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Film Review of Les Misérables

Do You Hear the Oscars Sing?

A Film Review of Les Misérables

By: Lawrence Napoli

I remember having read the original novel by Victor Hugo in high school and despite viewing class as a complete and utter task, this was a story I genuinely enjoyed. I remember having been treated to a Broadway performance of the show in NYC starring Colm Wilkinson as Valjean and being blown away by the featured performances of several “Valjeans” from around the world performing One Day More in their native tongues after the finale. I remember being incredibly impressed by Les Misérables in Concert filmed at the Royal Albert Hall in London back in 1995. I remember being somewhat disappointed by Liam Neeson’s dramatic adaptation of the character in a star studded Hollywood film directed by Bille August in 1998. I am a Les Mis super fan. Needless to say, when I saw the Anne Hathaway trailer and Hugh Jackman mini documentary at my local Regal Cinemas, I just about lost my mind with voracious anticipation.

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One more day to fight. One more day to live.

But wait! The 2012 adaptation of the musical masterpiece of Les Misérables is not a perfect film despite every legitimate production element being worthy of Oscar nomination if not gold. Weakness #1 must be the scene transitions. Like any play, Les Mis has plenty of awkward shifts in geography and time as the plot progresses, but the format of this entertainment spares the audience uneasiness due to the orchestra’s transition overtures, on-the-fly stage transformation and strategic implementation of the curtain. A movie has no such need for any of these tools as time and space is far more easily manipulated. Unfortunately, 2012’s Les Mis has several moments where a change in song is as blunt as hitting the skip track button on a stereo. Director Tom Hooper clearly wanted an authentic representation of the musical on film, but I don’t believe being a slave to the music was the way to go. Adding short lines of dialogue or exposition could have easily reconciled these jarring transitions and would not have adversely affected the end product.

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Am I to be a slave of the original score?

Weakness #2 is that not every actor in this film is an accomplished singer. You’ve probably heard it by now, but everyone has designated Russell Crowe as the weakest link, and I truly hate to kick him while he’s down, but it’s all true. Yet, I feel compelled to defend Crowe because he is still a great film actor and some very raw emotion gets conveyed by the man’s face as the antagonist Javert. However, the sound that protrudes from his mouth is the furthest from menacing, demonstrative and anything matching the proficiency of anyone else in the cast. Tom Hooper could have helped his actor out in a couple of ways. First, consider dropping Javert’s lyrics down an octave to more comfortably match Crowe’s speaking voice. Two, immediately addressed Crowe’s legato delivery which is completely out of character for Javert who is meant to be staccato; further enhancing his domineering persona. Three, consider recasting all together. Russell Crowe is one of the greatest film actors of all time, but even his legacy will be bumped and bruised as a result of his efforts here. I just hope whoever produces the upcoming Academy Awards show does not make fun of Crowe’s Javert because that man will show up specifically to knock someone out on live television – Romper Stomper style.

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Not one word! Or else someone gets a fist in the face!

Those issues aside, Les Mis uses other Hollywood tools to their maximum potential which infuses layers of pristine production value to the overall experience. The camera’s ability to get right up close into each and every actor’s face is one thing the stage will never be able to duplicate. Danny Cohen’s cinematography allows the audience to absorb every ounce of sorrow and happiness from an extremely accomplished cast that is equal to the task. It also allows the actors to use the freedom of live singing as the cameras roll to put more of their characters into their songs. The costume design by Paco Delgado reflects classic depictions of each character, but is no less proficient than any production that came before. The combined efforts of production designer Eve Stewart and supervising art director Grant Armstrong deliver the kind of set pieces that give early 1800s France an epic scale never before depicted by this musical.

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Set design: BANG!

The biggest surprise of this film was the performance of Amanda Seyfried as young adult Cosette. She’s already shown that she could sing for the silver screen with her performance in Mamma Mia (2008), but those tracks were recorded in a studio and dubbed in post production. Ms. Seyfried reveals quite the lovely soprano voice for her live recording and although I was expecting a professional acting performance, I was not expecting such an exquisite voice. I totally bought into her chemistry with Eddie Redmayne’s Marius which was no small challenge thanks to both of their characters’ limited screen time.

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The blonde beauty of Seyfried

For the record, the biggest disappointment is technically Russell Crowe’s Javert, but he wasn’t the only one. Thénardier and his Mrs. played by Sacha Baron Cohen and Helena Bonham Carter respectively were amusing playing the comic relief of this production, but neither was hysterical and I felt their acting and singing seemed to be holding something back, muffled in projection, diminished in capacity. I respect that Borat was the only member of the cast to attempt a French accent whilst singing his tunes, but a man that has made a career out of shock, despicable and disgust should have been able to produce a more repulsively delicious rendition of Thénardier. Granted, both Cohen and Carter have very limited screen time, but anyone playing a character not named Valjean or Javert has to deal with that reality and others did so with greater success.

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Lazy, mailed-in, or something else? You decide.

Speaking of which, Anne Hathaway’s portrayal of Fantine was inspired, so much so that I must begin to reevaluate my general disdain for her as a result of her work in Les Mis. Her performance of I Dreamed a Dream is easily one of the most emotional moments in the entire film as any viewer can tell that Hathaway is digging deep into her own soul to produce the face of despair and desperation. Now, I could never claim to have tasted the kind of real world horrors like homelessness, disease and physical abuse, but I can certainly identify with the endless toiling of mind-numbing work where the only reward is keeping the bill collectors at bay. However one identifies with Fantine, it is Hathaway that compels us to sympathize. Even Victor Freeze would be hard pressed to hold back the tears.

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Is the dream truly dead?

The Co-MVPs of this production are an obvious choice and an unexpected one. Hugh Jackman as Jean Valjean/24061 was just about the biggest no-brainer of the decade in Hollywood Land. The man’s experience in musical theater, his physical stature, his experience in films in addition to the wide variance of his roles makes him the perfect actor for the perfect role. Jackman buys into his role heart, body and soul as is frighteningly obvious as Valjean, the prisoner is almost Machinist skinny in the beginning of the film and I have never seen Hugh in any kind of physical condition other than prime. Jackman puts the entire spectrum of human emotion on display and maintains a high level of intensity as only the best leading men of Hollywood have done. It will be a stretch for Wolverine to triumph over Abraham Lincoln for this year’s best actor in a leading role, but it is very possible and quite deserving. Also, his chemistry with Valjean Legend Colm Wilkinson, who plays the bishop in this film adaptation, is remarkable for its brevity and a proper homage to the history of this musical’s significance.

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Machinist Valjean

The other MVP happens to be Eddie Redmayne as Marius. I was misty eyed for most of the film, but when he sang Empty Chairs at Empty Tables, it was all over and the waterworks began to flow. This moment is the emotional climax of the film and with only 50% of the film’s overall screen time to work with; Redmayne steals just about every scene late in the game because the intense sincerity in his eye is second only to Jackman. Best known for his recent role in My Week with Marilyn (2011), Redmayne is coming up on the Hollywood power charts and I certainly expect his name to be nominated for best actor in a supporting role for his excellent work in Les Mis.

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Red: the color of the carpet. Black: the color of my tux.

Even the most casual fan of Les Misérables, the musical will be stunned by the vibrant life this film breathes back into the tale. For those unfamiliar with the play or the novel, expect to see a powerful tale of the downtrodden attempting to rise above poverty, greed, hunger and hate to find a higher cause in life for themselves and others. It is a story that reminds us that life will always throw danger, complication and hostility in our direction, but even a simple act of kindness given by or to us can give us the strength to carry on. Those familiar with the story will be very forgiving of the transition gaps so viewer beware. You may have to simply accept the plot jumps on faith alone, but also know this. If you are willing to suspend that disbelief and open your heart you will bear witness to one of the best dramas that expose the essence of humanity: the dichotomy of grace and disgrace.

Comic Book News

Advanced Review: X-O Manowar #8

There has been a tense truce made between two completely different warriors. One has the guile and skill of the world’s top assassin, the other is a brash, brutal, headstrong warrior that barges into battle with a cry on his lips and a sword in his hand. Together they must put their animosity aside in order to do something no one else can — save the world!

Robert Venditti continues to steer Valiant’s flagship title to new heights of amazement! Issue eight is a tense, testosterone fueled cornucopia of mass destruction that will make you giddy with excitement. Secret government agents, disguised aliens, the British air force, lasers, throwing stars, a flying Visigoth, spin kicks and two sword wielding warriors! What doesn’t this book have? In a word — NOTHING! This issue is an absolute insane trip of action at it’s best and it will only get better from here! But, don’t think it is just all about devastation and mayhem either.

Venditti has sown in some very interesting plot twists amidst the chaos of battle as well. The status quo of the Valiant Universe will begin to shift due to the actions taken in this issue. Characters are evolved past their “supporting cast” roles and it will make for some very interesting plotlines in the upcoming issues. We will begin to see things develop that have been hinted at since issue one, but Aric may not be ready for the subtlety it will take to dwell in this modern world. It is about to become a much darker place in the Valiant Universe and this issue is the one that will eventually lead to the widely anticipated “Planet Death” storyline coming in 2013!

If you are ready for an action packed issue that will completely blow you away — wait no longer! Storm your local comic shop and demand for it by name! X-O Manowar! The best flagship title you can get your grubby little hands on!

Comic Book News

Advanced Review: Harbinger #7

A trio runs from near death at the hands of Toyo Harada, two of them are psiots while the third — a mere mortal. But it is this mortal’s cunning that has been keeping the trio alive. Her sheer will to live has given them time to escape, time to heal their wounds and most importantly — time to plan. This trio is done with being chased into hiding, they are finished with being hunted, it is time to recruit others to their cause of justice. It is time to prepare for war!

Harbinger #7 is an in depth look at the newest recruit in the war against Harada — Flamingo! It is a harrowing look at how a young woman, Charlene Dupre, has gone from a small town ‘bad girl” to a used and abused denizen of backwoods hell. Her tale is one all to often seen in reality, making the reader instantly connect with her on an emotional level. We may not agree with her choices or lifestyle, but we can empathize with her inner turmoil and outward pain. It is tough to “watch” her tale as we are led down memory lane from her perspective, but it is these kind of stories that make this book continually a “must buy” every month! The sheer amount of depth given to this character in but a single issue is astonishing!

Joshua Dysart is a maestro at creating powerful characters. Not just with their outward psiot abilities, but with the fractured beings underneath all that power, the “human” aspect that gives great range and duality to the character. Each character is completely multifaceted, creating a world that the reader is emotionally tethered to despite all of the “super powered” things going on in it. It is the “grounding” of the characters in an insane world that makes this book completely unique in the genre and it has captured the hearts of a new generation of Valiant readers!

Sultry, stunning and completely sensational, Harbinger #7 is the pinnacle of character driven stories! So, don’t miss the debut of the next amazing character in the Valiant universe — Flamingo! Believe me, she’s totally “hot!”

Comic Book News Marvel

Review: Avengers Arena #1

Let’s not pull any punches about this book. This series is Marvel’s answer to all the tween hype given to The Hunger Games, and the much more brutal, Battle Royale. They even mention – as a rather funny quote from Arcade – that the inspiration for the entire event came from “a couple kids’ books!” Mimicry is NOT always the highest compliment, but in the case of Avengers Arena, it’s not truly mimicry either. This book is much more than copying the motions of another tale, it has a heart all its own, and for me, is Marvel’s best book of the week!

Yes, this is a tale of teenage, and one not so teenage, heroes thrown together in a battle to the death. It has been done before and most certainly will be done again, but it is the tale that lies beneath the broader strokes that compels you to push through this tale of brutality to it’s destructive finale. It is the connections that are made, the loves threatened and the ravings of a girl who never truly enjoyed living until her own life was at stake, that draws you emotionally into the tale. Dennis Hopeless has crafted something that far exceeds the parameters this style of story was based on, and has given us a deeply compelling look into the hearts and minds of some exceptional characters that never truly got the chance to shine on their own. Ironically, this tale will also be the final chance we get to see of these characters, at least we got to know them better in their final days!

Not only does Dennis Hopeless give us an emotionally charged, action packed tale of mortality, but he also gives us a different look at one of the oldest X-Men villains. Arcade has taken center stage as the “big bad” in this series, but most fans will not recognize him in his fresh incarnation. He has become a veritable “god” in this tale, one who is near omnipotent in power and cunning and is not afraid to get his hands dirty. He has evolved far beyond the sneering, freckle faced heckler that let his mechanical murder machines do all the work. Hopeless has built him up as a truly terrifying rogue that not only demands respect but obedience as well, pushing him to the top of the list of most intriguing characters to watch. It is the character of Arcade that brings a sense of intrigue to a tale rife with action, diversifying it even more so than the emotional duress we receive from our “heroes.” It is these factors that lift this tale above the mere some of it’s parts, making it a wondrous read from cover to cover.

Dennis Hopeless and the amazingly talented Kev Walker have crafted a book that may be misconstrued as a mere money grab by Marvel -a blank check to capture the tween readership – and I truly hope it does bring them in. This is the book that will get new readership talking about how amazing comics can be regardless of movie tie-ins and big budget marketing. This is the book that will draw readers in with an idea they all ready know and will blow them away with how rich and emotionally charged the comics genre is.

This is the book that all fans, new or old, should be reading. Don’t let the concept fool you, you will be underestimating how great this book really is!

Comic Book News

Advanced Review: Batman #15

There are times when a book or storyline will hit you so hard visually that it immediately takes your breath away. There are times when a writer can move you with as little as a single word, captivating you in their world which then transcends everything around you. Then there are times that you get the perfect combination of both aspects and you marvel at how few times this caliber of greatness actually occurs. Batman #15 is such an instance, revel in what great comics look like!

I used the first page of the issue as my teaser image, a bit unorthodox, but I wanted everyone to see just how captivating a single page can be when done to perfection. You are drawn in immediately, first by Capullo’s completely unnerving rendering of the Joker. The image dredges up such deep rooted emotions in the reader in a single second. It appalls, and yet hypnotizes you with the sheer horror of the image. An unsettling visage that seems to stare through your eyes and directly into your soul. As you gaze away, it lingers there deep in the recesses of your mind, turning and forever grinning that Cheshire smile. It is an image that will become as iconic as the the first time he appeared 73 years ago!

Secondly, as you peel your eyes away from the toothy leer, Snyder ensnares you with the written word. He taunts you stating, “Look into his eyes and tell yourself he’s just a man.” He breaks you with but a single phrase, cracking the fourth wall and sending you back for another look at the diabolical creatures face glaring at you. You read on, realizing that it is Batman talking, but not to you. He is speaking to himself, trying to rationalize the creature in front of him exactly as you do the same. Just as you feel safe again with the notion that someone else is here, standing beside you, giving you hope that the lights may soon come on and the thing in the dark isn’t truly as scary as it seems — the hero blinks. He maybe here but he is unnerved as well and your hope slides out of you as chill laces it’s fingers around your heart.

Dwell on this outstanding page and then realize it occurs another thirty times throughout the book, each page an emotional whiplash of revelation, speculation, fissures and breakdowns. It is a breathtaking whirlwind that solidifies itself as some of the best storytelling in the Batman mythos! Fall into this book and pray that you will have the strength to pull the light switch on by books end. If you can’t — you never will again!

Comic Book News

Advanced Review: The Walking Dead #105

The Walking Dead is virtually everywhere you turn these days! TV, video games, lunch boxes, t-shirts, posters, action figures, magazines, novels — you name it, it is emblazoned with it’s logo! But nothing, and I MEAN NOTHING, can compare to the original concept that is brought to fans monthly in The Walking Dead comic book! Case in point, The Walking Dead #105, just when you thought it was safe to assume the path Kirkman was going to venture down, everything changes in the blink of an eye.

This issue is a wild ride into the inner sanctum of Neegan and his followers. But it is not just the surroundings or even the complete and utter subjugation of the people who live there that disturbs you, it is the utterly twisted mind of Neegan himself that keeps your heart pounding after every page. By no means is it pounding out of excitement, but rather the all encompassing fear of what terrible fate may befall Carl at any given moment! Kirkman has created absolutely no filter for his Neegan character, creating an issue that flips between whimsy and absolute devastation at a moments notice. It is unnerving to say the least and by the time you are finished with the final page, it is as if you were caught in an emotional tornado and thrown violently to the ground.

There are instances in The Walking Dead #105 that will disturb you, there are things that will be shown that we have not seen before in Kirkman’s world and you will feel pity for a small boy that has been thrown into an adult world. This story will bore it’s way under your skin, making every thought uncomfortable, every turn of the page unbearable and your mind will twist in the breeze with a barrage of possibilities that are just out of reach and will never come. It is a torturous feeling of uncertainty for our beloved Carl, and I would not have it any other way. If a story makes you feel this unnerved over a two dimensional character, you know it is amazing!

I will not give spoilers for this book but I will tease you with one thought. You will see Carl do something fans have not seen him do for a very long time — shed a tear!

Now — GO GET THIS BOOK!

Comic Book News

Advanced Review: Bloodshot #6

For all of the Bloodshot fans out there, we all know that there are BIG changes coming for our abused “anti-hero.” But what exactly are those changes going to be? By the final page you will know and you will be completely blown away!

This issue sees Bloodshot continue to storm Project Rising Spirit in search of his “stolen” memories, but what awaits him is a bevy of grotesque assassins known collectively as — CHAINSAW!

Riddled with bullets, blood and mayhem, Bloodshot #6 is an action packed barrage to the senses that won’t let up until you are gasping for breath! It is a rigorous journey alongside a character that is not just a one dimensional killing machine, but rather, a complex “anti-hero” that strives to retain the humanity he once had in the face of horrors that never stop. At its core, it is an expose’ about the human condition and how all we truly need in life to be happy is to matter to someone. To be excepted and loved for who we are and how bitterly we will fight to get back that sense of “home” once it has been stripped away from us. It is an idea that is sometimes lost under the layers of blood and discord that is ever present in the pages of this book, but it is always there driving this series ever forward.

But, don’t get me wrong — there is plenty of action, surprises and revelations in this issue to more than whet your appetite for all things that go boom! Would the series really be called Bloodshot if Duane Swierczynski wasn’t going to continually assault your senses with more action than a “summer blockbuster” movie? I think not!

So, lace up your boots, check your supplies and put on a poncho — this one’s going to be messy! The battle against Project Rising Spirit and their horrific creations named CHAINSAW, has begun. The fight for one man’s humanity continues, but he just might lose what little he had left in order to get there. After this — everything changes!

Comic Book News

Advanced Review: Archer & Armstrong #5

Are you ready for the explosive debut of The Eternal Warrior to the all-new Valiant Universe? Even if you think you are ready, believe me, you are NOT!

Continuing immediately after the events of Archer & Armstrong #4, our oddly paired heroes are on the run after the death of a Geomancer, which in turn, unleashes the wrath of The Eternal Warrior! Chaos ensues as Armstrong must try to slow his brother down so his ally can escape. But can even Armstrong’s sheer brute strength be enough to stop a being purely fueled by rage with an immortality to rival his own? It’s a possibility that issue six may only have one moniker in the title!

Steeped in flashback sequences, issue five gives us a look at the past history between Armstrong and The Eternal Warrior. It is a brutal and tense relationship, one that focuses on how completely different the brothers are — mimicking the relationship between Archer and Armstrong in the present. It is a pitch perfect tale, giving the reader a sense of direction and information about such a powerful character without making it feel forced or losing the feel of the story running concurrently with the flashbacks. It is a good juxtaposition between the past and present of the Valiant Universe, making the future storylines even more rich for doing so.

Fred Van Lente has created a series that is at the pinnacle of perfection and is a crowning jewel in the Valiant Universe! Every issue is filled to the brim with enthralling action sequences, compelling characterization and a sense of wonderment that can only be rivaled by the heaping amounts of fun you will enjoy while reading it again and again! There is no telling how far he will take us on this wild ride but I for one, have become a fan for life!

Be bold, be daring, be — Valiant!

Comic Book News

Review: Shadowman #2

The second book under the “Shadowman” moniker is actually a first real look at the rest of the cast of the book. While Jack Boniface takes a backseat this issue, we get to understand the “hows” and “whys” of almost all the other characters — including the nefarious Mr. Twist!

Beginning with one of the best first pages I have read in a long time, Justin Jordan and Patrick Zircher have created a slow-burn issue that answers some gnawing questions while dredging up even more. It is a focus on the history of the characters that will direct and “misdirect’ the actions of Jack Boniface for the future. A well thought out character piece that not only furthers the initial story revealed in issue one, but also helps to solidify the “world” of Shadowman for the readers. The cast of characters are so intrinsic to each other that it only makes sense to delve into their motivations at such an early start to the series and this writing duo does it flawlessly!

While the story may burst with action and intrigue, Patrick Zircher’s true contribution to this book is his gorgeous art! From squirming demon slugs to a “little person” with a firearm, Zircher makes this book absolutely come alive on the page. It is thoroughly en”gross”ing and utterly entrancing to gaze upon the images on every page, he is a true talent no matter which hat he may be wearing at the time! Just check out this interior panel to understand exactly what I mean:

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Shadowman #2 is a shining star in an already brilliant Valiant Universe! It is no matter if you were a fan of the previous incarnations, with but a single issue of Jordan and Zircher’s collaboration — you will become one now!

Movie News Reviews

Spike TV 2012 VGA Fallout: The Good & The Bad

2012 Spike TV VGA Fallout

By: Lawrence Napoli

Jesus, Mary and Joseph, what did Spike TV do now?

[[wysiwyg_imageupload:4553:]]Last year, my underlings at Cosmic Book News and I discussed several failings regarding the 2011 VGA’s and the kind of improvements that were needed to make this televised event simply better. This year, we prefaced December 7^th with a 3 part podcast that raised several concerns regarding the games that were represented, the categories themselves and which games we thought should be recognized as the best.

After watching last night’s show I was left befuddled, in the middle of the arid wasteland, alone with my thoughts, completely convinced that I was living in another world in the year 2012 where I played video games that no one else apparently played and experienced things that no one else did.

Then I had my moment of clarity and realized that once again, the Spike TV VGA award show reaffirmed its static role in the videogame industry as a dedicated marketing tool and nothing more. As such, the following truths reveal themselves to be self evident and unwavering:

1) The show is barely an awards show and merely a lengthy, cross promotional commercial.

2) The show does not provide an adequate venue for the industry professionals that make games.

3) The show is more interested in looking ahead than appreciating the present.

4) The winners determined have less to do with quality and more to do with economic power plays that fabricate trends and enhance already popular ones.

[[wysiwyg_imageupload:4557:]]The Host

Samuel L. Jackson’s return as the host of Spike TV’s VGA award show is most welcome in light of past curiosities such as Zach Levi and Doogie Howser, er . . . Neil Patrick Harris. The man conveys equal parts confidence and eccentricity and this show needs his type of energy. I enjoyed his frequent cursing (would have loved to actually hear it). I enjoyed the fun a 64 year old man clearly demonstrated in being the temporary focal point for an industry he may or may not have genuine interest in. Either way, he’s an excellent actor and an exceptional host. Kudos, Samuel L! The audio clips of your most iconic dialogue in films set the tone for a very entertaining evening and those in attendance were truly privileged.

The Musical Performances

There was a lot to talk about in regards to the music of the 2012 VGA’s. It all starts with the orchestra that was featured multiple times (as well as that hot, blonde 1^st violinist in the leather dress) that played a musical homage to all of the game of the year nominees. They even had the girl who sang the vocals for the Dishonored theme, which was a neat add-on. Then there was DJ Wolfgang Gartner who kept the tech, pop, beats pumping throughout the show which was very acceptable, but by no means exceptional. I enjoyed Gustavo Santaolalla’s live performance presenting another introductory trailer for The Last of Us which is set to be released May 7^th 2013. I also got into Linkin Park’s performance of Castle of Glass, the theme for Medal of Honor: Warfighter. I honestly don’t care if Linkin Park isn’t what they used to be as a band, but their performance was solid. Finally, Tenacious D gave the show a nice bookend with their signature 80s rock sound. I’ve never been the biggest Jack Black fan in the world, but he’s a decent showman.

[[wysiwyg_imageupload:4563:]]The Celebrities

Right off the bat we are all greeted by 3 cast members of The Walking Dead TV show: Steven Yeunn (Glenn), Norman Reedus (Daryl) and Danai Gurira (Michonne) make the presentation for the Best Shooter Category. I didn’t care for Zach Levi and his weird haircut making some color commentary (and promoting his nerd website) with Alison Haislip. Zach needs to stay away from this show. Jessica Alba presenting the world premier of Dark Souls 2 was funny due to every male in attendance achieving simultaneous erections, but odd because it had no connection to her little intro story concerning her “love” of Super Mario Bros. Marlon Wayans shows up to shamelessly promote his dumber than Scary Movie, scary movie who simply presents (Rasta) Snoop Dogg who talks about how much he loves Tekken Tag Tournament and then introduces Assassin’s Creed 3’s Tyranny of King Washington expansion. Before Tenacious D got to playing music, they presented the first ever Game of the Decade recipient which I completely disagreed with, but we’ll get into that later. Yet another curious celebrity cameo was Zoe Saldana (Star Trek Into Darkness) presenting Game of the Year (which I also disagreed with) who claimed it took some extra effort for her to be at the awards, but wouldn’t miss it for the world. Overall, the celebrities seemed out of place and for the awkwardness to end, they’d be better off staying home in the future.

[[wysiwyg_imageupload:4556:]]The Good

The best thing I saw all night was the world premier of The Phantom Pain by Moby Dick Studios, a Swedish company that no one has apparently ever heard of before. It featured a haunting trailer of a man attempting to escape a hospital that was besieged by murderous soldiers as well as some supernatural force which had many speculating as to what this game could be. The internet has recently provided a possible explanation via conspiratorial links to Hideo Kojima and Konami in order to shroud what this game may really be: Metal Gear Solid 5.

Possible link #1) Later in the show, cameras cut to Kojima’s table, making note of the 25^th anniversary of the Metal Gear franchise. Link #2) Moby Dick’s CEO is listed as Joakim Mogren. “Joakim” is an anagram for “Kojima.” Link #3) “Mogren” contains the word “ogre” as in Kojima’s secret “Project Ogre” which Kojima himself refutes having anything to do with Metal Gear Solid: Ground Zeroes, further suggesting that Project Ogre is, in fact, Metal Gear Solid 5. Link #4) The main character bears a striking resemblance to Solid/Old Snake or Naked Snake/Big Boss. Link #5) Several on the internet suggest the man on fire shown in the hallway is Colonel Volgin from MGS3 and Psycho Mantis from MGS1 is seen briefly towards the end of the trailer. Whatever the rumor and speculation concerning The Phantom Pain suggests, the trailer looked amazing, mysterious, suspenseful and everything gamers want to see in new projects.

Other show highlights involved the video skits that put Samuel L. Jackson’s likeness in various video game videos. They were all quite funny featuring Sam’s affinity for the F-word, but my favorite was the digital composite of Sammy in The Walking Dead: The Game graphics. I also enjoyed the overall flow and format of the show despite the fact they make precious few “award presentations.” I also want to make note of the really cool commercial for the game Metro: Last Light which presented it in a very dramatic fashion, but almost zero game footage to prove it.

[[wysiwyg_imageupload:4558:]]The Bad

Here’s the short list:

1) Anything that continues to make South Park into a game, 2) Zach Levi’s hair, 3) the world premier of Castlevania Lords of Shadow 2 — Castlevania in the world of today? 4) Marlon Wayans, 5) too many Playstation All Stars commercials, 6) the “new” voice of Lara Croft making an appearance without much of an English accent despite her claiming to be very British, and 7) Ken Levine pushing the release of BioShock Infinite (which looks AMAZING!) further into 2013.

The Ugly

The results, ‘nuff said! And now we roll up the sleeves:

Best Shooter: Borderlands 2?– I never agreed with this game being in this category in the first place. If Borderlands 2 was subjected to Goldeneye’s award system, it would win the “Where’s the hit detection” award every time it is turned on. Don’t get me wrong, I really enjoyed Borderlands 2 and it is worthy of winning Best Multiplayer, but come on! Shooting needs more precision than that.

Character of the Year: Claptrap?– Ok so I guess this was a bit of a fan favorite and Claptrap is hysterical, but I bring this result up to make a further point regarding Borderlands 2 as a production. What does it say about your game when none of your main characters get considered for this category and the annoying comic relief gets the victory representing all characters for the year of 2012?

Best Individual Sports Game: SSX?– Do we even need stupid categories like this?

Best PS3 and Xbox Games: Journey and Halo 4? – The biggest “no duh” moments of the evening and totally worth mentioning only in passing.

Best PC Game: XCOM: Enemy Unknown? – I’m pretty sure Guild Wars 2 is amazing and XCOM is just pretty fun. I have no explanation for this.

Studio of the Year: TellTale Games?– No.

[[wysiwyg_imageupload:4559:]]Game of the Decade: Half-Life 2?– Entertainment Weekly compiled a list of 10 games since 2002 which were deemed worthy of the title “Game of the Decade.” Unfortunately we don’t exactly know what this means because it clearly doesn’t mean “the best.” Such a title implies the best incorporation of all elements of a video game that creates a truly seminal work of art. Wii Sports (2006) was on this list because it sold a hell of a lot of copies considering its simplicity both as individual software and with every Wii bundle that is currently collecting dust in your grandmother’s basement. Legend of Zelda: The Wind Waker (2002) was considered because someone really fell in love with cell-shading Link (FYI, I didn’t). World of Warcraft (2004) was considered because it is the biggest money making juggernaut (from a purely software perspective) of all time. Shadow of the Colossus (2005) was on the list for its “alternative art” status. BioShock (2007) was considered because of its twisted take on art design, its kick-ass gameplay and giving shooters more intelligence. Batman: Arkham City (2011) was considered for being the best video game adaptation of all time. Red Dead Redemption (2010) was here simply for being the best offering Rockstar could muster up. Portal (2007) was here to fill out another “different type of game” slot. Mass Effect 2 (2010) SHOULD have won because its combination of graphics, gameplay, narrative, characters and scale redefine what it means to be a videogame and is on the short-short list of best games ever.

But, Half-Life 2 won because a lot of nerds out there sleep next to a blow up doll of Gordon Freeman.

[[wysiwyg_imageupload:4560:]]Game of the Year: The Walking Dead: The Game?– Thank you Robert Kirkman.; AMC and TellTale Games have relevance thanks to adapting your comic book. And make no mistake! 2012 is the year of TWD; good or bad, right or wrong and it is that shear fact alone that explains how this game took home the title of Game of the Year for 2012. If you require an explanation, I refer you to my review of TWD’s final chapter and thoughts concerning the game overall right here. Despite the insane ridicule suffered by Mass Effect 3, it is a superior game in EVERY respect. Of course, I could say the exact same for Assassin’s Creed III and Dishonored (both of which I am enjoying very much right now). The only Game of the Year contender I haven’t experienced is Journey, but simple games like that are lucky to have been made, let alone win for GOTY. This was simply the wrong choice and I loved The Walking Dead: The Game. But it is an extremely flawed game and to a large extent, doesn’t fully qualify as a game in the first place.

So who were the losers of the 2012 VGA’s?

Assassin’s Creed III and Ubisoft got absolutely zero love from Spike TV this year. This is quite stunning considering the quality of the game and the dedication of the company, but I somehow feel this is backlash for producing annual titles for a series that I affectionately refer to as suffering “The Madden Effect.” Madden comes out every year, they charge $60 bucks for it and how much of a “new game” are you really getting for your money? The Madden Effect has already taken a hold of Call of Duty. Apparently Assassin’s Creed needs to go into hibernation for a while to get back some respect.

[[wysiwyg_imageupload:4562:]]Who were the “winners” of the 2012 VGA’s?

The Walking Dead and TellTale Games are the obvious choices besides winning Game and Studio of the Year they also took home Best Adapted Game, Best Downloadable Game and Best Performance by a Human Female (Melissa Hutchinson as Clementine). The real winner, however, is Robert Kirkman because his children’s children can easily afford to eat as well as he clearly does without concern for health risks because they are now (or will soon be) super rich thanks to The Walking Dead. I’m happy for Kirkman because the success of the comic book is warranted.; however, I give one warning to heed in regards to selling his license out as shamelessly as the local hooker. TWD: The Game is already showing a lesser polish to its product and the more hands that are stretched out, begging for a piece of TWD, the greater the chance for dilution pissing the brand away. I realize Kirkman’s comic series is soon coming to a close, so I guess it’s cool to take whatever money he can grab now and run, but that doesn’t mean TWD will be truly dead. If someone pays Kirkman more than enough money, you bet your ass he’d come up with more TWD stories. The fans love TWD specifically because its tone is the polar opposite of the concept of “selling out.” Please don’t break our hearts Robert. It’s ok if you feel the need to kill off Carl.

Movie News Reviews

Video Game Review: The Walking Dead: No Time Left (Episode 5)

A Video Game Review of The Walking Dead: No Time Left

By: Lawrence Napoli

Chapter 5 of TellTale Games’ The Walking Dead is a proper, although not so very surprising, end to this adaptation of Robert Kirkman’s signature IP. Originally, I was intrigued by the concept of an episodic game being presented over the course of time because A New Day showed so much dramatic promise, compelling characters and yet another zombie themed game I could get into. As new chapters were released, new mechanics (like shooting) were integrated and I wondered how this game could grow on the player when the “game play” aspect was simply not consistent. The execution of every chapter has left much to be desired and not just because the “timed release” aspect of this project seemed more like “whenever TellTale wanted.” Lee Everett moves like a tank, even when he’s running. Action is sparse. Scene transitions frequently freeze up or glitch out. Voices blink out of sync. Oh, and lest I forget the whole “illusion of choice” phantom mechanic at work which merely presents the player with multiple ways to reach the SAME exact plot twists. Say what you will about the Mass Effect series and its morality mechanic; at least it delivers variance in the journey and at the end of the game (we will pay no attention to the end of ME3 for the time being).

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It doesn’t matter how many you shoot in the head!

So here we are: you, me and a copy of this episodic game which may or may not be installed on your hard drive at this very instant. But before you wipe your HDD in disgust or purchase it hastily let me tell you my feelings regarding the value TWD: The Game. DO NOT pay more than $20 if you are thinking of making a purchase. Season passes on Xbox Live and PSN had every episode in your hands for $19.99 while Steam featured sales for much less than even that. When I heard that TellTale was releasing physical copies the game this upcoming December 11^th and charging $29.99 for them, I was flabbergasted. No one will ever convince me that TellTale’s offering equates to a 50% value of the average AAA game when they (as formulaic as they have become) deliver so much more than TWD such as multiplayer, larger environments, smoother mechanics, polished single player campaigns (for the most part), better graphics, better sound AND equivalent VO performances & enthralling stories. All of these standard AAA elements may not be interesting to the player by themselves, but their collective presence provides entertainment options of which TWD has only one in comparison: drama.

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To be avoided at the $29.99 (or more) price point.

Drama is TellTale’s saving grace amidst what might seem like a scathing review thus far. This software produces one of the best narrative stories I have ever experienced in the presentation of a video game. Writers Sean Vanaman, Mark Darin and Mark Whitta outdid themselves in carving out a perfect niche of Krikman’s zombie apocalypse by maintaining perfect tonal synergy with the fiction fans of the comics and TV show are familiar with. If the player enjoys audio/visual entertainment and does not have a heart of stone, this story will make you feel sympathy and suspense; hurt and happy. The common man character type, which TWD as a franchise has made its very own, carries over in full effect for the game. No one is spectacular which means everyone is relatable. The fact that zombies are littered all over the place is merely a zesty garnish to give the plot some edge. Every chapter of TWD brings A-game drama to the plate and as much as this is its biggest strength, it could also be its fatal flaw. The determining factor will forever be if the player accepts the presentation of this drama as entertainment enough. If the concept of “a really good drama without much action” turns the player off, then this game never gets turned on.

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Not exactly a high wire, but certainly high tension.

This brings me to Chapter 5: No Time Left in particular as confirming the determination (or stubbornness) of TellTale’s same-old/same-old approach to every chapter. The one thing that jumped out as different for me was the implementation of dynamic camera angles as the player’s avatar navigated certain scenes. Otherwise, No Time Left had the exact same quick time controls and wretched environmental navigation as always. Combining these elements with one of the most obvious endings in the history of fiction leaves a bitter taste in the player’s mouth by the end. It was during the final credit scroll that I realized that I barely needed to be present while playing this game as the choices I made throughout ultimately impacted nothing. Characters that were meant to die were dispatched and those meant to live would do so. I didn’t care so much about using a tazer or a sickle to take out a cannibal from a previous chapter. I didn’t care about exploring one room over another, taking one tool instead of another, chastising one member of the group over another. Why should choice matter when it doesn’t change the character, the journey or the outcome?

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Hopefully you don’t feel like doing this after playing.

TWD by TellTale Games is a lazy interactive drama that requires the most pedestrian of hand-eye coordination to complete. To a very large extent I question TellTale’s need to present this story in the form of a game in the first place. An animated feature would have been a much more satisfying experience because it would have deleted EVERY negative aspect of this production: the game play. TellTale would be good to remember the effort made by the good folks at Quantic Dream who invented the term “interactive drama” with one of the most unique and successful games of all time: Heavy Rain. The game play mechanics at work in both games are similar, but not the same. The main reason it worked for Heavy Rain (without getting too much into it) was because the quick time controls were more organic to better reflect the action on the screen (of which there was plenty).

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Drama yes; action no.

I can only recommend TWD by TellTale to the rabid followers of all things TWD. The average gamer more interested in shooting digital people will get very little out of this entire series. TellTale will release a second season to continue the story with the characters that survive. It is only a matter of time. However, if TellTale thinks it can pull the exact same gags on THIS gamer/reviewer then it has another thing coming. It needs to improve on every programming element to this game short of graphics. The action needs to pick up, transitions need to be polished and either mature the choice tree options or be done with them all together. TellTale gets 1 chapter of season 2 to change my mind, otherwise it will get the worst press imaginable: no press.

Comic Book News

Advanced Review: The Legend of Luther Strode #1

It has been five years since Luther Strode decided to read “The Hercules Method” and his world was torn completely apart. His mother and his best friend were brutally murdered and by the final page, he is left utterly alone to dwell with what he has become.

But now, Justin Jordan and Tradd Moore have brought there “bogeyman” for evildoers back into the spotlight — creating a morbidly solemn character that transcends the moniker of hero, for that of Legend! Uttering not a single word throughout the book, Luther fits his new moniker well. He is only seen in glimpses and shadow, dishing out devastating punishment with the swiftness of Mercury, leaving no one left to oppose the hand of justice! But as the criminal element of the tri-state area converge to deal with Luther, a single person might just hold the key to his downfall!

Continuing from the fan-favorite mini-series, The Strange Talent of Luther Strode, The Legend of Luther Strode #1 brings more of the gory glory that you have come to expect! But as with the first series, this one does not just rely on the utterly ridiculous violence to capture your attention. There is a heart and soul to this tale that completely engrosses the reader into Luther’s horrific world and, most importantly, into the broken man that is Luther himself. He literally has nothing! He is a man with a single room, a bucket to wash off the residue of shattered criminals from his large frame and a wall to remember those he has destroyed. His scarred body is a reflection of his even more scarred psyche, creating the question for the reader, “Why does he even do this anymore?” after seeing his solemnity. But does anyone ever ask the hero why do they stand up to those who do wrong? No, those questions are always asked of the villains! But, in this series, the villains thought process is clearly explained. They want to see if the “Legend” is true, does the bogeyman REALLY exist? Apparently, no one ever told them not to poke a beehive with a stick, it will only result in you getting stung!

This issue is even more over the top than the first series! A gory, slaughterfest of amazing art and story that will enthrall you with it’s quick pace and utter insanity! A bevy of brutality that is held up by the understructure of fantastic characterization! Tradd Moore’s volatile art will overwhelm the senses, but it is Jordan’s glimpse of humanity beneath it all that will keep you enthralled for the next installment! Bring a mop and a raincoat, folks, this one’s going to be messy!

Comic Book News Marvel

Advanced Review: All-New X-Men #2

The world has been torn asunder after the Phoenix Force merged with Scott Summers. Cities are destroyed, mutant hate is at its peak and the man whose dream brought all the X-Men together — lies dead at the hands of his first student. Things couldn’t be worse for the mutant race, especially since there are new mutants manifesting powers every day and a revolution has begun! All looks bleak, but for one specific X-Man, it is even worse. Dr. Henry McCoy is dying from another genetic mutation, but before he dies he will try to correct the present by visiting the past!

Brian Michael Bendis has crafted a thoroughly engaging tale, rife with nostalgia, that any X fan will not only appreciate — but hold most dear. It is a tale of desperation and longing for a time when things didn’t seem so complex. A tale of time travel and fantasy that feels so natural and well executed that the mere thought of time/space conundrums — is not given a second thought at all! It is so far fetched that it completely makes sense, not becoming an overall burden to the reader or the story.

It is quirky and fun and devastatingly real, bringing a microscope down on all the things that have gone awry over the years and the loss of faith in Xavier’s dream. This tale is as fresh and exciting as the fundamentals the original five X-Men had the first time they suited up. A juxtaposition of a far too dark present and a vibrant, albeit slightly naive, past. The characterization of the “little X-Men” is pitch perfect! Bendis has found their true essence and has treated it reverently, giving no qualms in his ability to scribe the “Merry Mutants” in this fans eyes!

All X fans will be clamoring for this new series, it is the shot of adrenaline the X books have been so desperately in need of! Bendis fan or not, this book will sway you towards being an X fan all over again!

Movie News Reviews

Movie Review: Lincoln (2012)

The Legend of Lincoln

A Film Review of Lincoln

By: Lawrence Napoli

To quote fictional President Andrew Sheperd, “America isn’t easy. America is advanced citizenship. You gotta want it bad.” Of course, the most common perception of “citizenship” in today’s America is layered with apathy, entitlement, conspiracy, cynicism and a general opinion of “my vote doesn’t count.” It’s easy to presume that this zeitgeist has always existed through the course of American history, but if we are to presume any historical accuracy of a film such as Lincoln (and the impressive list of institutions at the end of the credit scroll certainly suggests it), I would have to disagree with that statement. One key difference between the Civil War era and today was the existence of bold and true leadership in the past. Few American politicians are recognized in a positive light for any reason and fewer still are noted as such in the course of their active civil service. This film, however, is clear about identifying the genuine love and respect for Abraham Lincoln within the remaining union by his constituents and opponents respectively. Make no mistake, politicians of yesteryear are portrayed as no less agenda-affiliated, arrogant and underhanded as they clearly are today, but there was and will never be “another” Abraham Lincoln as this individual’s resolve, intelligence, charisma and presence places him above and beyond the eternal rat race that is American politics.

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The man, the myth, the legend.

Lincoln’s script was penned by Tony Kushner which is partly based on the novel Team of Rivals: The Political Genius of Abraham Lincoln written by Doris Kearns Goodwin. The story is a biopic period piece that centers on the presidency of Abraham Lincoln during the time preceding the passage of the 13^th Amendment to the American constitution and the formal end of the Civil War. Although the story does center on Lincoln, the president – Lincoln, the man; it is also happens to be a very thorough observation of the day to day operations of the federal government at the time. As much as Lincoln has been historically identified with emancipation, this film acknowledges the efforts of several others to help make that a political reality. This film is an exquisitely executed dialogue driven drama, but viewer beware. This film severely lacks action so those who can’t lock into a 2.5 hour session of verbal sparring may be turned off, yet this fact really doesn’t hurt this film due to the strong performances by the entire cast. The most powerful element of this story is the portrayal of Lincoln himself. His history and legend is undeniable, but his portrayal as a grounded human being, humble and grandfatherly infuses Lincoln’s legacy with the essence of real world heroism that turns him into one of the truly super human beings in the history of humanity. As horrible as this point in American history was, this film showed it wasn’t completely devoid of merit.

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Troubling times to say the least.

Director Steven Spielberg once again showcases his knack for dramatizing American history in a way that is interesting, relatable and entertaining, but the one element that sells all of his films beyond the special/visual effects, costumes, sets and production value, is the performance. Spielberg gets maximum effort from his actors and you can point directly towards his ability to communicate and empower even those who may have bit parts to produce signature performances. Even the most arrogant, ignorant and clueless graduate of UCLA film school could direct Daniel Day-Lewis in his or her sleep, but very few seasoned professionals could get something special out of Sally Field, whom I initially thought was a complete miscast for the role of Mrs. Mary Todd Lincoln. Spielberg shows his passion for the subjects he researches and it reflects in his casts’ performances which impacts the outcome of the final cut of his films. His work proves that there is a significant difference between directors and auteurs.

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True blue Union soldiers.

The cast of Lincoln demonstrates what a roster of seasoned veterans can do when they are all focused on the task at hand. I must begin with Sally Field as Mrs. Lincoln who hasn’t wowed me in anything since her performance in Forest Gump back in 1994. Her rendition of Mary tip-toed around her historic turbulent relationship with Abraham by consistently maintaining the character’s maternal passion for her children as well as her intellectual confidence by holding her own with her husband’s coworkers amidst the business of government. David Stratharin is one of my favorite actors and his portrayal of Secretary of State William Seward was that of a true brother in arms with Lincoln equally devoted to his ideals and the effort required in reunifying the United States. James Spader delivers another smarmy yet poignant performance as the obscure lobbyist WN Bilbo. You’ll remember Jackie Earle Haley as Freddy Krueger and Rorschach, but he delivers a very dignified performance as Alexander Stephens, the Vice President of the Confederacy (P.S. Jackie bears a frightening facial resemblance to this man). And of course, who can ever forget to mention Tommy Lee Jones in any production let alone his performance as Radical Republican Thaddeus Stevens in Lincoln. I am happy to report that his flaccid performance in MIB III is not repeated here as his ability to shift status as Lincoln’s antagonist and uneasy ally proves that he’s still very much engaged in the Hollywood acting game.

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I am NOT over the hill!

The Academy can give Daniel Day-Lewis the Oscar for best actor in a leading role right now. As much as I eagerly anticipate Les Misérables and earmark it as the best film of the year before having seen 1 second of it, no one will approach this man’s performance as Abraham Lincoln. Sometimes the Oscar is given to a great actor. Sometimes it’s given for the performance of a great role. However, the combination of a great actor producing a great performance in an iconic role would be downright criminal to be recognized as anything less than the best. Abraham Lincoln may have always been known as a great man, but Daniel Day-Lewis reminds us of his humanity, intelligence and humility (and NOT his fictional abilities as a vampire hunter). For one brief instant in time the audience is given an intimate window of the past and Abraham Lincoln is as real as he has ever been portrayed on film. Daniel Day-Lewis may not be as marketable as the likes of Brad Pitt and Tom Cruise, but his ability as a thespian makes him a clear cut above the rest.

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Give him the Oscar; NOW, NOW, NOW!

Lincoln is one of the best films of 2012. History junkies may find themselves in fantasyland while watching this film. Most Americans will be moved by an exceptional recreation of one of the most dramatic and dangerous moments in American history. Some who still identify with Confederate culture may be incensed by this film’s existence, but should not feel disrespected by how the Confederacy is portrayed. Anyone interested in experiencing a cinematic period piece will be satiated by fine writing, directing, acting, historical accuracy and production value. Lincoln is the furthest thing from the concept of a “popcorn film,” but it is very fulfilling and fully solidified Abraham Lincoln in my mind as the greatest American, ever.

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Trust me, this is not the scene you think it is.

Comic Book News

Will The Walking Dead #107 See The Death Of Carl?

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Update: For the recent Carl TV scene, head on over here.

(Editor’s Note: For more: The Doc also presents 10 facts why Lori is not dead on “The Walking Dead” TV show!)

The Rise And Fall(?) Of Carl Grimes

By:Chris “DOC” Bushley

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Although AMC’s The Walking Dead has just recently evolved the character of Carl Grimes past the sniveling, under foot brat that is consistently never “in the house,” the comic book character of the same name has been a fan favorite since the beginning. A touch of exuberant youth that kept the group reminded of just how precious their lives truly were, Carl was also the reader’s segue into the ever devolving vestiges of innocence in that world. This is a snapshot of Carl’s life, from “birth” to badass and even his possible death!

(Warning: Spoilers Ahoy!)

[[wysiwyg_imageupload:4166:]]From the moment of his introduction, Carl Grimes has been one of my favorite comic characters. The unbridled innocence that exudes from the character in the earlier books kept you believing that no matter how horrible things are in Robert Kirkman’s world of zombies and human depravity, there would always be a spark of something good. The first meeting of Carl and his father Rick, after believing he was dead, is still one of my favorite moments from The Walking Dead comic book series. It is symbolically touching and the first step in Carl’s long walk into darkness.

In The Walking Dead #5 five Carl receives his first gun, it is also revealed that he is SEVEN years old! Imagine yourself at seven years old with an actual gun, yeah I don’t think I would be here either — at least with all working parts! But, it is that father son bonding moment that will solidify Carl’s turn from innocent child of the group into one of the most fearless killers in their ranks. For we all know what happens to those bullies that pick on Carl’s daddy! Sorry, Shane!

[[wysiwyg_imageupload:4171:]]From that moment, the sweet and naive Carl begins his transformation into a key character of the group. He sees himself as an equal to the adults, a “protector” and provider, someone that can steel himself against the horrors of their world and press on no matter what may occur. His fear and, most importantly, his need to be protected by others is alleviated in his eyes. He can do what his father can do, and eventually, even things Rick cannot!

But, to take a man’s life is no easy feat, Carl breaks down in front of Rick and tells him that it wasn’t like killing the dead ones, it wasn’t easy. Rick responds, “It should never be easy.”

[[wysiwyg_imageupload:4173:]]Then, in issue nine, Carl has his first touch with his own mortality. While being overrun with a mass of Roamers (called Walkers on the show!), Carl is unexpectedly shot from behind by Otis! Rick and Tyrese run to him while Otis emerges looking bewildered at what has just transpired. When Carl eventually awakens from his wounds he is a far different character than the smiling boy we met in issue one. He has felt what it means to be on the brink of death and he will never let it happen to anyone he loves ever again. He has become hardened to the world, his moral compass has begun to swing out of control and after The Walking Dead 48, which sees the death of his mother Lori and newborn sister Judith, Carl is a shell of the boy he once was!

Cut off from the rest of the group, Carl must now take care of his physically and emotionally damaged father, and we begin to see the disdain that he now harbors for Rick. He feels that Rick has become weak, letting their family die at the hands of outsiders. The boy who once killed his father’s best friend is now pondering if he needs to “deal’ with his own father. As others join the group, Carl descends into the background again until The Walking Dead issue #57. While on the road, Abraham, Rick and Carl are attacked by bandits. Abraham is held at gun point and Rick is beaten and restrained. Rick tries to fight back and is told that for is defiance, Carl will be raped in front of him! As a bandit pins down Carl, Rick snaps and tears out his captor’s throat with his teeth. Shocked at what has happened, the bandit holding Abraham at bay freezes long enough for Abraham to shoot him while Rick continually stabs the third. These horrific events change the dynamic of Rick and Carl’s relationship again. Father and son begin to talk about all that has transpired between them, and Carl tells Rick that if he knew the thoughts he had in his head, Rick wouldn’t love him anymore. They hug, the innocence may be lost, but their love for each other will always be strong.

Issue #61 is where we see how emotionally devoid Carl truly is and just how far he is willing to go to protect the group. In The Walking Dead #60, Ben, a boy around eight years old, kills his twin brother Billy. Ben is so mentally disturbed by the world they live in that he thinks it is all okay since his brother will just “return” to life anyway. As the group locks Ben in a van and ponders what to do with the youthful serial killer to be, Carl has his own ideas. In issue #61, Carl pretends to be sleeping while Rick lays down next to him. Carl then sneaks out to the van and carefully opens the door. He is greeted by Ben who says, “Aren’t you afraid of me?” Carl responds “No” and shoots Ben in the head!

[[wysiwyg_imageupload:4195:]]But the wheels of fate are always turning, as we see Carl and his “family” grow bigger and move on, we also see the threats heighten as well. Just as issue #83 shows us, when you think all is well — fate comes knocking! The Walking Dead #83 is one of the few comics that I actually had to stop and catch my breath after reading, it is so jarring that it couldn’t be helped! Although many characters die in this issue, it is Carl being accidentally shot in the head that, literally, took my breath away! No – almost – character death has ever moved me like that single moment. That young boy turned badass, Carl, becomes so frail in that moment — that it is actually hard to read. It is one of Robert Kirkman’s best skills to make readers care so much for these characters and at that moment, he truly moved us all!

As Carl recovered over the next twenty issues, the group dynamic swelled and changed. Another era of peace and prosperity began to develop, and with it a sense of safety. But we all know how Kirkman love to lure us into a sense of comfort before dropping a hammer into our skulls. This time the hammer is named Neegan, and the storyline was called “Something To Fear.”

The Walking Dead #100, one of the most brutal books I have ever read, introduces Neegan to Rick, Carl, Glenn, Maggie, Sofia, Michonne and Heath. As this new tyrant plays “eenie, meenie, miinie mo” with the group, Neegan takes a look at Carl and the boy’s world will never be the same again! As Neegan chooses Glenn and repeatedly bashes in his skull with his baseball bat “Lucille,” everyone looks on in horror. After Neegan and his men declare their deal with Rick’s group, they depart, leaving Rick crying over his fallen friend, while Carl steadies himself for what must come next!

[[wysiwyg_imageupload:4178:]]After Rick tells the community that they will have to comply with Neegan’s demands, Carl decides to confront Neegan himself. When Neegan’s group comes to collect half of all the community’s supplies, Carl greets them in a not so hospitable manner. Neegan asks Carl if he just threatened him, because he wants to be really sure when someone does! This is the point that may decide Carl’s fate in the next few issues! A line has been drawn between these two characters and Carl decides to pole vault it in issue #104!

[[wysiwyg_imageupload:4180:]]Seeing his father as making the wrong decision about how to handle Neegan, Carl stows away in the back of one of Neegan’s trucks as they head back to their camp. When they eventually stop, Carl takes the group by surprise, laying waste to a bevy of Saviors before vacating the truck with his machine gun! As he slowly steps out of the truck, Carl announces that Neegan killed his friend and he only wants to kill him if the others back away. Neegan tells Carl that he is genuinely scared of him and comments about the gun he chose to bring with him. Carl fires again but the sheer weight and kick back of the gun knocks him to the ground and he loses his grip of the gun. Dwight (a Savior that was held captive by Andrea) quickly begins to beat Carl before Neegan asks him if he would kill a defenseless boy. Neegan then announces that they should welcome their new arrival as the issue ends!

Now, we may not know the fate of Carl just yet, but the next few covers suggest our little “badass” is in for some harrowing times! The Walking Dead #106 is Charlie Adlard’s 100th issue on the book as artist, and he has promised something “big” is going to happen. Let it be known that the issue is also called “Revenge” which doesn’t bode well for the lifespan of our hero.

And we also see the big reveal of the cover for The Walking Dead #107!

Check them out below and let your own thoughts “roam!”

“The Walking Dead” #107 goes on sale in February!

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The Walking Dead #107:

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As gut wrenching as the cover of issue #107 may be, I may just have an inside scoop about Carl’s fate!

I met Robert Kirkman at last year’s NYCC 2011 and chatted about Carl a little bit. After we spoke, he wrote this in my copy of The Walking Dead: The Rise of the Governor (right)! Then he slowly looked up and said, “You know I’m lying, right?”

So, I cannot say for sure whether Carl will make it to see issue #108 or not, but I can safely say that Robert Kirkman has suddenly filled my head with one word regarding Carl — Fear!

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TV News

10 Facts Why Lori Is Still Alive In The Walking Dead TV Show (AMC)

One Bloated Zombie, Does Not A Body Make!

By: Chris “DOC” Bushley

Three graves have been dug on the outskirts of the prison walls, but only one contains an actual corpse. The others remain bare, filled more with the grieving tears of the survivors than with the decomposing flesh of the dead. The crosses above them are etched with the names of those that cannot be found, but is it premature to give such finality to just the mere thought of death? Some think so!

In one of the most controversial seasons yet, Season 3 of Robert Kirkman’s opus to the undead, shows the band of survivors split into groups while being pursued by Walkers. Things happen, horrible things that leave at least on of the group dead, one in labor and one missing. The most memorable, yet tragic, scenes plays out as Carl has to seemingly shoot his mother after she gives birth to his sister so she will not become a Walker. It is unnerving to watch but also completely captivating and shocking! That is, until Episode 5 begins to shine new light to that particular scene! As much as we will all miss T-Dog, it is the legitimacy of Lori and Carol’s deaths that are in question!

As I spoke with my intern, DRox, quite feverishly about Episodes 4 and 5, we began to think that maybe – just maybe – everyone’s favorite candidate for mother of the year did NOT die after giving birth to little baby “Ass Kicker!”

Here are some facts and speculations for you to ponder:

FACT: T-Dog saves Carol by tackling two attacking zombies and pays the ultimate price for his heroism.

FACT: Rick and the “Hit-Squad” find T-Dog’s corpse in a hallway along with Carol’s head wrap. They NEVER find another trace of Carol, nor look to find her, just assume she is dead!

FACT: Lori goes into labor and Maggie must perform an emergency C-section on her in order to save the baby. Carl stays behind as Maggie takes the newborn to find the others. As she approaches the group in the courtyard, a single gunshot rings out. Carl emerges from the prison and Rick breaks down.

FACT: Rick goes all “Here’s Johnny” with an axe and destroys any Walker that stands between him and his discovery of Lori’s body.

FACT: Rick finds a bloated Walker with, what Greg Nicotero told The Talking Dead, “were strands of Lori’s hair by his mouth,” shoots it and proceeds to stab its belly numerous times. NO BODY PARTS ARE PULLED OUT OF ITS STOMACH!

FACT: In Episode 2, Carol kills a female Walker in order to perform a practice C-section on it because Hershell may not be able to deliver Lori’s baby!

FACT: When Rick discovers the room where Lori went into labor, he also discovers a bullet fragment on the floor. There is NO BLOOD surrounding the area where the bullet was pulled from!

FACT: There are no bones, nor anything else, from Lori found where she went into labor! T-Dog was attacked by TWO Walkers and his body was still found! Yes, he was larger than Lori, but her entire body – bones and all – fit into a Walker’s belly?!

FACT: We know that Carol’s knife is found By Daryl in the upcoming Episode 6!

FACT: We know there is a well stocked Infirmary and it is close to cell block C from Carl’s comments in Episode 2!

This is what we believe MAY have occurred: Carl, as bad-ass as he has become in Season 3, still does not have the heart to shoot his own mother in the face. He shoots wide and leaves Lori, who has passed out due to the pain and blood loss, to “rest in peace.” Carol, who is still running through the prison, stumbles upon Lori just as a Walker is approaching her. She fends off the Walker, stabbing it between the shoulder blades and knocking it into the wall. She then grabs a semi-conscious Lori and escapes the room. With Lori as “dead” weight, Carol cannot keep up the pace for long. Panicked, she scours the hallways for a room she had seen before – the Infirmary! Though not “professionally’ trained, Carol does her best to patch-up Lori to the best of her abilities as she hears a gunshot ring out from the room she saved Lori from. Help could be on the way.

Though these ideas are pure speculation, given the facts above, nothing adds up to either Carol or Lori definitively being dead. There is enough wiggle room there to imagine numerous possibilities rather than the one given to us. But, if I’m right, and Lori is not “dead,” there are even more ideas that can be brought into this amazing season! Who knows, maybe the next time we see Lori she could look like this (below)!

The Walking Dead airs Sundays at 9pm ET on AMC.

Comic Book News

Review: Green Lantern Corps #14

The green light that emits from the heavens used to be so blinding that only the most vile of criminals would dare to oppose the will of the Green Lantern Corps. Now, the light has begun to fade ever so slowly, creating shadows for every form of evil to take solace in. But what if the center of all evil was standing directly in the light? A stance that made it seem that the light was coming from directly inside them the entire time, but in actuality, they were truly there to negate it!

Peter J. Tomasi has been toying with the notion that there is something astoundingly wrong with the Guardians of Oa from this series opening salvo. But this issue takes that notion and turns it into a cold hard fact as EVERYTHING the Corps holds dear is thrown asunder!

This tale, of a broken Corps, solidifies itself as one of the best in this series. It makes characters question the very reasons behind their decisions and puts them at odds, not against an enemy, but with themselves. Part mystery play, part internal character piece, Tomasi has out done himself in the deconstruction of the Green Lantern Corps! There is dissension, slight of hand and, most importantly, fear that is creeping through this book. And by the final page, one Corps members decisions will have him severed from the rest of the Corps!

Outstandingly paced and beautifully – yet horrifically- rendered by Fernando Pasarin, Green Lantern Corps #14 is a must read for all Lantern fans! The future is will not be as bright as the moment it was before you turned the first page — I guarantee!

Comic Book News

Review: All-New X-Men #1

A stepping stone between the past and the future of the X-Men has been cast by Brain Michael Bendis in this weeks batch of books to hit your local shop. But it is not the tried and true, “I am here to warn you about the future”story, it is beyond that. This one has heart, originality and a tone that will have you remembering just why you became a fan of the X-Men all those years ago!

Even though we all know this will become a “time travel” tale that will have the old and current X-Men meet, it is also the first issue to see a completely divided host of X-Men and their fundamentals. Yes, Schism divided them, but not like this! Never before has there been a complete break between Cyclops’ band and the rest of the “family.” There were always those who had trouble deciding just which path to follow, but no more, Bendis has set a hard line in the sand and there is no turning back!

Focusing on the arrival of new mutants to the Marvel U., Bendis has taken the X-Men back to the days of excitement and suspense that, unfortunately, has been missing in the last few years. He has taken a character that has been labeled as a murderer and evolved him into a revolutionary for the future of the mutant race. He has created something that will compel you to read X-Men books for the sake of reading X-Men stories — not X-Avengers ones! It is suspenseful and full of heart, glancing at the early days of the X-Men while giving the current timeline an exhilarating scope and refocus!

As compelling as the tale may be, it is Stuart Immonen’s art that makes this book transcend to a different level. The thin, crisp lines bring a heightened sense of detail to everything! Foreground, background — every miniscule detail has been painstakingly rendered with a degree of professionalism that is truly rare. Immonen is the perfect choice to mimic the rousing new tale from Bendis! Don’t believe me? Just check out this amazing sketch page of Beast!

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Some may say that Bendis isn’t right for the X-Men, that he is “the Avengers” guy. Hopefully this outstanding first issue will draw fans to a new conclusion, one where we can be fans of X books again without having to worry about learning an entire Avengers roster to do so!

It is an exciting time to be an X fan again, let’s hope it can stay that way!

Comic Book News

Advanced Review: Batman #14

Far too often in the comics world, we see villains repeat past deeds over and over again with exactly the same results. Plan + Crime = the hero thwarting every move and taking the villain down with minimal effort. It is a cycle that is so predictable, fans have become numb to the very thought of the villain getting the upper hand at all.

Finally, that cliche‘ can be disposed of thanks to Scott Snyder and crew! Not only does this wickedly evil new version of The Joker get the upper hand, he squeezes so tight — he actually breaks some bones!

Batman #14 delves deeper into the twisted world that The Joker is creating, not only for Batman, but for his entire “family” as well. It is a decent into depravity, one that will scar every aspect of our hero’s world and in some cases — make it unrecognizable! There have only been a handful of writers that have ever unnerved me so much while reading a comic book story, that I’ve actually had to catch my breath. Scott Snyder is now one of them!

I will not divulge any spoilers – where’s the fun in that! – but I will tell you that there are scenes in this issue that will hit you hard. There are moments when things will transcend the scope of a mere “funny book” and make you feel uneasy with what is happening. You will feel panic and nervousness for these characters like you never have before, and you will relish just how damn good this story is through all the horrific deeds happening to them. You will smile at how devilishly clever this Joker is and you will ponder why it took so long for him to get there. But above all the pain, torture and maniacally well thought out plans of an amazing villain, you will enjoy ever single page of this stunning work by Snyder and Capullo — and you will crave more!

Nothing is more precious than the private moments we share with the ones we love. The moments when we can let our guard down and truly show who we are. No secrets, no bravado, just a person exposed for the people we hold most dear. But what if, somewhere in the dark corners of our home there were eyes that didn’t belong there? Eyes that leered at our exposed selves and snickered at our weaknesses. Eyes that calculated our faults to use against us, then slowly slinks back into the shadows and made plans of their own. That is The Joker of Snyder’s world and things will never be the same again!

Pick up Batman #14 in stores tomorrow!

Comic Book News

Advanced Review: The Walking Dead #104

Wow! That’s truly all I can say.

Robert Kirkman and Charlie Adlard are continually making their fanbase into emotional wrecks and it’s the compelling stories found in issues like The Walking Dead #104 that are doing it to them!

I don’t know what I can say without spoiling the feeling of utter dread you receive when reading this issue. It is an emotional rollercoaster and you will find yourself screaming, “STOP,” at the top of your lungs because you are at the precipice of something completely horrific!

Normally, when Kirkman delivers a devastating blow to the audience, i.e.. the death of Glenn, there is a lull in the story afterward. A “grieving” time if you will, a few issues where the reader can collect themselves, refocus on the storyline and brace themselves for whatever may come next. This time however, Kirkman is pulling no punches and has been berating us with emotional haymakers with every issue! There is no chance to breathe, let alone ready yourself for new horrors — the hits just keep coming! And I wouldn’t want it any other way!

The Walking Dead #104 is a tale with a lightening pace, page after page of action, drama and suspense that culminates in an ending that will make you hate the next thirty days until issue #105! There is no time for more build up or characterization, that time has passed, and it is now a “fight or die” scenario that our characters are in. The tides of change are upon us and there is no turning back!

I can’t give you spoilers without ruining the entire book, but I will give you a taste! Rick gets mad, Jesus fights and Carl carries one big @$$ gun! Hopefully that will satiate your curiosity until tomorrow!

Hold on tight, kids! This is one scary ride we are about to go on!

Comic Book News

The Best of The Best: DOC’s Top Five Comic Books For November 14th!

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“The Best of The Best”

By: Chris “DOC” Bushley

If you thought October 10th was a HUGE release date with Batman #13 and the debut of Uncanny Avengers #1, just wait until next Wednesday when we see the pinnacle of comic book hype explode! EVERY company in the industry is offering up some of their best books for you to add to your pull list, but with so many choices, what are the books you just can’t live without? This list is here to help you narrow down just which ones are worthy of the title “The Best of The Best!”

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1. Batman #14(DC): Scott Snyder’s unnerving tale of the return of the “Clown Prince” to the streets of Gotham continues here! Harley tries to turn Bats into her own version of the Joker and the “family” is in disarray with the disappearance of Alfred. This series continues to be some of the best modern day Bat tales ever created and this one — is sure to keep you up at night! With a bunch of “Bat” books coming out on Wednesday, this one is the MUST have!

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2. All New X-Men #1(Marvel): The most controversial of the group, Bends’ take on the X-Men is sure to be a sure hit or miss with fans across the board! But let’s face facts folks, he is still a great writer that can bring about some amazing stories! Truthfully, bringing some fresh ideas to the “Merry Mutants” is desperately needed! Plus, we get to see the original X-Men return in this tale without the bickering and animosity that has been strune throughout the X books in the past two years. As they travel to the present, will these bright eyed versions of their former selves be enough to change the outlook of the modern X-Men? I will be first to find out!

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3. The Walking Dead #104(Image): The biggest independent comic book franchise of all time continues to churn out some of the best comics on the shelves month after month! Rick’s secret agenda has put him at odds with the others of the community, but none more so than the person he loves most, his son — Carl. Will his plan lead to Carl trying to step up and be more of a leader? And if it does, can a little boy with a big gun handle the wickedness of Neegan all on his own? By far, this book is Image’s front runner for best book!

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(Click for preview)

4. Archer & Armstrong #4 (Valiant): This dynamically different duo have to stop the Secret Sect from forming all of the pieces of the Boon before they destroy the world. But it is no easy path! On the way they must overcome ninja nuns, Nazi priests, former friends and, evidently, themselves in order to survive! Fred Van Lente has made this THE best “buddy” book on the shelves today, full of characterization, brutal action sequences and overall — fun! This is the best book you are not reading!

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5. The Boys #72(Dynamite): Garth Ennis has finished The Boys with issue #72. And when I say “finished” I don’t mean just wrapping up his insane book about those who keep superheroes in check, I mean the Boys themselves as well! #72 stars the only remaining team member, Wee Hughie, and we see just what he will do after both his personal world and professional one — are completely destroyed! I will sorely miss this crazy ride of a book, but there is still hope for the movie from Paramount to hold on to! This was the best anti-superhero book you will ever read, so get the trades and hold on for dear life!

So, that’s the best the myriad of companies have to offer — at least in my humble opinion! What books are you eager to see this week? Let us know in the comment section below and start saving your pennies — it’s going to be one massive week for comics fans!

Movie News Reviews

Movie Review: Skyfall (2012)

Not the Best Bond, But Pretty Darn Close

A Film Review of Skyfall

By: Lawrence Napoli

Daniel Craig is certainly on the short list of actors worthy of playing 007. He is easily the most physically fit and frequently shirtless of any actor that played James Bond before, but there are some eccentricities that he brings to the character that I still do not particularly care for. First, the “Blue Steel” stoic look that Daniel Craig completely owns happens to put Derek Zoolander to shame. I understand that Craig’s Bond is meant as a constant bad*ss, but he really does come off like he’s “posing” in every scene and it downgrades the character’s humanity. Second, is that Craig isn’t very much of a ladies’ man on screen as his ability to generate chemistry with any of his female costars has a tendency to fizzle. Every woman he’s been blessed to be cast with is extremely gorgeous, but his most intimate relationship shouldn’t be with Dame Judi Dench as M. Third, is that Daniel needs to attend “The Tom Cruise school of Running Like You Mean It!” because the way he “runs” seems like an extremely stylized mimicry of running. It’s also far too hoppy and you all know what I mean once you see it.

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“Blue Steel” in full effect.

Skyfall, however, is a film that sees Daniel Craig do much more with the James Bond character than he has during his incumbency with the franchise. Although we’ve all seen this before in previous Bond films, James is again being portrayed as an antiquated tool for maintaining global law and order via black ops. Thus, Craig portrays more weakness and vulnerability than he was ever accustomed to before and although he’s still no “Mr. Sensitivity,” there is a moment where he sheds tears and it is quite poignant, moving and the most humane portrayal of the character since George Lazenby in On Her Majesty’s Secret Service. Daniel is still solid with the less frequent verbal barbs and always hits his mark for action. He still can’t convince me with women, but his evolved relationship with M allows for him to discard the aura of Mr. Roboto.

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More art yields better performance.

This entry in the 007 films was written by Neal Purvis, Robert Wade and John Logan whose combined experience on Casino Royale and Quantum of Solace demonstrates maturity in producing a meaningful and somewhat relevant manifestation of the current James Bond. We are still living in a world with dangerous terrorists, but Skyfall makes no secret about “cyber-terrorism” being the newest, most dangerous and most prominent threat to stability. This is the main engine behind the portrayal of MI6 and its employees as “behind the times.” I wonder if this perspective on terrorism in the 21^st Century is somewhat of a backhanded compliment to the American approach in handling it. Throughout every conflict in the Middle East, the Pentagon has been consistent about needing more human assets on the ground infiltrating terror networks to provide the best intelligence, but British sentiments acknowledge terror threats as more than AK-47’s in the sand. Skyfall is all about the youth movement from the handlers that deal with agents to the quartermasters that outfit and strategize approach. The irony is that in order to survive this shift, James Bond must reconnect with his heartrending past in an attempt to level the playing field. When you cap all this with an exceptional Bond villain in Javier Bardem’s Silva, Skyfall is easily the best Daniel Craig James Bond story thus far.

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How many terrorists will you find in this scene?

Director Sam Mendes and cinematographer Roger Deakins made Skyfall an exquisite visual cacophony of technology, light, angles cityscapes and landscapes. In short, this film is easily the most beautifully shot work of art we’ve ever seen in a James Bond film. Certainly, this film is still about the action (which is top notch, by the way), but I feel camera placement, movement and its interaction with some of the most beautifully configured set designs in this franchise’s history gives Skyfall notable advantages. Thankfully, the audience will not be jostled by the frantic, handheld camera work we’ve all become accustomed to thanks to the Bourne franchise. This film shows that great action can still be captured with more traditional techniques and increased synergy among the various production departments of a film production. Exotic locations are typical of James Bond films, but they’ve never before looked so good.

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Cityscapes. ‘Nuff said!

You already know what I feel about Daniel Craig’s performance, but what about the rest of the cast? Judi Dench as M is once again flawless in giving this character more significance than any previous portrayal. M is no mere task master, but also very maternal (despite her best efforts) and her chemistry with Daniel Craig is impossible to ignore. Ralph Fiennes is a welcome newcomer to the franchise and although the former Lord Voldemort is not exactly featured, he is certainly set up for a thriving future by this film’s end. The last thing I remember Naomie Harris in was 28 Days Later and she is still lovely as ever, but brings some much needed playful sex appeal which is severely lacking in Skyfall. Ben Wishaw as the new Q produces a fine performance and reminds me of a British version of Dr. Sheldon Cooper from The Big Bang Theory if one strips away all manner of personality while retaining the ego and elitism. On top of it all Albert Finney is in this film and it’s an instant win for this cinematic adventurer whenever Daddy Warbucks comes out of the woodwork.

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Q who?

Make no mistake; as much as this film is about a revitalized performance by Daniel Craig as James Bond, the other 50% is met by an excellent Bond villain in Silva, masterfully played by Javier Bardem. The man’s heroic roles don’t hold a candle to his villains (his limited role as the menace in No Country for Old Men was practically the only reason it won best picture). I absolutely love Silva’s personal eccentricity which I will describe as not exactly being “straight up,” and certainly “with a twist.” Interpret that as you may, but no spoilers. Silva is creepy, he is charismatic and he even has an understandable motivation for his evil dealings that isn’t rooted in psychosis or delusions of taking over the world. He is one of the best Bond baddies because he adheres to the first rule of villainy by making it personal (in a roundabout way) against Bond himself. Bardem steals EVERY scene with his maniacally fun dialogue and brilliant delivery. My only regret is that the story limits his fear inducing factor by making him too captivating. The audience may not fear Silva, but they’ll never get enough of him.

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Is this too close for comfort Mr. Bond, James Bond?

This is not the best James Bond film of all time. Suggesting such a thing is far too silly and a byproduct of “new film awe” that we all experience when we leave the theatre having seen a genuinely good film. At the same time, I never would have thought that a Daniel Craig Bond film would ever crack my top 5, but it officially holds strong in fifth place with Octopussy (4), The Spy Who Loved Me (3), Goldfinger (2) and GoldenEye (1) standing in front of it. Skyfall is an excellent piece of filmmaking as both art and entertainment and is more than worth a general admission, but I wouldn’t necessarily shell out for IMAX tickets unless you are an extreme Bond fanatic. I see this film as redemption for Daniel Craig, but with all this effort to make him look “old,” “human” and “out of date,” I wonder if the search for “the next Bond” isn’t already under way.

Movie News Reviews

Movie Review: Cloud Atlas (2012)

The Universal Human Experience

A Film Review of Cloud Atlas

By: Lawrence Napoli

What does it mean to be human? Every person in history has struggled with this question in some way shape or form. What links us all is the human experience: we eat, sleep, see, feel, hear – we are aware of ourselves and our environments and culminate everything our bodies take in via thought and from that the individual exudes behavior. However, people are not the same and individuals change as constantly as time, but it still makes one wonder. With this fundamental truth that binds us together, why do human beings do terrible things to each other? This rumination may be a tad heady for a common film review, but Cloud Atlas is a film that attempts to comment on the (ever-evolving?) state of humanity and being aware of this philosophical perspective is the key to appreciating and understanding this movie.

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We’re all in this together!

Cloud Atlas is not a film for everyone as there are three aspects of this production that may turn off the average member of the audience: 1) there are 6 separate plots occurring simultaneously, 2) the action is very light and 3) attentiveness and intellectual engagement is a must. Having said that, this film succeeds in accomplishing some of what it sets out to do while coming up short in presenting cohesiveness in a 3 hour film adapted from a 544 page novel by David Mitchell. The screenplay was written by Tom Tykwer and Lana and Andy Wachowski and it attempts to translate the 6 stories in a synchronous, narrative format. This film is not like Pulp Fiction where the beginning, middle and end are completely out of order. The confusion in the script may come from the viewer’s ability to retain progression in each story up to a point and then repeat 5 other times before it picks up again in the first story. This happens for the duration of the film until each plot resolves in a well balanced and timed progression.

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Tom Hanks, the villain.

The fact that each story is very different can be a bit of a double edged sword in that it provides wonderful variety, but some stories will be much more compelling than others. Character development comes up fairly weak as well because every actor plays different roles in each story, so be prepared to see Tom Hanks as both the hero and villain with differing levels of intensity. Being a dialogue driven film, this script maximizes creativity in its exposition to get right into the drama of each plot immediately, but this leaves the burden of generating spectacle on the shifting set design and scenery due to the aforementioned lack of action. No single plot can be identified as the marquee tale of Cloud Atlas as they all have completely different agendas and political/philosophical undertones to them, but they equally involve the struggle of people, circumstance and the time in which they live. The true strength of this story is showing that despite the ever shifting perspective of good and evil as a result of time and circumstance (thank you Obi-Wan Kenobi), individuals will always take sides as a result of their unique thoughts and interpretations of the human experience. It is perhaps this observation which explains humanity’s affinity for conflict.

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Neo-Seoul Korea in the year 2144 accounts for the majority of the action.

Cloud Atlasis a film that has no major film studio affiliation and despite that, it still garnered a budget of just over $100 million dollars through various independent finances. As such, this budget afforded Cloud Atlas a very impressive, professional and hi-fidelity look to compliment its equally high browed themes. The production design of each respective story is wrought with unique color palates, background detail, interesting costume choices and efficient use of visual effects that makes this overall film seem like it was budgeted for far more than originally allocated. When one factors in the excellent performances from every featured actor: Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Jim Sturgess, Doona Bae, Ben Wishaw, Keith David and James D’Arcy, this film ceases to amaze when it comes to raw production value. This is the first film I have ever seen that truly combines the period piece genre with sci-fi in a way that was completely serious, dramatic and complimentary to the script.

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Moments of drama, moments of wonder.

Every actor’s performance is respectable throughout Cloud Atlas. Since character status, role and relevance is constantly shifting, it is impossible for me to evaluate performance the way I normally do. Hanks and Berry provide anchor performances for every character they play which allows the audience to connect with their characters most easily since they are the two biggest names attached to this cast. My standout performances had to be Ben Wishaw’s Robert Frobisher (the true composer of The Cloud Atlas Sextet), Hugo Weaving’s Nurse Noakes (who channels Nurse Ratched from One Flew Over the Cukoo’s Nest perfectly) and Ketih David’s Joe Napier (whose demonstrative voice and stature makes Shaft look like a baby in comparison). The two names that are most easily forgotten in this film are that of Susan Sarandon and Hugh Grant who, like the rest, provide fractal roles in several of the individual stories, but whose performances could have been easily replaced by any other actor.

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Keith David’s a bad mother … SHUT YOUR MOUTH!

Cloud Atlas is a very good film for the viewer that is up for some intellectual stimulation. It is an entertaining film, but nowhere near the popcorn blockbusters of the summer. It features several moments of high drama (like Sonmi-451’s final speech to the world) and moments of levity (Timothy Cavendish’s escape from a nursing home). This film is a serious contender for all the production design categories of the Academy Awards, but is a pretender to the crown of best film overall. Its tagline of “Everything is connected,” may be thematically correct, but does not execute as seamlessly on the big screen due to the time restrictions for each tale. More time would have allowed for more parallels, but then this film is already 3 hours long. Before this rather exceptional fall season of must-see films truly commences, Cloud Atlas is a great appetizer to the upcoming visual feast.

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Oh Hugo, why do you have a perfect villain’s face?

Comic Book News

Advanced Review: Shadowman #1

The most anticipated book since the initial rebirth of the Valiant Universe hits stands this week! But is all the hype surrounding the return of Shadowman truly worth it?

While other companies may rely on movie marketing to propel their fanbase, Valiant has dedicated itself to acquiring the best creative talents in the business and teaming them with the hottest characters of the nineties. These precise pairings have created some of the best “new” comics on the shelves, and in turn, established a whirlwind of excitement throughout the comics industry!

Now, Valiant has brought back one of the most popular characters they have ever created — Shadowman!

This debut issue is not only as enigmatic and outstanding as the originals, it is also a very heart felt homage by both Patrick Zircher and Justin Jordan. Taking the base roots of the original character and mixing them with their own creative seed, this superb duo has crafted a tale that pays tribute to what Jim Shooter, Steve Englehart and David Lapham did and in the same breath — surpasses it!

Jack Boniface is still the main character for this “new and improved” version, but he is slightly different from what fans will remember. Gone is the long flowing mane of tangled hair and the saxophone is nowhere to be seen, but this younger version doesn’t require the iconic look, he has something far better at his disposal — the creative team!

Jordan and Zircher have created an engrossing look at the world of magic and mayhem in the Valiant Universe. This is an aspect that has been missing from the “Summer of Valiant” and it is a welcome change. Fans of the original series will no doubt recognize some of the old haunts and especially the diabolical Master Darque, but it is the changes that truly make this book an instant fan favorite. From the explosive opening sequence where demons swirl around every corner to the eventual rise of the new Shadowman, you are enthralled by every aspect of this book! The intrigue of Jack’s parents past and the creation of the sadistic Mr. Twist alone are enough to have you on the edge of your seat. But, it is the character of Jack himself that will hold sway over you throughout the book! Jack is a “lost soul” who has filled his life acquiring skills in order to make himself useful in a world that he was left alone in. He is vulnerable and yet, strong willed enough to survive on his own, never knowing the truth about his parents nor the talisman he wears around his neck. And when something horrific befalls him, is it his attackers that are the the true threat or is it the voice calling to him from the shadows that will bring his downfall?

This book will draw you in and ensnare you in the horrifically brutal world that Jordan and Zircher have created. It is fresh and rich in characterization, a book that is easy to get into and extremely hard to put down! Nothing outshines the pure talent that drives this book!

On a personal note, I must thank both Justin Jordan and Patrick Zircher for handling this book with such reverence and scope. Shadowman was always my favorite Valiant character and I am proud to say that he is once again! Thank you both for an amazing book and especially for putting the original mask in the museum scene — classy!

So, to answer the original question — is Shadowman worth all the hype? Most definitely! Add this one to your collection and hold on tight, the Valiant Universe is about to get the doors blown off!

Be bold, be daring, be — Valiant!

Movie News Reviews

Movie Review: Wreck-It Ralph (2012)

The Art of Video Games

A Film Review of: Wreck-It Ralph

By: Lawrence Napoli

I believe that the video game is the leading entertainment art form of today. Purists that represent older art forms had best accept this trend (if not outright truth) and get over the sour grapes of the ever increasing popularity that games and gaming represent. Simply put, video games place the viewer on an unprecedented plane of interaction with the art itself. Only now, in the year 2012, do we find games finally exiting their infant steps of childish frivolity and counter-culture fascination. Contemporary games can and have pushed the envelope in spinning tales of drama, suspense, action and adventure that rival some of the best moving pictures of the past. Yet, video games weren’t birthed from the love parents of Hollywood and the computer with this level of acumen. Wreck-It Ralph is a throwback reminder that games were clearly not about social commentary in the beginning, but the fact that this film exists is proof of gaming’s expansive influence and a mile-marker for the ground this medium has gained over the years.

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8-Bit graphics are well represented in Ralph.

However, to suggest that Wreck-It Ralph is some kind of necessary viewing for being the definitive alliance between games and film would be a gross overstatement. This movie is a fun little narrative that attempts to bring the extended family of video game characters together in an entertaining, child friendly and somewhat thought provoking way that has an important (and incredibly cliché) moral to it all. The story was conceived by screenwriters Phil Johnston and Jennifer Lee (with additional contributions by John C. Reilly) which is interesting considering none of them have any professional experience with any aspect of gaming, but clearly a decent proficiency with comedy amongst them. Ralph is a Donkey Kong inspired villain who is simply fed up with the thankless job of being “the bad guy” for his particular videogame. Ralph’s no dummy. He sees his counter-part, Fix-It Felix, soaking up the praise and admiration for doing his hero’s duty and in hopes of changing his stars, Ralph goes on his own quest to improve his status. The most charming aspect of this film is all the other iconic videogame characters that make cameos throughout which could only have been made possible with (once again) Mickey Mouse’s bottomless pockets paying out to various licenses like Nintendo and Capcom. It would have been nice to see even more crossover with these other characters, but that would have diverted the importance of Ralph’s journey. Overall, the script isn’t exactly Shakespeare, but it sends a good message to young people about how to treat your neighbor and discovering a positive sense of self worth, while not boring adults to tears and being quite amusing to gamers.

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In no way is this rivalry meant to channel DK vs. Mario.

The CG animation style of Wreck-It Ralph may be reminiscent of a Pixar Studios production, but this film is straight out of Walt Disney’s regular Animation Studios. You won’t see Monster’s Inc. attention to the 3D rendering. You won’t see the graphic depth of any Toy Story film. But, you will see some sharp, vibrant renditions of some of the most iconic characters in video games and it sure is an absolute joy seeing them all come together on the big screen. They do some really interesting things with perspective in this film: for instance, the perspective of people in the “real” world playing these games vs. the characters inside each arcade box trying to play out their respective parts like a theatrical production for their audience of players. How the camera shifts through the screen produces an excellent effect for getting the audience to suspend their disbelief in regards to the fiction of video game characters being “alive” inside their games.

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Perhaps the best scene in the movie, but everyone’s already seen it in every trailer.

Another area where Wreck-It Ralph diverts from the Pixar formula is in the voice-over department; specifically how A-List names aren’t exactly rounding out the roster. Sure, John C. Reilly is a comic genius and other people really love what Jane Lynch does on Glee, but I don’t particularly care for anything Sarah Silverman does and how many people know that guy from 30 Rock and Will Ferrell comedies is an actor by the name of Jack McBrayer? I don’t mean to diminish the performance of any member of the cast, but I couldn’t quite justify shelling out the greenbacks for all of these names strictly for name recognition. The exceptions have to be Reilly and Lynch because their voices embody strict character types for Ralph and Calhoun respectively that represent the exact characters both actors became popular depicting for live action in the first place. I truly felt the vocal performances for every other character were acceptable, but not particularly remarkable which was especially disappointing for the proper video game characters represented in this film.

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Jane Lynch takes no prisoners as Calhoun.

Wreck-It Ralphis clearly a “videogame” movie designed for kids and its very successful opening weekend at just under $50 million dollars is a step in the right direction. But did all of you know that this film’s budget was a whopping $165 million bucks!? The actual production comes off as professional and clean, but also seems on somewhat of a shoestring because the fact remains that all of these software companies weren’t handing over their IP likenesses for peanuts. Licensing must have been the lion’s share of this production and I completely understand that, but this film doesn’t feel like a $200 million type of blockbuster. As such, I seriously doubt that Wreck-It Ralph will turn into a franchise, but will be viewed like a litmus test for how to combine IP licenses for adaptation purposes. This movie was a cool experiment fueled by nostalgia and laughs and held together by simplicity and relatability. Only gamers will get ALL of the Easter egg references throughout, but it is more than charming enough to hold the audience’s interest both young and old.

Movie News

Movie Review: The Man With the Iron Fists

Riding The Line

By: Chris “DOC” Bushley

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As the cold winds batter the east coast and the promise of winter creeps in your bones, a break from reality is sorely needed. What better way to stave off the impending flakes of snow than gathering the boys for a martial arts matinee? The Man With The Iron Fists would fit the bill nicely!

This love letter to martial arts movie – written, directed and “somewhat” starring Rza of The Wu Tang Clan fame – is a nice escape movie that leaves you gawking at the fight sequences while not entirely scratching your head over the weak story. Not entirely, but you will still find your hand wandering to your scalp in a unconscious effort to do it anyway! Let’s face facts, no one is going to see this movie because of the award winning plot anyway. It is a cornucopia of all the great martial arts movies you saw as a kid, with a few anime threads thrown in for good measure. You will see nothing new here, but at the end of the day — will you really care? You will still leave with plenty of action, blood and solid acting from Lucy Liu, Rick Yune and Byron Mann to satiate your hunger, but it is Russell Crowe’s performance that will stand out after the credits have run.

The character of Jack Knife (Crowe) is the iconic rogue character that everyone wants to be. A cool weapon a six shooter dagger that spins- a gliding swagger, sexually deviant and an overall aura of genuine “coolness,” Jack Knife is what carries this movie at points over the line of mediocrity. He is the character that is at the epicenter of all the plot threads, and for me, the highlight of the film.

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Not that the martial arts sequences are anything to laugh at! Intense and utterly brutal, they are the fluidity of the movie, making the 96 minute film seem to fly by even quicker than intended. All the sequences are extremely well done, giving a few new tricks to the old status quo, but it is the Gemini battle that is especially harrowing and gets the adrenaline flowing. Unfortunately, the action sequences and Mr.Crowe’s suave role are the only driving force to keep you in your seat instead of heading for a bathroom break or dozing off from the patchwork underlying story.

The story is nothing special. The typical betrayal, revenge, good vs. evil plot that sets the characters in motion, but has no true significance at all. Even when the Blacksmith’s (Rza) origin is told, there is no better connection to the character than the first time you see him on screen. He is so generic that the viewer has no real empathy for him even when terrible things occur. For the “star” character to be overshadowed by every other character, even the children, is a travesty to the script. But then again, did you think this was going to win an Oscar?

Overall, this is a kung fu homage that was well executed for its purpose. Weak story aside, the overall performances were solid and the action was insane! It rides the line of mediocrity but never falls too far down the rabbit hole nor ascends far above it! See it with a group of friends but don’t expect too much. I suggest you use a coupon to get your full moneys worth!

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All of you be completely honest with me.

Comic Book News

“The Governor” Returns In This Week’s CBLDF Liberty Annual 2012!

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This Halloween, amidst the ghosts and ghouls, we see one of the most vile comic book villains return in an attempt to fight censorship!

Image Comics has developed their fifth anthology benefiting the Comic Book Legal Defense Fund (CBLDF) this week, and it is full to the brim with some of the best talents in comics today! From Howard Chaykin and Sina Grace to Andy Diggle and Ben Templesmith, fifteen creative teams and solo acts have emerged from every corner of the industry in order to fight censorship!

Consisting of short stories, splash pages and some of the most eclectic images in the comics world, this $4.99 anthology will donate all proceeds to to the First Amendment legal work of the CBLDF, a non-profit group dedicated to protecting the free speech of the comics community.

Who better to stand up for free speech? Why, The Governor of course! Robert Kirkman’s most horrific creation to date, The Governor stars in his own short story in the anthology — and is sure to be a fan favorite! If you liked the ending from Season Three: Episode Three, you will be pleasantly surprised by Kirkman and Charlie Adlard’s look into the mind of The Governor in this tale. At least we get a better insight into just how and why he created his “special” room! Creepy!

So, be sure to pick up the CBLDF Liberty Annual 2012 this week and become a super hero yourself by helping fight censorship!

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ABOUT THE COMIC BOOK LEGAL DEFENSE FUND
Comic Book Legal Defense Fund is a non-profit organization dedicated to the protection of the First Amendment rights of the comics art form and its community of retailers, creators, publishers, librarians, and readers. The CBLDF provides legal referrals, representation, advice, assistance, and education in furtherance of these goals. For more information, visit www.cbldf.org

Movie News Reviews

Movie Review: Paranormal Activity 4

Been There, SAW That: Is Paranormal a Fatigued Franchise?

A Film Review of Paranormal Activity 4

By: Lawrence Napoli

I used to be a big believer in the Paranormal Activity franchise because the first film presented a unique take on the haunting genre by melding it with the visual style of “found footage.” The second film really expanded on this story’s mythos in its attempts to dig up the family history of the Katie and Kristi sisters. Then the third film came along and took a step back to revisit the literal past of the sisters as pre-teens that basically confirmed everything that the second film postulated. This brings us to the present day and Paranormal Activity 4 which certainly delivers some new tricks to the trade of visual effects and “authentic” surveillance footage, but grinds the progression of the overall story to a screeching halt. Evil sister Katie is still up to no good with a child we presume is Hunter who both happen to be set up in a brand new neighborhood and the audience will never be told or shown how or why. It is clear that the Paranormal franchise has resolved itself to max profits by saturating its sequels with fluff; not entirely unlike a certain Saw franchise that deployed 6 sequels that declined in quality yet were dirt-cheap to produce.

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So mom, we totally got weird things happening around here.

Writer Chad Feehan joins PA veteran Christopher Landon in scribing a tale that makes no real attempt to connect to the narrative established in any of the previous films. Simply carrying over the primary antagonist and dropping her in a completely new environment with no explanation how she got there is confusing to anyone who is familiar with the saga. Sure enough, series mainstays like authentic and believable dialogue in addition to unassuming yet ever-threatening environments play to this film’s strengths, but none of it stands on its own as we’ve all seen this before. It is so easy for horror franchises to fall into the whole auto-tuned, remix trap because to a large extent, the audience secretly covets the predictability as well as the same old gags that got people hooked in the first place (although the allure of mailing-it-in on the creativity front is perhaps more seductive). The franchise fatigue of been-there/SAW-that shows at the box office as PA4’s money total is way behind its predecessor’s sales. Needless to say, the much coveted word of mouth praise for these types of thrifty horror films isn’t there primarily because the story just isn’t there.

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I’m used to appearing in other people’s houses.

I don’t mean to take anything away from the neat ideas the writers and directors came up with to keep the presentation of this film somewhat fresh. Instead of camcorders, the protagonists rely on cell phones and laptop webcams to provide the handheld and static perspectives of the twisted events surrounding yet another seemingly innocent suburban family. Once again the visual effects of ghostly apparitions and surprise scares are integrated seamlessly by effects supervisor Eddie Pasquarello. Without question, the highlight of this film (effect-wise) is any scene that features the night vision exposed motion tracking dots of the Xbox Kinect in the family room. Even scenes where nothing actually happens are creepy enough to heighten the suspense of the moment which primes the audience for very decent chills when something does.

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I guess demons can enjoy Just Dance 4 like the rest of us.

Horror films traditionally do not feature award winning performances and guess what? Paranormal Activity 4 isn’t breaking that trend any time soon. Of course, the very format of this film doesn’t exactly give any actor the opportunity to succeed. Seldom is the case that anyone is in front of the camera long enough for the audience to read into the character’s expressions or emotions. Often is the case where the actors are asked to do absolutely nothing during a scene in order to build suspense. The entire cast does its job by presenting a well off, suburban family that isn’t entirely close, but not coming apart at the seams either. The one standout has to be the young actress Kathryn Newton’s performance as the older sister, Alex because she happens to be featured more often than any other member of the cast. Clearly, she is a very attractive girl that maintains the burden of making any kind of connection to the audience by conveying sheer terror and/or concern in what her character experiences. Yes, PA4 continues to promote the significance of female characters over males (once again, a jerk of a boyfriend is featured in Matt Shively’s rendition of Ben).

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Why are all children creepy and evil in these movies!?

Let’s not mince words: Paranormal Activity 4 is another fun little “found footage” horror flick, but clearly a step in the wrong direction of franchise fatigue. The audience is clamoring for a new perspective on this tiring formula. For instance: who is collecting all this footage to designate the respective nights where “incidents” occur? Where are the police amidst all these unexplained murders all these years? If the K&K sisterly coven is real, is there no entity of holy and/or paranormal police to deal with these malevolent groups? There is so much potential to warp the Paranormal formula to truly do the unexpected and feature a brand new perspective on these events which would revitalize the narrative and actually justify another sequel. A fifth Paranormal Activity has been confirmed for next year in addition to a spinoff that will feature a Latin flavor to it. Expanding the brand name is good so long as the fundamentals of fiction are being adhered to. However, if remixing, retooling and rebooting is the engine of expansion, the audience will be sure to send a clear and expedient message that the “same old” isn’t worth anyone’s time or money.

Movie News Reviews

Review: Playstation All-Stars Battle Royale Beta (PS3)

Sony’s Latest Nintendo Rip Off

A video game preview of Playstation All-Stars Battle Royale

By: Lawrence Napoli

I am a Sony kind of guy despite this current generation’s dominance by the Nintendo Wii and its signature motion control. Sony never really believed in motion control as its own Six Axis system at launch was a mechanic quickly scrapped by software developers because it was just plain bad. Yet Sony could not take its eyes off Nintendo’s sales. Thus, Sony went the shameless route and made an all but exact copy of the Wii’s nunchuck controller in the Playstation Move. The Move may work better than Motion Control Plus, but there are 2 reasons why Sony’s copy/paste failed: 1) It was released way too late in the PS3’s life cycle and 2) It was not implemented extensively into Sony’s first part titles like God of War and Uncharted. Decisions like this explain why the Sony brand has fallen behind both Nintendo and Microsoft and I can’t help but think that had a more dedicated and focused effort in R&D as well as in the board room would have disallowed any corporate strategy that only focused on low-jacking the competition.

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This looks good in theory, but haven’t we seen this before?

And here we are, once again, Sony copying one of Nintendo’s unique innovations in a 4 player simultaneous fighting game that features some of the most recognizable characters in games. Of course, I’m referring to Nintendo’s Super Smash Bros. Brawl and Sony’s clone job in Playstation All-Stars. Without question, Smash Bros. has infused much needed vitality in the fighting genre over the years by incorporating a multi-player party environment that no other fighter has been able to reproduce. Playstation All-Stars is, for all intents and purposes, a verbatim reiteration that swaps Mario for Metal Gear and Pikachu for Parappa. No amount of classy yet cryptic commercials from Sony indicating 10/23/12 as some sort of “game-changing” date is going to convince me that the release of Playstation All-Stars should be noteworthy because an impressive ad campaign doesn’t change what the product is: a simple game that comes off as a quickie money-grab for the Sony brand at the tail end of it’s current system’s life.

Story and Setup

There’s no real story to speak of in All-Stars, but then fighting games never seem to make ANY effort to push the concept of “story.” (*Note: this is a not so subtle hint to software developers to maybe try this in future projects) All the player knows upon loading the Beta demo is that 6 Sony brand characters are selectable and it’s time to punch people in the face once the game starts.

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The roster lineup seems quite diverse.

The player gets to choose from Kratos, the God of War, the Twisted Metal psycho Sweet Tooth, a formerly skinny Fat Princess, the stealthy Sly Cooper, Killzone’s Colonel Radec and Parappa the Rappa who hasn’t made a relevant cameo in anything since PS1. It’s nice to see some kind of visible scale between the selectable characters because it would just be ridiculous to see Parappa as large as Kratos, but I was somewhat surprised to see Sweet Tooth as the largest of them all (even bigger than Fat Princess). Although there were only a couple of stages available in the Beta, every stage will be interactive and ever evolving, thus requiring the player to not only keep his or her eyes on the 3 other players looking to pulverize them, but also the very real dangers from the level itself that can also knock you for a loop.

Graphics

Sony will be the first to inform the gamer that the shear difference in graphic fidelity between All-Stars and Smash Bros. basically places these games on different planets all together. It is true that the background stages and interactive elements look very crisp and bright, but the fact remains that being able to see the whole stage at the same time in addition to every other players’ characters requires a wide angle perspective that minimizes any appreciation for the character models themselves. Sure, there’s no difficulty in telling the difference between characters (unless everyone chooses the SAME character), but the only time the player will be able to get a good look at the avatar they chose is in the opening seconds before the match begins. Once the fighting starts the visual chaos of vibrant, fluorescent explosions dominate the screen. This makes it quite easy for the player to completely lose track of the character they were controlling.

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Stages and explosions are quite pretty.

Sound

The sound effects are pretty standard fare for a cartoonish style brawler so there really isn’t much to talk about with the exception of voice over work. It does seem that Sony got the original VO actors to produce sound bites for their respective characters (which is great), but in game taunts between fighters are very minimal and often drowned out by the aforementioned “explosions” (which isn’t so great). It remains to be seen if All-Stars will incorporate a fully functional single player story campaign to take full advantage of some of the most iconic voices in video game characters. This would certainly be a great opportunity for the sound elements of this game to truly shine.

Gameplay

It’s always, always, ALWAYS about play and control and when it comes to the precision that most dedicated fighting genre players demand of tournament style 2D and 3D games; All-Stars will simply give those gamers headaches. Combos are easily broken by other players butting in on a 1-on-1 situation but cannot be affected by the player that is being juggled. Launching an attack after evading (hold block button plus directional) always seems to fail against rapid button mashing and the block button seems like an overall waste of time.

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Button mashing is the ONLY order of the day!

The main reason for the uselessness of the block button is the lack of auto orientation towards the opposition that all 2D fighters enjoy. There will always be opposition on either side of the player in All-Stars, therefore blocking cannot be relied upon by holding directional control away from any threat. So yes, holding the block button will nullify attacks from the front, but there’s a million things happening on the screen that can hit you from behind, break the block stance and serve the player up on a combo platter for anyone else to enjoy. Staying mobile and mashing buttons is the best way to go in this game, regardless of the player’s choice in avatar.

Pulling off a special move or super combo is nothing like Street Fighter style directional swipes. They are as easy as pressing one button. Alterations in attacks can be achieved by holding directional control while hitting X, square, O, or triangle. Just like in any other fighting game, attack range and effectiveness is limited to the move set for each character and it is in this one aspect of gameplay where All-Stars deserves some recognition.

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It either takes excessive skill or blind luck to consistently place first.

All the characters play with completely different styles. Certainly, the player can select any character and button mash his or her way to success, but Kratos is meant to be played as a juggling combo specialist, Sweet Tooth is a slower tank using explosives to set up combos, Fat Princess is a different kind of tank that does better on the ground than jumping all around, Sly Cooper is all about stealth (his block button turns him invisible!), Radec is THE long range combatant and Parappa is only for the most skilled players wanting a challenge because his attacks have the shortest range and is pretty useless in general.

Final Judgment

I understand that this Beta was only a fraction of what the end game will involve, but it’s my understanding that expansions to this software will involve additional characters and having more options to do the same thing doesn’t seem too appealing. Sony is relying on nostalgia to drive this game’s sales which also explains the effectiveness of its ad campaign that follows right in line with the very popular “Michael Ad.” This game is not on the same level of greatness as its commercial and it would be downright highway robbery if Sony charges $59.99 for this frivolous attempt at originality.

Playstation All-Stars is a game that appeals to a much younger crowd that doesn’t have the same desire for story, control and overall relevance. It’s a pick-up-and-play experience that’s high on action, but low on sustainability (much like most of Nintendo’s Wii games today). The most reliable strategy to win in this game is to build your combo meter to level 3, use it to accumulate multiple KO’s and then play it safe until the match ends. It’s all very repetitive and bores me to tears. Although 2012 hasn’t quite delivered the hype that preceded some of the most anticipated games for this year, there are still some big hopefuls on the horizon in Hitman: Absolution and Assassin’s Creed III. Save you hard earned bucks for something like them and let Playstation All-Stars fade to black.

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