proved wrong.

Later, as he grew older, my son developed a love of comics that rivaled my own. Even though he was barely five years old, there was no way he would let us go see the first Batman film without him. Being afraid of nightmares, I found a book that explained how the special effects were done, so he’d know that Jack Nicholson didn’t really hurt anyone. The effects didn’t scare him, but he did remark on how out of character it was for Batman to use a gun.

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The Weekly Haul: Reviews for May 8, 2008

Simply put, a huge week in comics, with a full load of books even before we get into Skrullapalooza 2008. Though a few decent indies came out, superheroes dominated the shelves, and Marvel’s superheroes especially, including a couple of big debuts.

Book of the Week: Nova #13 — A comic has to be pretty dang good to overcome a cover like the one at right, which seems to show Nova and Silver Surfer en flagrante as Galactus serves as an interstellar peeping tom.

Despite that, Dan Abnett and Andy Lanning’s space book shows no Annihilation hangover, keeping the pedal all the way to the floor. Back to trying to serve as a cop of the cosmos, Nova responds to a world being destroyed by Galactus. In a great catch, Nova realizes the world is already doomed, so he focuses instead on the rescue mission (with nice allusions to FEMA and Hurricane Katrina).

As if that wasn’t enough, the writing crew throws in the complicating villain Harrow, a malevolent and vague force that feeds off suffering — a clever parallel to Galactus’ appetite.

No kidding, this is one of the best superhero comics right now, and easily the most enjoyable space story in recent years.

Runners Up:

The Boys #18 — The comic known for its raunchiness is as bellicose as ever, with a constant peppering of cursing that almost makes Deadwood seem prim and proper. While that’s what the series has come to be known for, this issue surprises in how well it captures interactions among the characters in low-key ways.

Of course, there’s also a lengthy scene of a floating corpse peeing all over…

The All-New Atom #23 — Escalating craziness is the proper description for this series. Ryan is now in some sort of alternate universe, where his friends (thought to have been eaten by last issue’s monster) are fending off bizarre monsters. A classic bad-to-worse issue, with lively art from Pat Olliffe and another great cliffhanger ending.

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ComicMix Six: The Worst Movies Adapted From Comic Books

It should come as no surprise that Hollywood studios often turn to the pages of comic books and graphic novels for source material — especially for action-packed summer releases like Iron Man.

Some of these films, such as Iron Man, Batman Begins, Spider-Man 2 or X-Men 2, achieve a great deal of commerical and critical success. In addition, they’re also embraced by comic book fans as great examples of what comic book movies should be.

Unfortunately, there are also those other comics-to-film adaptations that disappoint critics, mainstream audiences and comic book fans alike. These films, whether due to bad writing, inept direction, gross miscasting, or a combination of factors, are often not only bad comic book adaptations, but bad movies in general.

Yet, even with Iron Man‘s phenomenal success, it’s important to remember these bad films. These particular movies occupy a special place in the hierarchy of bad filmmaking and deserve to be highlighted — especially so you can avoid seeing them if you haven’t already.

Here then, in no particular order, is the ComicMix Six list of the Worst Movies Adapted From Comic Books.

 

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Wrath, by Dennis O’Neil

Don’t stop me if you’ve heard this one…

Harry is homeless. Once, he was a successful venture capitalist with three lavish homes, a beautiful wife and a charming daughter, but then he lost his money in a bad real estate deal, his wife ran away with a televangelist, and his daughter started living with a crack dealer and not answering her phone. While panhandling near his old office, Harry met an friend who knew of a deal that would restore Harry’s fortune – hundred percent, guaranteed – and with his bank account restored, Harry was sure he could reclaim his family and his lifestyle. The problem was, Harry needed a thousand dollars to get in on the deal and he had no way to get it; his credit was maxed out and no one he knew would lend him another cent. He’s now passing a church, his head bowed in misery, when he sees a thousand dollar bill laying in the gutter. He can’t believe it! He is saved! He bends over to pick up the bill and…he’s hit by a truck. Laying there alone in the filth, Harry knows he’s breathing his last. He looks up at the sky and cries, “Why?” And a voice booms from beyond the clouds, “Because you piss me off.”

One of my favorite jokes and one I’ve been thinking of this weekend because, somehow, I’ve run afoul, again, of my old foe Crankus, the spiteful god of technology. Ol’ Mr. Macintosh in front of me has been acting up and the gentleman, polite but not terribly helpful, at the Mac store wasn’t exactly sure why. Larry and his friend Perri graciously offered to reinstall the Microsoft Word program, because I don’t trust myself with even elementary technological tasks, and so far, so good.

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Video: Iron Man and Batman in ‘Hi, I’m a Marvel… and I’m a DC’

A little while ago, we told you about the "ItsJustSomeRandomGuy" panel at New York Comic Con featuring the popular YouTube filmmaker and his series of action-figure films based on Marvel and DC characters.

Late last week, his latest film hit the InterWebs — just in time for the debut of Iron Man in theaters (you can read the ComicMix reviews of the film here and here). While RandomGuy’s series has been sort of hit-or-miss for me up to this point, this one’s a keeper.

This time around, Iron Man and Batman address some of the similarities between their origins and their upcoming films.

 

 

On a side note, here’s hoping ItsJustSomeRandomGuy can finally replace that weird "Thorbuster" Iron Man figure now that Ol’ Shellhead has line of movie-based figures hitting shelves.

Ian Shaughnessy Emerging, by Michael H. Price

shaughnessy-book-cover-2446541From V.T. Hamlin in the 1920s and Etta Hulme during the mid-century, through the Superman books of Kerry Gammill in times more recent, Tarrant County, Texas, has long yielded a wealth of storytelling artistry to the comics industry at large.

An ambitious new representative of that regional-breakout scene is graphic novelist Ian Shaughnessy, of Arlington, Texas. Shaughnessy’s books for Portland, Oregon-based Oni Press – including an edgy comedy-of-errors called Shenanigans, with the Canadian illustrator Mike Holmes – bespeak a childhood fascination with comics, filtered through a lifelong love of language and an interest in taking the words-and-pictures medium to provocative literary levels more commonly associated with the present day’s independent filmmaking sector.

“I find myself writing under the direct influence of Billy Wilder,” says Shaughnessy, 24, invoking the name of a great screenwriter-director whose career spanned from 1929 into the 1980s. “I discovered Wilder during the 1990s with The Apartment [1960], then with Double Indemnity [1944], and found myself very inspired – in a lasting way.

“With Shenanigans, I found myself attempting to honor the spirit of Billy Wilder – that mastery that he had of romantic tensions, with finding the humor in awkward situations – as a key influence.”

Any such talent needs a practical springboard. With V.T. Hamlin, the creator of a famous comic strip called Alley Oop that has survived him by many years, the springboard was a cartooning job at the Fort Worth Star-Telegram. Hamlin spent much of the 1920s at the daily paper, generating such local-interest attractions as a serialized feature about a formidable minor-league baseball club, the Fort Worth Cats. (A retrospective collection of Hamlin’s Oop-prototype Panther Kitten cartoons is in preparation, along with an earlier Hamlin gag strip called The Hired Hand, whose booklet edition has been out of print since the 1920s.)

For Etta Hulme, the Star-Telegram’s signature opinion-page cartoonist since 1972, an early breakthrough lay in a post-WWII comic-book series about a cowboy critter named “Red” Rabbit. Graphic designer and Web publisher Kerry Gammill spent the 1980s and earlier ’90s as an illustrator with Marvel and DC, then moved into motion-picture conceptual art on such productions as 1998’s Blues Brothers 2000 and 1999’s Storm of the Century.

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Robert Downey Jr. and the ‘Iron Man’ Review

First off, right out of the bullpen, I want to warn readers that this review of Iron Man, the first self-financed feature film from Marvel Studios, WILL HAVE SPOILERS. Normally, I try to keep any stories involving a new release free of them, but as you will read, this film is just chock full of little “fanboy delights” which enhance the experience and are an important part of the overall product.

With that said, this film should be labeled “FFBF”, meaning “For Fanboys, By Fanboys” because director Jon Favreau seems to know what the comic fans wanted to see. One gets the impression that if he were sitting in the seats, he’d want the same thing from this comics-famous tale of a millionaire, arms-manufacturing playboy Tony Stark (Robert Downey Jr.) who decides to craft a supersuit and fight evil. Over the course of the film, anyone familiar with the character and the greater Marvel Universe will likely enjoy the references (sometimes subtle, but not always) to things ranging from War Machine to the Mandarin… even to S.H.I.E.L.D.

So make sure to pay attention, and most importantly, stay in the theater until after the credits! (more…)

The Weekly Haul: Reviews for May 1, 2008

War is the topic du jour in comics this week, with battles breaking out or warming up in darn near every issue. But instead of mindless battling, most of this week’s comics gave a deeper look into the costs and reality of violence. A reflection of our times, perhaps?

dcuzero-cv1-r5-8204369Book of the Week: DC Universe #0 — A very good issue, though not on par with Countdown to Infinite Crisis, which was a more lucid preamble to a big event. But that’s to be expected with Grant Morrison, who sets up Final Crisis with a series of vignettes that introduce the personal hell in store for many heroes.

The narration — leading to a very well done reveal that I won’t spoil — is appropriately vague and ominous, letting us know that storm clouds are brewing (though without falling into such cliché). The issue appropriately establishes the seriousness of the war on the horizon, though the elements of that war remain opaque.

While DC still has a lot to make up for after the painful Countdown, this issue goes a long way toward that end, not so much picking up from Countdown #1 as hitting "reset" on it.

The best scene is that with Batman and Joker, a meeting that starts out almost exactly like all of their interactions at Arkham, then twists in a new, foreboding direction. The layouts, which are extremely creative if not consistent, offer another highlight.

In the long run, though, this issue is only as good as the event that follows it.

Runners Up:

Elephantmen: War Toys #3 — In what could be just an excuse to draw some cool human-animal hybrids fighting with big guns, this series has offered a very solemn look at war. The Elephantmen are next-gen Hessians in a war between humans, and their animal instincts lead to atrocities.

It’s a gruesome reflection on how people wage war, that in battle humans become as ferocious and bloodthirsty as animals. A female guerilla soldier opposing the Elephantmen, Yvette, serves as the point of reason in this tragedy, her life in exchange for the animals gaining some humanity.

New Avengers #40 — The latest Skrullapalooza prequel that actually came out after Secret Invasion #1is a very worthwhile read, and manages to overcome its tardiness. In Mighty Avengers #12 and now this, Brian Michael Bendis has illuminated some of the anciliary issues to the big war between Skrulls and Earth, with this issue focusing on the Skrulls.

Giving motivation to villains is key to making a great comics event, and the plight of the Skrulls becomes very relatable, as does their turn toward religious extremism and their hatred of earth’s heroes. He loves you indeed.

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