Nathan Hale’s Hazardous Tales: Lafayette
By Nathan Hale
Abrams Amulet, 128 pages, $13.99

There really is a Nathan Hale providing guided tours through American history, neatly playing off his namesake’s name recognition. The Eisner-nominated creator has explored the first Hale, the Donner party, and World War I. Here’s back with his eighth fun volume spotlighting the French adventurer and American patriot Marquis de Lafayette (revitalized thanks to Hamilton).

We get the Frenchman’s aristocratic background and upbringing, explaining how he found himself coming to America early during the War for Independence, well ahead of France’s more formal declaration of support,

Hale uses a masked version of himself to narrate the tale, pausing to help us identify the supporting figures in Lafayette’s life, enriching the overall narrative. The Frenchman arrives, seriously sea sick, in 1777 and is initially dismissed by the Continental Congress, considering him a dilettante. He’s dispatched to General George Washington, who welcomes him with open arms, making him an aide-de-camp, and puts him right to work while the military leader is also feuding with a frustrated Congress, some of whom are trying to remove him.

Lafayette, not yet twenty, is off to do battle, accompanied by Alexander Hamilton, Washington’s right-hand man. They grow to respect one another and Hale takes us through their various battles, demonstrating how Lafayette was more helpful than the Americans ever could have imagined.

Hale’s pages are filled with detail, using black, white, and shades of red to vividly bring the past to life. While aimed at middle grades, this would certainly be a fine supplemental work for slightly older readers. There are helpful maps and a useful bibliography along with a cheeky author’s note of sorts.

For people who claim history is boring, Hale through his works proves history is anything but.

Ten years ago, Iron Man was released and was hailed as brilliant interpretation of a B-list hero few outside of comic shops knew. Just three years ago, Ant-Man was lauded for taking an even more obscure hero and making the same magic. Where the former’s sequel stumbled, the latter’s soared.

Ant-Man and the Wasp, out today on 4K Ultra HD/Blu-ray/Digital HD from Walt Disney Home Entertainment, is possibly even more enjoyable but wouldn’t be that way without having the first film to build on. Hank Pym (Michael Douglas) was the first diminutive hero, using the Pym particles to shrink and perform feats on behalf of S.H.I.E.L.D., eventually sharing his adventures with his equally brilliant scientist wife Janet Van Dyne (Michelle Pfeiffer), until there was the mission where she didn’t return.

Heart-broken, the mercurial Pym withdrew, overly protective of his adult daughter Hope (Evangeline Lilly), who yearned to be a hero. Instead, she watched over her father’s company until circumstances forced Hank to bring in Scott Lang (Paul Rudd) for help. The first film, reviewed here, was charming and focused on family and redemption as sub-text.

But we got a glimmer of Janet in the Quantum Realm and rescuing her became the launch point for the sequel. Wisely, they pick up two years later, with Scott under house arrest for violating the Sokovia Accords and participating in Captain America: Civil War. While he made the most of his time with Cassie (Abby Ruder Fortson), the Pyms were building a quantum tunnel to attempt a rescue. When things go sideways thanks to unscrupulous antics of Sonny Burch (Walton Goggins), the Pyms need Hank’s help once more.

All the threads from the first film are extended and enriched here, from Luis (Michael Peña), Kurt (David Dastmalchian), and Dave (Tip “T.I.” Harris) struggling to keep X-Con Security afloat to Cassie’s strong bond with her father. There’s a weird frenemy relationship that has formed between Lang and his keeper, FBI Agent Jimmy Woo (Randall Park), and their final scene together is a delightful study of awkwardness.

Added to the cast is Bill Foster (Laurence Fishburne), a former friend and rival with Pym, who once adventured as Goliath. He’s been harboring and aiding Ava Starr (Hannah John-Kamen), whose molecular structure was damaged in a Pym experiment gone wrong that also killed her parents. When Foster and Pym need the same piece of tech, held by Burch, competing needs clash and the fun begins. Ava, known as Ghost, proves a damaged, desperate woman trying to survive much as Hope needs to find her mother, adding a nice level of pathos to the conflict.

The size-changing is amped up throughout the film, mostly for comedic effects and it works but there’s little consideration of the physical toll this must take on Lang and Pym. It seemed to stop Foster at some point, but it never comes up.

Despite there being five credited writers — Chris McKenna, Erik Sommers, Paul Rudd, Andrew Barrer, Gabriel Ferrari – we learn from the special features that director Peyton Reed wisely allowed a certain amount of improvisation. As a result, the finished film is funny, action-packed, heart-warming, and vastly entertaining. The mid-credits sequence also dramatically establishes exactly where the film fits in with Phase Three.

The film has been released in a variety of formats including retail exclusive editions with varying content. The one under review is billed as the Cinematic Universe Edition. The dual-layered UHD66 disc brilliantly shows off the vivid colors with a stunning HEVC H.265 encode. Filming used digital photography allowing the 4K disc to be noticeably superior to the Blu-ray. Accompanying is a fine Dolby Atmos soundtrack. The Blu-ray has a satisfactory 7.1 DTS-HD MA audio track.

Special features found on the disc includes Audio Commentary from Reed, complete with an intro (1:08). From there, we have a series of interesting but not terribly informative Making of Featurettes (22:30): Back in the Ant-Suit: Scott Lang; A Suit of Her Own: The Wasp; Subatomic Super Heroes: Hank & Janet; and Quantum Perspective: The VFX and Production Design of Ant-Man and The Wasp.

Additionally, there are surprisingly short Gag Reel (1:31) and Outtakes, featuring Stan Lee adlibbing for his cameo (:46) and Tim Heidecker (1:29). We have just a two Deleted Scenes, with Optional Commentary by Reed (1:38).

There are some Digital Exclusives, with Movies Anywhere offering It Takes Two (:59) and Vudu including the previously seen 10 Years of Marvel Studios: The Art of the Marvel Cinematic Universe (10:19) and Leader of the Colony (2:36), spotlighting Reed

John Constantine, done right, is one of DC Comics’ strongest characters. The current incarnation in the Rebirth universe is a pale comparison to his Vertigo roots and the NBC series didn’t push the horrific elements far enough (being a prime time series, after all). Matt Ryan’s wonderful interpretation has been further watered down for the CW’s Legends of Tomorrow, so hearing him in all his weary glory in Constantine: City of Demons is most welcome.

This is one of the best animated adaptations of a comic book character, thanks to letting it be an R-rated film ensuring the horror/supernatural elements were true to the source material and not just curse words tossed in for “authenticity”. Kudos to J.M. DeMatteis for bringing Alan Moore, Stephen Bissette, and John Totleben’s character to proper life. His original script loosely adapts Hellblazer: All His Engines graphic novel by Mike Carey and Leonardo Manco.

We open with hints of what happened in the past, sending a young, irresponsible Constantine to Ravenscar. His guilt, especially as the past is revealed throughout the 90-minute film, drives his actions and decisions, building to a most satisfying climax.

Constantine is cursed to fight the good fight but at a terrible cost and that has never been truer here. His longtime pal, Chas Chandler (Damian O’Hare), seeks him out to help find out what’s ailing his young daughter Trish. Of course, it’s supernatural in nature and off we go.

While Constantine and Chas jet from London to Los Angeles, Chas’ estranged wife Renee (Emily O’Brien), watches over their comatose child. Watching over her though is Asa the Nightmare Nurse (Laura Bailey), who is, of course, not what she appears.

This is the Constantine who practices magic, who smokes too much, drinks too much, carries too much pain with him, and is at his best when his back is up against the wall. While he tries to free Trish’s soul from Beroul (Jim Meskimen), he also has to contend with the Aztec god, Mictlantecuhtli (Rick D. Wasserman). The only assistance he receives is from the enigmatic Angela (Rachel Kimsey), who acts like Deadman, but has less altruistic motives. He makes deals, double-crosses whoever or whatever he needs to, all for the right reasons. However, there’s a price, always there’s a price. You suspect you know who pays it but it’s far steeper than imagined.

In Director Doug Murphy’s capable hands, the film is dark, atmospheric, and graphic in its violence. Whatever awkwardness existed when it ran on CW Seed in six parts is gone in this compilation.

The film has been released by Warner Home Entertainment in a 4K/Blu-ray/Digital HD combo set. Obviously, the 2160p, HEVC/H.265-encoded UHD definition is sharp, but here, it’s noticeably better than the Blu-ray disc, with more subtle colors popping off the screen. It is well served by the DTS-HD MA 5.1 audio track.

Both 4K and Blu-ray come with a scarcity of bonus features. The most interesting is The Sorcerer’s Occultist: Understanding John Constantine (13:38), exploring the character with director Doug Murphy, producer Butch Lukic, executive producers David Goyer and  so-called “Occult Expert” Jason Louv. Entertaining but less interesting is the WonderCon Panel—2018 where we hear from Ryan, DeMatteis, and Blue Ribbon Content’s Peter Girardi. There are also trailers for other animated fare all of which pale in comparison.

Note: Some version of the film will air tonight on the CW, but I suspect some of the gore and language will be scrubbed.