Category: Reviews

Review: ‘Terminator: The Sarah Connor Chronicles’ Episode #203

Review: ‘Terminator: The Sarah Connor Chronicles’ Episode #203

Note: Click here to relive the past episode!

 

This Week’s Operation: "The Mousetrap"

 

Mission Briefing:
Charley Dixon and his wife Michelle are fleeing town from the big bad Terminator, when Cromartie himself shows up and abducts Michelle. Charley enlists the help of Sarah and Derek Reese, who track Michelle to an abandoned shack in the desert. She’s strung up to a series of explosives, that turn out to be fake. Cromartie was trying to lure Sarah out in the open so she’d contact John, and then he could trace his location. His mission successful, Cromartie blows up the shack and drives off in pursuit of John. Michelle is severely injured in the blast and needs a hospital, but Cromartie has sabotaged Sarah’s car. They hijack a van and race against time to save both John and Michelle.

Meanwhile, John goes to buy a computer with Cameron, but ditches her to hang out with his new friend Riley. Cameron stalks them from a distance, but Riley and John catch on and run off. John gets a phone call from Cromartie posing as his mother. Using Sarah’s voice, he tells John to meet at a nearby pier. John shows up and sees that it’s not his mom at all, unless she’d undergone extensive work in the past couple hours. John pulls some Mission: Impossible moves to evade Cromartie, and the two eventually wind up in the ocean. Luckily for John, Terminators don’t move so well in the water, and Cromartie sinks to the bottom. John and Cameron later reunite with Derek and Sarah, and John notices blood in the hijacked van. It’s revealed that Michelle died from her wounds, and Charley is not happy at all.

Elsewhere, former FBI agent James Ellison is contacted by mysterious CEO Catherine Weaver, who is secretly a T-1000. She tells him that her company has been trying to reverse engineer Terminator technology from parts they’ve found in recent years, but their attempts haven’t been successful. She wants answers, but more importantly, she wants Ellison to help her find another Terminator.


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Review: ‘Heroes’ Season 3 Premiere

Those of you who left [[[Heroes]]] after the debauchery that was season two may want to make a return to the show for this season, because if the first two episodes were any indicator, this season is going to be exactly what comic book and TV fans alike have been waiting for.

Where we left off

The virus from the second season was contained by the heroes. Adam (the immortal man) was taken away by Hiro, while Nathan, Peter, and Matt decided that it’s time to tell the world exactly who they are. Right before Nathan’s big “outing”, he was shot by a mysterious man and presumed dead. Sylar escaped the clutches of Elle and the company, only to realize that his powers were coming back. Nikki went on a quest to save her cousin Monica from evil drug dealers when she was trapped in a building when it exploded. Finally reaching Suresh, Maya, the girl with the power to kill people when she cries, begs him to help her get rid of her powers. All this while Noah (HRG) is captured and put into custody by the Company, and Claire is safe in Texas, for now.

What’s changed

Between the backlash that the show received online from the fans, and the untimely writers’ strike, this show went through quite a few last minute changes, cutting the season in half with only 11 episodes. Originally, the plan was to have Sylar off the series for a while, while actor Zachary Quinto worked on J.J. Abrams’ [[[Star Trek]]], but due to the episode cut, they were able to work around his schedule, and have Sylar back in full swing for this season. Many other things were changed due to the negative response the show runners got from the fans.  One big change for this season was a lack of superfluous characters. The “Spanish wonder twins”  —   Maya and her dead brother — were a big problem for the online community, and Maya’s role will take a whole new — and far less whiney —  turn this season. Also, Nikki’s cousin Monica, who had the ability to mimic any action she saw on TV (much like any 11 year old boy) will be completely gone this year, and whether she’s even mentioned in dialogue or not is still unknown (ie. “Boy, things have been quiet here ever since Monica left to fight crime in Ireland”). Along with those changes came new character arcs, which may or may not fall in line with the consistency of the show. For instance; the “my two dads” storyline in which Suresh and Parkman took care of the child Molly, will be abolished. In fact, Suresh goes through a whole new metamorphosis this season, both physically and emotionally.

Finally, the biggest change in the show, and the best element of the two-part premiere; the pacing and revelation of the plot. A major problem with the series in the past was that it took six episodes for anything noteworthy to actually happen. In the first two hours, we get more questions answered and action-packed moments than you could ask for. Of course there will still be bigger questions to be revealed at a later episode, but you can thank the formula of modern hour-dramas for that.

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Review: Spaceballs: The Animated Series

Review: Spaceballs: The Animated Series

There was once a time when Mel Brooks was considered a pioneer of comedy, a trendsetter in satire,  even a spoof master, but if the debut of [[[G4’s Spaceballs: The Animated Series]]], that time has long passed. This was a perfect example of how NOT to reinvent a franchise. It was bound to happen with films being made of Broadway shows and Broadway shows being made of his films that Mel Brooks (who is not only attached as Executive Producer, but also reprises his roles as Scrube and Yogurt) would try to reinvent the [[[Spaceballs]]] film with a poorly produced animated series, but whether it was a lack of his own creativity, or the network’s inane intention to hit a demographic, this show was terrible.

The series is supposed to follow the events of the film, provided that the ending never happened, and Lonestar and his band of heroes gets in wacky misadventures every week to foil the plans of Dark Helmet and President Scrube. There are various minor pop culture and [[[Star Wars]]] references, but it’s hard enough to get through the “jokes” as it is.

It’s unknown what legal issues went on during the production, but this show was originally slated to be released sometime in 2007, and then, without mention, disappeared until recently. The series has the feel of a flash-made web series, and is even edited for release on the G4 network. This only hurts the show more because instead of getting the vulgar visual humor, we get cut-and-paste images and voices that were changed in postproduction for the G4 demographic of boys under the age of 17.

The show could actually work, if they didn’t trade in the impeccable timing and vaudevillian dialogue of the movie with boob jokes and outdated Star Wars Episodes 1-3 references. The voicework falls in line with the poor production, as Brooks comes back to voice his characters President Scrube and Yogurt, while Daphne Zuniga comes back for Princess Vespa. The show, as a whole, is just awful and probably won’t last very long. If one day they decide to drop the censor bars and release the series on DVD or the web, it may be worth a watch, but until then; it should probably be avoided. RATING: 0/10

Review: ‘Journey, Vol. 1’ by William Messner-Loebs

Review: ‘Journey, Vol. 1’ by William Messner-Loebs

 

Journey: The Adventures of Wolverine MacAlistaire, Volume 1
By William Messner-Loebs
IDW, July 2008, $19.99

Historical fiction is the odd duck of literature; it inevitably ages twice – once just because it’s set in a past milieu that even the original audience will be unfamiliar with, and a second time because it was really written for that original audience…and their society and expectations and ideas will age and become unfamiliar as well. Today’s historical fiction shows us the past through a lens of today, but yesterday’s historical fiction has a double lens – the historical era it was set in, and the one it was written in.

[[[Journey]]] is set nearly two hundred years ago, on the old Northwestern frontier of Michigan, soon after the election of 1808. And these stories were created twenty-five years ago, in black-and-white comic books, as part of a burst of creativity and possibility in the comics industry, originally driven by a wide array of idiosyncratic creators each telling their own particular stories but eventually buried (within another three years) by piles of cheap knock-offs of “hot” ideas. (Some things never change.)

Messner-Loebs’s hero is a legendary trapper and outdoorsman, Joshua “Wolverine” MacAlistaire – and 1983 is about the last time any comics character could be named “Wolverine” completely independently – who doesn’t dislike people, though he does prefer his own company.

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Review: Spain Rodriguez’ ‘Che: A Graphic Biography’

Review: Spain Rodriguez’ ‘Che: A Graphic Biography’

“Spain” Rodriquez and “Che” Guevara. Manuel and Ernesto. Two legends, one living, the other, well, not so much.

Spain has been a cartoonist for more than 40 years, one of the first and most visible and influential storytellers of the underground comix movement. While others were preoccupied (often brilliantly) with their X-rated tributes to Harvey Kurtzman, Max Fleischer and other visionaries of their childhood, Spain was telling adventure stories of urban America, often featuring his character Trashman. His works have a strong left-wing tilt. He continues to be active, contributing to [[[American Splendor]]], Blab! and [[[Tikkun]]], and he produced the highly acclaimed graphic novel [[[Nightmare Alley]]] for Fantagraphics. He’s been fairly active in recent years on the comics convention circuit, often appearing with S. Clay Wilson.

Che was a handsome medical doctor (specializing in leprosy) and revolutionary, part of the insurgency force that overthrew the Cuban puppet dictator Fulgencio Batista and his American mobster masters, Lucky Luciano and Meyer Lansky. When, in 1967, he was killed as he was organizing in Bolivia, Che became more than a mere martyr: he became an icon. Today, his likeness (inspired by Jim Fitzpartick’s classic illustration) is well-merchandised by capitalist clothing manufacturers in America. He even had floor space at the New York Licensing Show a couple years ago.

It was only a matter of time before Spain turned his professional attentions to Che. Actually, I’m surprised it took this long.

If you’re one of those people who reduce Dr. Guevara’s work down to that of an evil godless Commie, then this graphic novel is the exact right thing for you, as long as your life insurance is paid up. If you think the left might have had legitimate cause for their actions, you’ll like this as well. If you’re open-minded and curious about the events immediately to America’s south during the 1950s and 1960s that had such an overwhelming impact on our society and our political system, then this book is essential.

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Review: Smallville Season 8 Premiere

Get ready, Superman fans: this first episode back for Smallville certainly made a believer out of anybody who was sick of the constant relationship melodrama and relentless barn-scenes-with-a-bad-soft-contemporary-soundtrack of the past seven seasons, but before we get too far ahead of ourselves, let’s take a step back.

Smallville Season 8You can get an in-depth look at what exactly went down over the past seven years here, but for our purposes, all we need to know is this: Lex found out Clark is an alien, went to the Fortress of Solitude to control him, ended up destroying the place with both of them in it. Jimmy Olsen, originally agreeing to be Lex’s spy, betrayed him, which then forced Luthor to call the Department of Domestic Security (dumb name) and have Chloe hauled away, who now has the ability to heal and the brain smarter than a super computer. Lois Lane is currently on the hunt for her cousin, Chloe, and the Justice League (consisting of Green Arrow, Black Canary, and Aquaman) is on the quest for Clark. All caught up? Good.

This season kicks off with LuthorCorp’s newest CEO, Tress Mercer (possibly a hybrid of Lex’s comic bodyguard Mercy and movie girlfriend Ms. Tessmacher) stepping in as the new (evil) face of the company, now that Luthor is missing, and Michael Rosenbaum is only slated for a few guest appearances this season. The Justice League, along with their poor costume choices, are closing in on finding Clark in the Antarctic, who is actually in a prison camp in the heart of Russia (Red Son reference?), both human, and unshaven!! Chloe is under guard at the supposed D.D.S. (dumb initials) base, where scientists are running tests on her to find out the extent of her “super computer brain”.

The episode marks the feel of this season, which is finally branching outside the walls of Smallville, and going global. Lana’s dead (to us), so we don’t have anymore agonizing drama on that front. There is a moment of dread about 45 minutes into the episode where Clark goes back to his bedroom in the barn, but thankfully its only for him to “finally say goodbye to Smallville”. We get a great cameo from Martain Manhunter and even a nice little nod to former cast members John Schneider and Anette O’Toole. No sign of the “daddy issues with Jor-El” storyline either, which was a big letdown in the past.

This season is said to be more of a throwback to Lois & Clark: The New Adventures of Superman, having the duo work together at the Daily Planet, with Clark finding out that he needs to keep his identity secret from those around him, all the while falling slowly for Ms. Lane. This will hopefully end with him donning some sort of costume, instead of the blue shirt/red jacket that has unfortunately become his trademark (when I can buy the same thing at Old Navy, it shouldn’t be considered a superhero costume). We’re also expected to get a Doomsday storyline this season, which could prove promising, given the new writing direction.

This brings us to the biggest improvement by far from the past, which is the writing. Both in dialogue and storylines, there seems to be a newfound enthusiasm from the writer’s room, and it most definitely translates onto the screen. They also seem to have the chemistry between Clark and Lois down to a tee. The nods to comics are still there, including a possible Red Son reference, and even a throw to fans of Green Arrow (I won’t ruin that). They may fall back into their “freak of the week” slump again, but this episode has made the show as a whole worth getting back into, and I recommend it to any true Superman fan. RATING: 9/10

Review: ‘Holy Sh*t! The World’s Weirdest Comic Books’

Review: ‘Holy Sh*t! The World’s Weirdest Comic Books’

Holy Sh*t! The World’s Weirdest Comic Books
By Paul Gravette and Peter Stanbury
St. Martin’s Press, October 2008, $12.95

This is the kind of book I’m actually surprised to still see – I thought “look at this weird stuff” books had been entirely superseded by the greater speed and flexibility of the Internet. (I can think of three similar sites just off the top of my head – Superdickery, James Lilek’s Funny Books, and Scott Shaw!’s Oddball Comics – and without even diving into the blog world.) But I suppose as long as there are cash registers in this world, there will be eye-catching little impulse-buy books to sit next to them and lure in the curious, unwary, or amused. [[[Holy Sh*t!]]] is a small-format hardcover, roughly six inches square, and I wouldn’t be at all surprised if there was a corresponding point-of-purchase cardboard display that holds six to eight of them.

The title gives away the whole point of Holy Sh*t! – it’s a collection of amusingly weird, or weirdly amusing, covers from the last sixty years or so of comics, supposedly covering the whole world but actually staying, for the most part, very close to the mainstream of American corporate comics (with regular excursions into the well-known underground movement). I should mention, to save confusion, that the UK edition has the somewhat more boring title [[[The Leather Nun and Other Incredibly Strange Comics]]].

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Review: ‘Fringe’ Episode #102

Review: ‘Fringe’ Episode #102

Previously on Fringe

During an investigation into mysterious deaths aboard Flight 627, Agent Olivia Dunham’s boyfriend and partner Agent Scott is nearly killed, his body becoming translucent. Olivia recruits Walter and Peter Bishop, an eccentric father-son scientific duo, to devise a cure for Scott’s condition. Although successful, it turns out that Scott has secret knowledge of Flight 627, but he’s killed before he can reveal anything. Olivia is determined to uncover what Scott’s involvement means in relation to an enigma known as ‘The Pattern,’ and is recruited alongside the Bishops to uncover the truth. Meanwhile, the secretive Massive Dynamic corporation looms in the distance, somehow involved in the plot.

“Same Old Story,” different day…

The series kicks off it’s first post-pilot installment with “[[[The Same Old Story]]],” and it’s anything but. A woman suddenly becomes pregnant and gives birth to a baby in a matter of minutes. Upon birth, the baby grows and ages 80 years. Who you gonna call? Fringe… busters… people. Alright, they need a cooler name.

“The Same Old Story” matches the creep factor so heavily ratcheted in the first episode. Kicking the show off with a fast-forwarded version of [[[The Curious Case of Benjamin Button]]] is eerily reminiscent of [[[The X-Files]]] — and that’s certainly the effect that the ladies and gents at Fox have in mind. The computer graphics could use some work, but it’s solid as far as network television goes.

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Review: ‘Terminator: The Sarah Connor Chronicles’ Episode #202

Review: ‘Terminator: The Sarah Connor Chronicles’ Episode #202

Previous Action:

Following a car explosion, femme fatale-a-bot Cameron goes haywire and tries to kill her sworn protectorate, John Connor. John spends the next forty some-odd minutes on the run with his mother Sarah while Cameron pursues vigilantly. Eventually, her programming is restored to normal. On the other side of town, the lead singer from Garbage a ruthless CEO named Catherine Weaver gains possession of super-computer The Turk and reveals herself to be a T-1000 variant.

Mission Briefing:

Sarah and company move to a new home. As it so often happens, a naked man from the future shows up with a gunshot wound and warns about something bad in two days at a power plant called Serano Point. The man dies, and Sarah decides it’s time to investigate.

The power plant turns out to be a resistance stronghold in the future. Sarah and Cameron manage to get jobs as temps at the power plant. There, Sarah meets Carl Greenway, the paranoid employee in charge of taking the plant online in 36 hours. He confides to Sarah that he has reason to suspect that there are problems with the reactor, but a pullout would lead to the project being shutdown.

On the day of the supposed "bad thing," Sarah notices Greenway acting rigidly. Derek Reese goes to Greenway’s house and discovers the man hanging from the ceiling, meaning the Greenway with Sarah is a Terminator. He initializes a meltdown, but is ultimately issued a smackdown courtesy of Cameron. In the process, Sarah exposes herself to some radiation, but Cameron clears her of poisoning. Later, Sarah discovers a slew of cryptic bloody messages in the basement written by the naked future guy before he died.

At the plant, an executive announces that this and six other plants will enter a partnership vowing to use advanced technology preventing human error. Later, the executive shape-shifts into T-1000 superchick Catherine Weaver.

Further Damages:

Following John’s decision to trust Cameron despite trying to (wait for it) terminate him, Cameron warns the young leader that he can no longer be trusted. A series of brooding montages follow, resulting in John hooking up with fellow teenage outcast Riley. John invites her to his new house, where she meets Sarah and the gang to much disapproval. Riley spends the night, though all signs indicate that the no-pants dance did not occur. John gives her his cell phone number, but when she calls, she has to start the conversation by saying the current date. For some reason, Riley isn’t weirded out, and she calls him later under this protocol.

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Review: ‘The Good Neighbors, Book One: Kin’ by Holly Black and Ted Naifeh

Review: ‘The Good Neighbors, Book One: Kin’ by Holly Black and Ted Naifeh

The Good Neighbors, Book One: Kin
By Holly Black and Ted Naifeh
Scholastic/Graphix, September 2008, $16.99

Holly Black is a major writer for young people – one-half of the team behind the phenomenally popular “[[[Spiderwick Chronicles]]]” (along with Tony DiTerlizzi) and the author of three dark contemporary-fantasy novels for teens, starting with Tithe. Getting her to write a graphic novel series for teens is of the same magnitude as the long-underwear companies signing up bestsellers like Brad Meltzer and Jodi Picoult.

But the difference here is that Black is working for Scholastic, one of the oldest and smartest publishers of books for younger readers around. Scholastic, unlike DC with Picoult, didn’t try to shoehorn Black into some already-existing corporate property, but worked to her strengths. [[[The Good Neighbors]]] is an original graphic novel series set in the modern world, mixing teen drama with an otherworld of nasty folkloric faeries – faeries along the same lines as those in Black’s novels for teens. Scholastic also paired Black with Ted Naifeh, a well-known cartoonist and illustrator in his own right, whose most popular works have a Goth flavor and likely are loved by the same kids who read Black’s books.

This is how it’s done: you get a good writer, let her work on something she knows and does well, pair her with a complimentary artist, and package it for the audience that already knows and loves both of the creators – note that this is a $16.99 hardcover, a price point similar to teen novels and comics collections. (Are you listening, DC?)

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