Nathan Hale’s Hazardous Tales: Alamo All-Stars
By Nathan Hale
Amulet Books, 144 pages, $19.99

Nathan Hale’s Hazardous Tales: Major Impossible
By Nathan Hale
Amulet Books, 126 pages, $13.99

In 2012, Nathan Hale, the graphic novelist not the dead patriot, began a series called Hazardous Tales, starting with his namesake. Since then, he has released nine volumes, with the tenth due in the fall.

The series spans the years and focuses on the familiar and unfamiliar names throughout American history.  In each case, a trio of spectral figures act as narrator, Greek chorus, and the print equivalent of Statler and Waldorf. We have Hale the colonial hung as a spy, his masked hangman, and a British red coat. In each case, they take the middle ages reader through the story. Hey pause to explain historic figures, details, debunk urban legends, and much more. As a result, they are entertaining and informative in the best sense of both words.

2016’s volume six, Alamo All-Stars, has been turned into a larger-sized new edition with sixteen additional pages tucked in the back. These include photos of artifacts, the real people depicted, and other artifacts along with mini-comics featuring the history the Alamo cat. There’s even a section devoted to Phi Collins and his donating his Alamo memorabilia to the fort.

What most know about the Alamo is the rallying cry, “Remember the Alamo!”, and legendary figures Jim Bowie and Davy Crockett were present. After that, things get fuzzy, but here Hale walks us through all the players, the shifting alliances, and the eventual establishment of Texas as a state. It was nice seeing a different take on Juan Sequin, the focus of Jack Jackson’s wonderful Los Tejanos graphic novel.

There are frequent pauses for the ghostly trio to provide commentary, sort out rumor from fact, and help us keep track of the various Mexican leaders. I’m not sure how the intended audience will find the book, but I certainly learned a lot from it.

The more recent release gives us something far lesser known. Nicknamed Major Impossible, we are treated to the story of John Wesley Powell, a one-armed explorer who organized an expedition to explore the Green and Colorado rivers by boat, traveling from Wyoming through Utah and the Grand Canyon region of Arizona. The trip had never been done by Americans, well white Americans, and was a harrowing experience for the ten men who set out shortly after the Civil War, to continue mapping the American west.

Again, he carefully takes us through their trials and tribulations, keeping track day by day. There are disastrous choices made, difficult decisions to make, and the unknown around every bend of the rocky terrain. I knew none of this and was interested enough to finish it, thanks to the lively writing and drawing.

Each volume is well-illustrated and presented in muted colors, giving a nostalgic feel to them, and setting one apart from the other. In every case, Hale shows his research cleverly hosted by the Research Babies.

These are recommended from fourth grade up and will make useful tools well into middle school.

In 1992, every comics company had a guy with gun – DC’s Deathstroke, Marvel’s Punisher and Cable, Fleetway’s Judge Dredd, and then came Valiant’s Bloodshot.

In the 2010s, every studio needed a comics franchise to exploit for box office supremacy – Warner’s DC, Disney’s MCU, and Sony, not happy sharing Spider-Man with Disney, picked up Valiant’s Bloodshot from the Columbia scrap heap by way of Paramount.

In the intervening years, filmgoers had already been treated to an endless array of gun-toting, cool-looking figures from Neo to John Wick (who just happen to be played by the endlessly fascinating Keanu Reeves).

There was no particular demand for one more, certainly not one played by Vin Diesel whose range goes from A to B. From Pitch Black to Hobbs and Shaw, he’s pretty much the same guy, without the range of roles his rival, Dwayne Johnson, has managed.

So, Sony finally delivers a Diesel vehicle in Bloodshot and it was fittingly met with a giant yawn from general audiences and comics fans alike. Out now on disc and streaming, the Sony Home Entertainment film isn’t bad; it isn’t great either. What’s missing is something that feels fresh, a performance that shows us something different, and a reason to be emotionally invested.

Ray Garrison (Vin Diesel) is a dead Marine brought back to life thanks to nanotechnology. Fresh from the grave, he intends to kill Martin Axe (Tony Kebbell), the man who murdered his wife Gina (Talulah Riley) before realizing that the man who resurrected him, Dr. Emil Harting (Guy Pearce), is up to no good (ho-hum). A lot of this smacks more of Deathlok than anything else and even that’s been recycled on television.

We race around the world, we watch him fight people, break things, got injured and regenerate, rinse, repeat.

The debuting director, David S.F. Wilson, was a good choice if you’re into production design and special effects, where the film is at least moderately interesting.  Where the film needed a more skilled director was to work with hack Jeff Wadlow’s screenplay, which he’d been working on for many a year, through several studios before someone wisely brought in Eric Heisserer to finesse it, but it might have been too little, too late.

Wilson doesn’t seem to know what to do with the supporting players including the cyborg jerk Jimmy Dalton (Sam Heughan) or the possibly intriguing KT, played by Diesel’s Fast & Furious universe costar Eiza González, who acquitted herself nicely in Baby Driver.

Despite the bland script and lackluster direction, Diesel gives it his all and is 100% committed to the part. He just isn’t given anything interesting to do with the character.

The film suffered from bad reviews just in time for the coronavirus to shutter theaters around the world, leaving the film to a streaming fate as it eked out a mere #28 million worldwide against a $45 million budget. Whatever plans there were for a Valiant Cinematic Universe may have become an unintentional Covid-19 victim.

The movie can be found streaming and in the standard 4K, Blu-ray, and DVD flavors. The film itself was reviewed via Moviesanywhere.com and the high definition performance was sharp, clear, colorful, and just fine making the movie look better than it is.

The digital and discs have an assortment of special features that are worth a look only if you liked the feature. There’s R.S.T. HACK: CHAINSAW, a set of four animated shorts (6:20) purportedly revealing classified information on CHAINSAW.

Before Sony enthusiastically provided the cash for the ending, an earlier and less interesting version was shot and is included here with optional commentary (4:26). There are three other deleted and extended scenes: This is What we Fight For (1:22) Why can’t I remember anything (2:50), and Eric Evacuates (:31).

Rounding out the extras are the standard background pieces including Outtakes & Blooper Reel (1:59), Initiate Sequence: Directing Bloodshot (9:16), and Forgotten Soldiers: The Cast of Bloodshot (11:13).

All of the marketing promises that Justice League Dark: Apokolips War, out today for digital streaming, is the final chapter of the DC Animated Movie Universe. Similar to Avengers: Infinity War/Endgame wrapping up a decade’s worth of stories, this too brings everything to a cosmic climax, the likes of which have not been attempted before. The largely successful effort clocks in at 90 minutes, making for the longest film yet in the 38 animated features from Warner Animation.

The film opens with John Constantine (Matt Ryan), now a full-fledged member of the League, in bed with Zatanna (Camilla Luddington), a moment of bliss before impending doom. The language and graphic violence definitely make this inappropriate for the youngest viewers so parents are forewarned.

Darkseid (Tony Todd) has been a looming threat and now, he launches his all-out assault on Earth. With the Titans left to defend Earth, Superman (Jerry O’Connell) leads the Justice League into battle on Apokolips. They get their asses kicked and Earth gets conquered.

Two years later…Really, no spoilers so far because this was in the first few minutes of the epic battle. Through dialogue and sparing flashbacks, writers Mairghread Scott, Christina Sotta, and Ernie Altbacker show how one by one, the world’s greatest heroes fell. Earth is now being plundered for its resources and humanity has been reduced in great numbers.

Of course, there is a resistance and this is where the bilk of the story takes place. Clark Kent, laced with Kryptonite through his body and therefore powerless, recruits Constantine, mourning Z’s death with alcohol, to help resume the fight. A loose network of heroes and villains, relying on one another for survival, forge a plan. As a result, characters from across the films are present with Lois Lane (Rebecca Romjin) taking a leadership role. And it’s no surprise lowlifes like Captain Boomerang (Liam McIntyre) are still around.

Meantime, Damian Wayne (Stuart Allan) recruits his mother, Lady Shiva (Sachie Alessio) to join the battle. He and Raven (Taissa Farmiga) have one of the more significant storylines in this sprawling story while she and her father Trigon (Jon Bernthal) also have a major thread.

Standing in their way is Darkseid, no longer surrounded by any other member of the New Gods. His new Furies include transformed versions of Wonder Woman (Rosario Dawson), Mera, and Hawkman. Occupying the Mobius Chair is Batman (Jason O’Mara), now a loyal servant.

As the film unfolds, one of the most glaring aspects of these massive team-ups is exposed. Characters who normally avoid death from gunfire, talon, knife, cosmic blast, etc. easily fall here to show just how overwhelming the odds are. As a result, many characters are seen in very quick cameos. Similarly, Darkseid is just way too powerful, on a scale never before seen. He seems to make easy work of not only Earth’s heroes but the entire GL Corps and kills the immortal Guardians, which doesn’t feel right. And what happens to the Central Power Battery is an incredibly false note.

Surprisingly, Constantine is far more heroic and the center of action than he should for such a cosmic tale, but given that the title is Justice League Dark, it makes some sense. The other occult members play minor roles with Etrigan (Ray Chase) getting some of the film’s best lines.

This, of course, is a story about heroes and heroism with plenty of noble sacrifices throughout. The final solution involves some of both and fittingly wraps the film series. Then there is one final problem, with 31% of Earth’s magma now gone, the planet is doomed. Superman, though, refuses to give up and as he rallies the exhausted troops, Constantine turns to one of them, telling him he knows what must be done. And the film ends as it must.

I’m not sure why they felt the need to end the continuity, but they tie up many threads from previous films. And the heroes aren’t gone for good. Coming later this year will be a new Superman tale.

The film was screened digitally and there’s an interesting gap after the end credits suggesting a post-credit hint for the future.

None of the Blu-ray’s special features were included for review but for the record, you can expect on May 19:

• DC Showcase: Adam Strange (Animated Short) – On an asteroid mining colony, mysterious drifter Adam Strange is dismissed as an interplanetary derelict. But when the miners open a fissure into the home of a horde of deadly alien insects, his true identity is exposed. He is space adventurer Adam Strange, whose heroic backstory is played out in flashbacks as he struggles to save the very people who have scorned him for so long. Charlie Weber provides the voice of Adam Strange, alongside with Roger R. Cross, Kimberly Brooks, Ray Chase, and Fred Tatasciore. Adam Strange is produced and directed by Butch Lukic (Batman Unlimited franchise), who also conceived the original story – which is written by J.M. DeMatteis (Constantine: City of Demons).
• Darkseid: New God/Evil Classic (New Featurette) – This documentary explores the machinations of one of fiction¹s greatest Super Villains as we learn more about what fuels Darkseid¹s drive to becoming a galactic Atilla the Hun and the importance of Deities in our classic and modern fiction.
• Filmmaker Audio Commentary – Observations and behind-the-scenes insight from Executive Producer James Tucker, Directors Matt Peters and Christina Sotta, and Screenwriter Ernie Altbacker.
• Look Back: Justice League Dark (Featurette) – John Constantine leads a group of misfit characters that use magic to vanquish their opponents. This is the dark version of the Justice League taking on the malevolent forces that go beyond our plane of existence.
• Look Back: Batman and Harley Quinn (Featurette) – Take a peek at the animated feature film, Batman and Harley Quinn, featuring the creators and talented voice cast.
• From the DC Vault: Justice League Action, “Zombie King”
• From the DC Vault: Justice League Action, “Abate and Switch”
• From the DC Comics Vault: Teen Titans, “Nevermore”
• A Sneak Peek at the next DC Universe Movie, Superman: Man of Tomorrow – An advanced look at the next animated film in the popular DC Universe Movies collection.

After dabbling in worlds created by others, including Sherlock Holmes, The Man from U.N.C.L.E., and Aladdin, director Guy Ritchie decided to return to his roots and tell a quirky English crime caper. Whether he was feeling nostalgic or attempting to regain the cred earned from the wonderful Layer Cake is unknown. What I can tell you is that while far from perfect, The Gentlemen is an entertaining delight.

The film is largely a two-handed, an engagement between Fletcher (Hugh Grant), an untrustworthy independent reporter, and Ray (Charlie Hunnam), the right hand to drug lord Michael Pearson (Matthew McConaughey). It’s move and countermove between the two as Fletcher tries to extort 20 million pounds or reveal what he believes to be the scoop of the year. And as they go back and forth, they tell each other pieces of the bigger pictures and then we go into flashbacks. Each time one thinks he’s trumped the other, we get a new wrinkle, another story, and things fall into place. By the end, you’re satisfied and amused which we could all use right about now.

The flashbacks and changing points of view may take some getting used to if you’re unfamiliar with Ritchie’s earlier work. But they and the oddball cast are what make the film worth watching. It’s terrific seeing Grant cast against type and he’s well-matched by the underseen Hunnam. That said, we’ve seen McConaughey in this role before so he’s fine, just boring in comparison, and the more versatile Michelle Dockery, as his wife Rosalind, is way under-utilized (and there should have been far more prominent women in the story). Colin Farrell steals every scene he’s in as the athletic trainer/thug Coach, who manages a gang of boxers turned gangbangers.

There’s some predictability here and there along with some stereotyped characters marring the story, but overall, this was fun to watch and should have done better before we were quarantined. There is strong production design and costuming, especially Grant and Farrell.

The film is now available from Universal Home Entertainment in all the formats you could ask for including the Blu-ray, DVD, and digital HD combo pack. Note: the digital HD is for iTunes only, which I personally object to.

The 1080p transfer nicely captures the colors, lighting, and textures. The Dolby Atmos (TrueHD 7.1 default) audio mix is also strong so the viewing experience is a positive one.

As entertaining as the film is, the Special Features leave a lot to be desired. You get Best Gentlemanly Quips (3:09), Glossary of Cannabis (00:46), Behind the Scenes of The Gentlemen (1:37), and a Photo Gallery.