Kick-Ass – Movie Review

There is always a little skepticism when you go to see a movie that is based on a book/comic that you really enjoyed.  I always break the worry down into three areas: (i) that the characters won’t look/sound the way you had imagined them, (ii) that the creative team will make massive departures from the source material and “ruin” the story and (iii) if they do change the story for the movie, you’ll be constantly tempted to remind people, “Well, that’s not the way it happened in the book.”

So, with all that baggage I went to see Kick-Ass on a Sunday morning when everyone else was in church.

I really enjoyed this movie and think that the director and cast hit all the important notes from Mark Millar and John Romita, Jr.’s book.  There are only a couple of major deviations from the source material that I’ll discuss below.

The first hour or so of the film is almost 100% faithful to the comic source material.  The main character, Dave Lizewski, is just as awkward and dorky as he was in the comics and his buddies are just as nerdy.  Dave’s life, back story, desire to become a vigilante, budding relationship with the hot girl, first meeting with Big Daddy and Hit Girl are all ripped straight from the comics.

Powers #4 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: Walker and Sunrise’s murder investigation comes to a close.

What’s Good: It’s satisfying to see Bendis and Oeming planning for the long haul.  This issue the creation of what should be a new antagonist for the series for some time to come.  A great deal of detail is added to Erika Broglia’s character, a mixture of trauma and a twisted sense of tradition.  She ends up being a very interesting character and this issue leaves her in a very intriguing position, one where the door is left very much open.  It’s satisfying to see a character that could have been so easily clichéd be given so much depth.

But Erika’s not the only character brought to the table this month.  As last month’s cliffhanger suggested, this is also a big issue for Billy Mace, who looks to be another series fixture in the making.  Mace occupies a unique position in the book as a figure that is in touch with Christian’s past.  In many ways, he looks to act as Christian’s conscience for past misdeeds and imperfections.  He’s a dark character, while still being disgruntled enough to be oddly likable.  His scene with Walker is the high point of the issue, as he maintains a full conversation while literally leaping around and drinking vodka.

Mace also opens the door to another investigation of one of the more intriguing elements of Powers: Christian’s memory and specifically, the functioning (or non-functioning) of the memories of those who live incredibly long lives.  Bendis does a good job of portraying the pain of this ongoing cycle of dim recollections, while hinting at more exploration to come.

Art-wise, I don’t think that Oeming is physically capable of putting out a bad issue of Powers.  The scene with Billy Mace is fantastically plotted, as he bounds about the building.  Oeming is even able to make the most mundane things look dynamic and beautiful; Christian’s jog in the park is absolutely amazing to experience.

Powers #3 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: It’s a high-speed, super-powered chase as Walker and Sunrise try to get their murder suspect back to the station in one piece.

What’s Good: This is just a gorgeous display of sequential art at its finest.  Not only is Oeming’s work beautiful to look at in and of itself, but as always, his sense of narrative flow and storytelling is also creative and really fun.  Oeming’s work remains explosive, yet comfortingly adorable.  He also creates a wonderful sense of atmosphere and tension throughout the issue.

As always, the actual action mirrors the panel structure (if you can call it that), giving the book a fast, organic feel.  For instance, a car drives from one panel to another, snaking its way through a double-page spread.  How can you not adore something like that?

His work on a tense scene in a sewer is also in wonderful contrast with the rest of the issue, which is a high-paced car chase.  Oeming’s style easily shifts to accommodate and create a real sense of claustrophobic tension.  It’s great stuff, as is that car chase, which explodes with a real sense of speed.  Colorist Nick Filardi also helps quite a bit and the usage of light in the sewer scene is amazing, telling a story in itself.

On Bendis’ end, the chase itself is perfectly paced.  There’s also a very well timed flashback towards the end of the issue that both feels natural and surprising; it feels like it came out of nowhere, yet also satisfies.  Bendis also hits you with one big, badass ending to this issue.

Powers #1 – Review

by Brian Michael Bendis (writer), Michael Avon Oeming (art), Nick Filardi (colors), and Chris Eliopoulos (letters)

The Story: Detectives Christian Walker and Enki Sunrise try to learn to live with each other as they embark upon their first case together.

What’s Good: Powers is a rightfully celebrated series and I can assure you that this relaunch issue lives up to its previous volumes.  In more or less every way, this is the definition of what a good comic should be.

Certainly, all of the Bendis hallmarks are in place.  The staccato dialogue and the creative profanity are in fine form.  That said, what also returns is Bendis’ ability in Powers to portray multi-layered, real, and complex human relationships.  It’s all the more impressive that he manages this with Enki Sunrise, a character that has remained ill-defined and two-dimensional up until this point and was one of the few weak spots of Powers’ last arc.  Finally, Bendis manages to flesh out the character a bit and give her a little more life.  Moreover, he’s actually well on his way to making her likable.  Readers of Powers will know this to be no small feat.

And he does this through minimal, subtle strokes.  In a few pages of near-wordless action, we arguably learn more about the character than we have through the entirety of the last arc.  Furthermore, when she attempts to forge a bond with Christian, the dialogue is expertly played; her conversation is scattered, stumbling, and awkward.  Really, the syntax says as much about the character and her desires as her actual words.

For a first issue, Bendis also manages a large scope.  Upon finding an old associate dead, we get a flashback to a period of Christian’s past that is all gaudy film noir.  I’ve always loved Bendis’ visiting of Christian in previous eras, as his treatment of these time-periods are evocative yet honest, and this is the case here.  I also have always enjoyed noticing the subtle differences, and similarities, between Christian’s personality then and now.  It’s an absolute pleasure to see a Christian this month that is, for lack of a better word, an asshole, if not a tag-along.

Beyond this, the sense of mystery is palpable and Bendis makes me want more.  This is also thanks in large part to Oeming’s artwork, and this is his best work in some time.  His paneling is as abstract and creative as ever (one memorable double-page spread tracks our characters’ path across a street and up a building), without causing the confusion that Powers’ previous arc was at times guilty of.  Colorist Nick Filardi also improves the series, alleviating it of the slightly excessive darkness of prior issues.

Oeming’s style urban environments are absolutely beautiful despite their seeming simplicity, heavy with mood and dark ambiance.  His rendition of the flashback is also well done: it glows with just enough life and vibrancy to distinguish it from the present day without becoming overly self-conscious, and of course ,the present-day is as grim and gritty a place as ever.

What’s Not So Good: None whatsoever.  Some might say that we didn’t get enough information regarding the actual murder and make cries regarding plot progression.  Relax, it’s only the first issue and besides, Powers has long been more about the characters anyway.

Conclusion: Comics bliss… This should satisfy even the most stalwart Bendis-hater.

Grade: A

-Alex Evans

KICK-ASS Trailer

HOPE IT’S STILL UP.

Kick-Ass #7 – Review

By Mark Millar (writer) John Romita Jr. (pencils), Tom Palmer (inks), Dean White (colors)

The Story: Red Mist’s ambush of Dave, Big Daddy, and Hit-Girl, comes to a brutal crescendo with the death of a major character, while Millar and Romita pay homage to the everyday fanboy.

What’s Good: Well, this series has finally caught up to its opening scene of Dave getting tortured and recounting his origin story. If you like the gory, ultra-violent stuff that has characterized this comic to date, then you’ll love this issue. Personally, I have always liked the whole concept/existential aspects of the idea behind this comic and not really cared for the gore. I’m happy to say that Millar does explore these themes a little here and satiates gore-prudes like me.

It’s weird, unique, and borders on great when the characters in this comic talk about comics being just fantasy. It reminds the reader that this comic is “real,” i.e. based on everyday life and no superheroes, but then in clicks that this is still a comic. This dynamic coats a nice “4th wall” layer to the comic in a un-in-your-face, non-Dead Pool manner. So, the way I view this comic is that it is a unique use of the medium to play on the whole comic metaphor, while exploring the real-world sociological effects of comic books.

Outside of all this, there is some interesting character work and Millar does a good job of making Red Mist into a true “villain” and Hit-Girl into a hero.

The artwork is off the hook, but I gotta be honest, something doesn’t sit right with me seeing JRJR drawing guts and blood to this level. I’m not sure why this is, but it is.

What’s Not So Good: Big Daddy’s narrative seemed very, very contrived. I know this is all about fanboy culture, but the specifics of his tale we’re a “Come on, man!” moment. If it wasn’t for JRJR drawing an unbelievable micro-shot of all the great Marvel Silver Age Covers, it would have been a total loss. Also, Dave actually surviving his torture and beat down was far less than plausible. It would have been better to just lighten the torture and make his escape believable. Lastly, Hit-Girl has one of the all-time corny lines ever to be written in a comic. I’ll leave it to the reader to find it (hint: combination).

Conclusion: It’s hard to get into this series’ momentum when issues are produced so sporadically, but KA has so much charge and energy that it is easy to fall back into its kinetic feel. Truly, there is nothing else like this on the stands. It’s one of a kind.

Regarding this issue specifically, it does what every previous issue has done: leaving you excited for more. But in this issues, there is that true heroic pseudo-superhero vibe to the ending and the direction of the series. However, I’m sure Millar will turn this flow around into some twisted, distorted and unexpected fun current.

Grade: A-

-Rob G.

Incognito #5 – Review

by Ed Brubaker (writer), Sean Phillips (art), and Val Staples (colors)

The Story: Ava Destruction and Zack Overkill go to ground before Zack discovers the awful truth about his origins.

What’s Good: Everything you’ve liked about Incognito returns for another month.  Sean Phillips’ art is a key example of this; completely consistent in its style, tone, and quality without any dips or hurry. It continues to capture Brubaker’s weird mix of dark, hard-boiled noir and bizarre, ray-gun toting 60s sci-fi.  Incognito has been nothing short of excellent every issue, and #5 is no different.

I said it in my review last month and I’ll say it again now: I really, really like Ava Destruction as a character. Once again, despite her clear mental imbalances and homicidal tendencies, she remains impossibly likable. In that sense, the reader’s own relationship to her mirrors Zack’s. She’s dangerous, bloody, and generally awful. Yet relentlessly attractive and compelling.  It’s her very strangeness and ruthless and carefree violence that pull us towards her. And when Brubaker adds a level of vulnerability to her this month, it only makes us embrace her all the harder.

The twist regarding Zack’s origin occupies a central place in this month’s issue, and while it conveys, thanks in no small part to Phillips’ art and Staples’ neon colors and that throwback grindhouse/sci-fi feel, it also truly is a culmination of Zack’s existential struggles. In fact, Zack’s discovery and the subsequent conclusion of this issue are both beautiful in their being a concrete yet almost surreal manifestation of Zack’s loss of identity. Indeed, it fits the title “Incognito” perfectly. Despite its reliance on strong interior monologues, this series once again serves to question the nature of identity and whether the concept carries any validity at all. At the end of this issue, I’m leaning towards “no,” and yet paradoxically, I still see Zack as a distinct person that I’m invested in. This is testament to Brubaker’s skill as a writer that avoids clear answers.

Simply put, this is a highly intelligent issue that takes the book’s themes to an extreme new  level, setting up a bloodbath finale that is sure to define what it is to be “Incognito.”

What’s Not-so-Good: The short pair of scenes with Zoe Zeppelin didn’t feel particularly integral, especially given how awesome the rest of the book was. They’re clearly there as to explain the S.O.S’s presence in next month’s battle royale, but I can’t see why they couldn’t have been shortened, or combined into one scene. Then again, I’m biased as I really just want more Ava.

Conclusion: As I said last month, Incognito is a book that has given one of the best writers in comics today the freedom to do what he does best.  This is a writer in his prime, without constraints, making his ideal comic book.  Bottom-line? Buy the book, buy the trade, just read it!

Grade: A

-Alex Evans

Incognito #4 – Review

by Ed Brubaker (writer), Sean Phillips (art), and Val Staples (colors)

The Story: The S.O.S. has finally caught on to Zack’s night-time activities as our “hero” finds himself trapped in an unenviable situation.

What’s Good: Showing, not telling.  This phrase has haunted more or less every creative writing hopeful at one point or another, but in this issue, Ed Brubaker proves his mastery of the well-worn adage. Rather than have Zack tell us how his psyche is developing through textboxes, Brubaker uses his scenes and images to make these internal shifts all the more significant.

Two notable occurrences in this issue are the surprise office memorial for Farmer and the encounter with Amanda directly afterwards.  The former is a scene that shows Zack on the cusp of acknowledging an inexplicable positive in humanity and the “average Joe” he has so derided, yet due to letting the scene speak for itself, the reader almost seems more aware of this moment than Zack himself.  Meanwhile, the scene with Amanda plays up the feeling of paranoia that pervades this comic, making the reader actually share Zack’s anxiety right alongside him.

This is just a further nuance to the great writing that has continually propped up this series.  Paranoia is the game in this issue, and Brubaker plays it well.  Enhancing this is a further graying of the “good-guy/bad-guy” divide; not only is Zack hazy, but so too are the S.O.S., who turn out to be a far cry from SHIELD.

The character that sees the most development this issue is without a doubt Ava Destruction.  On the few pages that she appears in, she is utterly infectious.  Despite being terrifyingly insane and completely homicidal, she carries an undeniable charm and likeability.  The fact that we will be getting even more of her next issue has me excited.

Art-wise, Sean Phillips fans no what to expect.  The same dark, heavy pulp fare continues in this issue with no sign of slippage.  Phillips is nothing if not consistent.

What’s Not So Good: I didn’t feel that the internal monologue/textboxes were up the standard set by previous issues.  Don’t get me wrong, they’re still fantastic and were this any other comic, I would be enthralled; it’s only due to the unbelievably high bar that the series has set for itself that I find myself writing this.

I think a good part of it comes from what I mentioned about “showing, not telling.”  Due to Brubaker allowing the scenes to tell Zack’s emotions rather than the textboxes, the internal monologue becomes much more event-centered.  You don’t get the sort of overarching ruminating that you got in past issues.  It’s just feels simpler and more down to earth, with Zack more focused on his predicament than on the nature of his existence.

Also, I’ve always had a bit of a pet peeve for misleading covers.  Know that nothing close to a super powered battle between Zack Overkill and Zoe Zeppelin occurs in these pages.

Conclusion: Incognito remains an example of one of the top writers in comics today doing what he does best with complete freedom.

Grade: B+

-Alex Evans

Kick-Ass #6 – Review

By Mark Millar (Writer), John Romita Jr. (Art), Tom Palmer (Inks), and Dean White (Colors)

Some Thoughts Before The Review: I’ve enjoyed the hell out of Kick-Ass so far. The concept is rock solid, the characters are engaging, and the situations that drive the story forward successfully straddle the line between gloriously over-the-top and uncomfortably realistic. However, and this is a big “however,” that doesn’t mean that I can simply ignore the disappointingly long wait between issues. It’s not only frustrating as a reader (and fan), but also downright irritating as a reviewer because the wait just adds another factor I must consider when writing about and grading each new chapter of the series.

The Story: The origin of Hit-Girl and Big Daddy is revealed in the latest issue of Kick-Ass. In addition, Hit-Girl asks Kick-Ass and the Red Mist to join them on their next night out. Is a new superhero team in the works?

What’s Good: As usual, Kick-Ass delivers in a way that only Kick-Ass can. Though it’s not necessarily in the way that you might expect. That said, the latest issue of the series still has all the nerd-fantasy graphic violence, John Romita Jr. artwork, hip/lewd Mark Millar dialogue, and cool ideas that you pick up the series to experience. Because let’s face it, that’s the stuff that makes you a better person. But it’s the relationship between Hit-Girl and Big Daddy that makes the book linger in the mind. Both disturbing and incredibly sweet, the relationship is able to help the team’s origin story transcend it’s more generic elements.

What’s Not So Good: The sixth chapter of Kick-Ass requires some serious suspension of disbelief. While I have no real problem with that, it is bound to irritate some readers. Couple that with Millar’s (occasionally annoying) idealized dialogue (would Hit-Girl really be ready with a Silver Age quip?) and you have one divisive comic.

Another thing that I must mention is that I can’t really decide on whether Kick-Ass #6 was worth the wait or not, especially considering how fast it reads. The brisk pace does a nice job of moving the plot along and delivering information, but it also makes the ending hit like a brick wall. Sure it’s a pretty solid cliff-hanger, but what good is a cliff hanger if all the momentum is lost while waiting on the next issue?

Conclusion: Kick-Ass #6 isn’t really going to change any minds about the series, but it delivers for the fans. And that’s what matters most sometimes.

Grade: B

-Kyle Posluszny

Incognito #3 – Review

Ed Brubaker (writer), Sean Phillips (artist), Val Staples (colorist)

Story:

Zack Overkill is in a tight spot. As an unwilling participant in a witness protection program for villains, he’s having a hard time reconciling the liberties and excitement of his old life for the doldrums of his beige, office-filled existence. But since he’s been getting his powers back, things have changed – and not for the better. His so-called friend is mooching off his abilities, his parole officer’s pissed, and worst of all; his old boss, The Black Death, has agents on his trail.

And now, of all times, is when that “friend” wants him to go rob a bank, or else he’ll let everybody know who Zack really is…

The Good:

There’s good, and there’s loads of it. Brubaker’s writing, which has always found the balance between descriptive and evocative, finds a certain strength in combining his two passions – noir and superheroes – into a single project. The characters are amusing, intriguing, and, most of all, relatable, but to a stronger extent; many of us’ve had a fantasy of watching a maligned workplace burn to a cinder, but Zack Overkill could actually do it. And it pains him that he’s forced to work there, to troll around like a regular shmoe in a shit job, when he could be doing so much more.

The art from Phillips is phenomenal. As seen in his run on Criminal with Brubaker, he draws characters with personality and clarity. There’s distinction, perspective, and a certain stylization that makes everything easier to deal with – which makes the story that much more engrossing. His gritty style is a perfect setting for the story, and even with rayguns abounding, these elements come across as cool, rather than trite.

Val Staples brings a strong, savvy style of coloring that plays well with contrast and effect. It’s a great match for Phillips’s pencils, and is that third, truly crucial piece to bringing Brubaker’s words to life – because not only does it bring life, but it also brings personality to the pages. And when coloring can do that, you’ve really hit the nail on the head.

The Bad:

It’s very hard to find anything bad or disappointing about this book. It’s a cool, fast, fun, easy read with multiple layers to it. The colors are spot on, the art is great, and the writing is a perfect fit. If you can find something wrong with it, I’d imagine you’re trying far too hard. But, I do have one complaint – we were kept waiting almost two months between issue two and issue three. Brubaker apologizes profusely in the back of the book, saying that “from here on in, we should be monthly for the rest of the series and then we’re going right into the next run of Criminal, with no break this time.”

…I suppose we can cut you a little slack, because you two really delivered with this issue, and hopefully, the rest of the series.

Grade : A

Incognito #1 – Review

By Ed Brubaker (Writer), Sean Phillips (Art), and Val Staples (Colors)

Some Thoughts Before The Review: While I’d really rather not add another series to the old pull list, I couldn’t possibly ignore something new from the Criminal team of Ed Brubaker and Sean Phillips. From concept to creative team, Incognito has all the right pieces to be a winner. That said, the series definitely has a bit of baggage to shed considering both the high bar set by Criminal and the hype that surrounds the project in general.

The Story: Serving as both a character introduction and an origin story, Incognito #1 introduces the reader to Zack Andersen, a man that was once known as Zack Overkill, one-half of the super-villain team called the Overkill Brothers. You see, Zack is now taking part in a criminal rehabilitation program set up to help captured super-villains reintegrate into society so that they can function “normally” thanks to a steady job and a side of power muting drugs. Zack doesn’t like his new lot in life all that much and, in the midst of a downward spiral involving drugs and ruminations about the nature of life and society, he decides to do something about it.

What’s Good: I really like the concepts and society on display in Incognito #1 and the overall tone of the book. Villains almost always prove to be compelling when given center stage and Zack Overkill is no exception. And while it’s a bit early to discuss the strength of the story, there are some interesting plot threads developed throughout the book that will definitely keep me around for at least another chapter or two.

On a technical level, the debut of Incognito impresses for the most part. The artwork by Sean Phillips is well-done and complimented almost perfectly by some stylish color work, courtesy of Val Staples. As for the writing, Brubaker effectively captures the personality and mindset of Zack Overkill through just the right mix of dialogue and narration.

What’s Not So Good: For as much as I like Brubaker’s handling of Zack Overkill, the character still comes across as a bit tired and cliché. In all honesty, I found the society being featured far more engaging that any particular aspect of the main character. Also worth noting is that a few scenes seem to lack a final layer of artistic polish, though I’m not entirely sure whether it is a problem with the artwork or the colors.

Conclusion: Incognito #1 is an interesting enough start to what should be a fun, dark series. While not quite as exciting as I had hoped, the issue contains enough hooks to keep me around for the near future. Besides, I expect things to improve quite a bit once Brubaker reveals more of Zack Overkill’s world and the characters that inhabit it.

Grade: C+

-Kyle Posluszny

Kick Ass #5 – Review

By Mark Millar (Writer), John Romita Jr. (Pencils), Tom Palmer (Inks), and Dean White (Colors)

Some Thoughts Before The Review: Mark Millar, John Romita Jr., and the rest of the creative team can rest easy knowing that Kick-Ass does indeed kick some serious ass (so far). And it’s a good thing that it does or else I would have to go on some sort of rant about how the wonky release schedule is testing both my patience and my memory. In all honesty, as long as Millar and company continue to prove the old adage about how good things come to those who wait, I can forgive the months between each installment.

The Story: Kick-Ass #5 is all about the new hero in town. He calls himself Red Mist and is the media/Internet darling taking up the spotlight once owned solely by Kick-Ass (A.K.A. Dave Lizewski). With frustration mounting and the feeling that his pride is at stake, Dave decides to reach out to Red Mist in order to find out what the deal is.

What’s Good: While a bit slower than previous issues, the latest (and greatest) chapter of Kick-Ass does just about everything right. Truth be told, I was a bit concerned about how Mark Millar would handle the other homemade superheroes in the series, especially considering how over the top the introduction of Hit Girl is, but he pulls it off spectacularly in regards to Red Mist. In fact, I would go as far as to say that the new character proves to be great for both the series in general and the title character.

For the series, Red Mist helps to keep the story grounded in reality thanks to personality traits that are all too relatable. As far as Dave Lizewski is concerned, the dynamic between him and Red Mist brings a lot of much-needed depth to the character. While I won’t go into detail in order to avoid spoilers I will say that I finally felt truly comfortable rooting for Dave the hero and Dave the teen by the end of the issue. And that, readers, is a pretty big deal.

Visually, I have no complaints at all. While I’m sure the style isn’t to everybody’s liking, I feel it’s a perfect fit for the tone of the series. John Romita Jr. and his team continue to do great things with both the action and the character work. Particularly impressive is how highly expressive the characters are, as it goes a long way towards making them feel (and look) that much more alive.

What’s Not So Good: While I definitely enjoy Dave’s narration throughout the book some of the namedropping in regards to comics and pop culture come across as a bit much from time to time. On the plus side, it adds to the sense that the story is taking place in “our” world. But on the negative side it makes it seem as though Millar desperately wants the series to get mainstream attention. A little subtlety in that regard would be welcome.

Conclusion: In my opinion, Kick-Ass #5 is the best issue of the series yet. While not as flashy, extreme, or shocking as the others it makes an impact by proving that the series has more than enough personality, character, and depth to be worth investing in. I’ve said it once and I’ll say it again (and, if the creative team keeps this pace, probably again and again): Kick-Ass kicks some serious ass.

Grade: A

-Kyle Posluszny

Criminal #7 – Review

By Ed Brubaker (writer), Sean Phillips (artist), Val Staples (colorist)

The Story: In the conclusion to the “Bad Night” storyline, Jacob discovers the full extent of Iris’ treachery, but must think and act fast if he is going to exact his revenge, because Detective Starr is moving in for the kill– especially after Jacob humiliated him after their last encounter.

The Good: What I love most about Criminal is how Brubaker and Phillips strive to make this book as accessible and new-reader friendly as possible.  Storylines like “Bad Night” are short, running no more than four issues in length, and self contained so that after one story ends, another begins with a new cast.  Because stories only have a few issues in which to be told, they are by necessity tightly paced and engaging; Brubaker gets right to the point and introduces you to the cast and sets up the conflict so that he has enough time to let it unfold.

This is important because in an industry dominated by superhero comics with decades of continuity attached to them, a creator-owned crime comic like this needs every inroad it can get to attract readers. And Criminal overwhelmingly succeeds because it is designed to be enjoyed by anybody.  I put this idea to the test and gave my dad, a longtime Mickey Spillane fan, the “Bad Night” storyline and was pleased when he came back to me the next day asking if I had anymore issues to share with him!

The Not So Good: My only problem is that Criminal will be taking a five-month break so that Brubaker and Phillips can release Incognito, another crime story with a superhero twist.  Not a bad problem for a good title like this, really.

Conclusion: Criminal proves that variety really is the spice of life.  This is a quality comic and great entertainment.  Not to be missed!

Grade: A

-Tony Rakittke

Kick-Ass #4 – Review

By Mark Millar (writer), John Romita Jr. (pencils), Tom Palmer (inks), Dean White (colors)

I never know what to expect when I crack open this book and that’s what makes it such a compelling read. Perhaps the only staple that remains constant is knowing that Mark Millar and John Romita Jr. will treat us to a visceral feast of violence and dizzying action – it’s just a matter of when it’s going to happen. In this latest issue, we get the insanity out of the way right off the bat and what’s left is our hero, Dave, dealing with the potential consequences.

Once again, Dave wrestles with the moral implications of where he’s been and what he’s witnessed. He knows quitting would be the right thing to do, but with more mysteries (or should I say mysterious heroes) being unveiled it’s hard for him to hang up the costume. These two new characters, Hit Girl and Big Daddy are no joke. They’re hardly bonafide heroes, but more deranged vigilantes. What they do to the gangsters they encounter is merciless and disgusting. Oddly, they come off like a much more hardened Batman and Robin (from The Dark Knight Returns).

John Romita Jr’s art is on par with his usual excellence. It’s not as strong as his work on Amazing Spider-Man #569 that came out this week, but its certainly stands on its own. And while Dave is increasingly reminding me more and more of a young Matt Murdock from Romita’s Man Without Fear mini-series, the general style and designs for each character is fresh, grounded, and unique. Things do get a little “too” superhero-y when we see Big Daddy and Hit Girl jumping from rooftop to rooftop, but that’s fine. I can deal. Another thing that struck me is how the art seems to be turning away from its more realistic look and towards an almost more cartoony style. Am I the only one who sees this? It’s a bit odd that this week’s offering of Amazing Spider-Man looks more grounded in reality than Kick-Ass. But hey, maybe I’m just seeing things.

As much as I find these new characters disgusting, I couldn’t help but oogle over the carnage they inflict. And the hilarious last sentence uttered by Hit Girl on the final page literally made me spit my drink out at McDonalds. Well played, Millar. Well played. (Grade: A-)

– J. Montes

P.S.: Hey Millar, if you’re reading this, send me an email. I want to interview you (it won’t let me PM you on your message board)!

Kick-Ass #3 – Review

By Mark Millar (writer), John Romita Jr. (pencils), Tom Palmer (inks), Dean White (colors)

Just when I thought this book might be falling a bit too comfortable with itself, Mark Millar (and John Romita Jr.) shock the hell out of me. The first half of this book covers the worldly reaction to Dave’s last costumed outing where he dispatched a thuggish group of Puerto Ricans. He revels in the spotlight in secret while trying to keep his normal persona as grounded as possible.

Because there’s no real way to hide the damage his body takes, Dave takes the impression that his schoolmates think he’s the kind of hardened soul who refuses to ever go down in a mugging. Even the girl he’s fond of, Katie, seems to have taken a liking to him. But when word reaches Dave’s ear that everyone thinks he’s a poor gay boy who’s beaten for sex every other night, he uses it to his advantage, playing upon Katie’s sympathies.

The first half of this book feels like it’s going through the motions of the previous issue. We know it’s eventually going to build to something, but we, like Dave, have to keep things real by day before we can go play at night. And it’s not that these “out of costume” scenes are boring, we’re just dying to see what happens to our hero next. This build up and anticipation once again serve the book in spades as we are eventually presented with one of the most shocking moments we may ever see in a comic book. I mean, really – I knew that coming into this series we’d get some hard-edged violence, but what happens in the last five pages of this book will make you gasp, wince, and drop your jaw to the floor. It affected me so much that I grabbed Daniel (the other WCBR editor) out of his room and made him see these pages for himself (to which he ran away screaming about spoilers)! I’m an evil bastard.

I remember listing to an interview with John Romita Jr. saying how he had to be careful with what he did with this series because of his relationship with Marvel. I’m guessing he threw that all out the window with this issue, because not only is this (most likely) the first time I’ve ever seen nudity from Romita Jr., but the scale of violence on display here is off the charts. I honestly never knew he had it in him, and it’s great to see him break out of his standard mold.

Just when I thought I’d be safe and happily entertained with this book, Mr. Millar throws a huge monkey wrench into the story. And yet, what happens to Dave seems so obvious, as if we should have seen it coming. This one really pushes the envelope. It’s also one of the few comics that have made me yell, “Oh shit!” out loud. Kick-Ass is, dare I say it, treading into Garth Ennis territory now. (Grade: A)

A Second Opinion

Let me just say that I am not against something featuring a bit of the old fashioned ultra-violence. In fact, if put in the right context, I believe some graphic violence can serve a story well by creating a special kind of emotional or gut-level response to the action taking place. I say this because the final pages of Kick-Ass #3 shock in a way that both serves and elevates an already compelling story. Simply put, Millar and Romita Jr. have taken Kick-Ass, and, dare I say, comics in general, to an entirely new level with their brutal, controversial, and uncompromising vision.

I am extremely pleased with Millar’s writing for this issue, as main character Dave finally feels like a sympathetic character worth rooting for. While I had been enjoying this series, especially the concept, I never really had any emotional attachment to Dave. Millar has finally given me a reason to care for Dave as he is given some much needed complexity and depth that adds a lot to the story. If I have one small complaint, and it is indeed very small, it is that occasionally it feels as though some of the edginess is a bit forced.

As for the art, there really isn’t a whole lot I can add to what was already said in the main review. John Romita Jr. knocks this one out of the park. The violence actually brought to mind The Walking Dead, which is always a good thing. I always wondered what that series would look like in color and now I have a pretty good idea. As for the characters, expressions are spot on and, as weird as this sounds, I never realized how much well drawn eyes can bring to a story. The level of emotion Romita Jr. conveys through the eyes alone is pretty incredible. As for pacing, the action from panel to panel is spot on, whether things are slow or hectic. In short, this is some pretty great stuff.

What more can I say? Kick-Ass #3 steps things up in every possible way and I really couldn’t be much happier with the result. Pick this one up. (Grade A)

-Kyle Posluszny

Kick-Ass Trailer

Chris Hartley sends word that that he’s created a fan-made trailer for Mark Millar and John Romita Jr’s Kick-Ass comic. Normally, I wouldn’t post this kind of thing, but when the effort is quite good, I’ve got to oblige. Check it out – Chris does an excellent job with the sound effects, especially with the bone crushing fight scenes.

Revver:
http://revver.com/video/795195/kick-ass-comic-trailer/

Direct Download (10MB .wmv):
http://www.sendspace.com/file/az1u9r

Kick-Ass #2 – Review

By Mark Millar (writer), John Romita Jr. (pencils), Tom Palmer (inks), Dean White (colors)

If you read Secret Invasion #1, the pacing of Kick-Ass #2 will feel all too familiar. The story commences at a slow pace, but once the Millar / Romita train gets rolling, there’s nothing that can stop its momentum. And as per usual, the creative team delivers another frantic issue that’ll tickle your funny bone, make you gasp in disbelief, and make you nod your head in that “Well, what did you expect would happen, you idiot?!” sort of way.

Our hero, Dave, goes through months and months of rehabilitation after getting beat up, stabbed, and hit by a Mercedes. We see the emotional trauma he goes through, but even worse, we see how his foolishness has devastated his father. And it’s really Mr. Lizewski who’s the real hero of this story. He occurs tons of debt after paying for Dave’s multiple operations and other medical expenses. When Dave finally comes home from the hospital, his father spares no expense in making sure his son has the very best of homely comforts.

Dave, it seems, has finally realized the pain he’s inflicted on his father and intends to make things right. He swears off stupidity, burns his comics, and eventually makes it back to school. But like a recovering alcoholic, there’s never a real cure for the sickness. It’s a fight you have to stave off everyday. And Dave’s real weakness is exposed when he puts the tights back on.

Again, Mark Millar does what he does best. He mixes violence, controversy, and human drama into a tight package. Yes, there’s another brawl this issue, and this is where the controversy may come in. Is sheer will-power enough to tackle a group of grown men twice your size? Or is it just dumb luck? I don’t have an answer for you, but in a demented way, it just works and it’s completely acceptable.

If anyone does any real ass-kicking this issue, it’s John Romita Jr. Naysayers will silenced not just by his storytelling, but by his action sequences as well. There’s no gratuitous single or double page splashes filled with crazy over-extended limbs. In fact, there’s not any real gratuitous violence in this issue at all. It’s just real. This is where the sure brilliance of the creative team comes into play. Showing a lot of restraint, they keep the action grounded. When Dave’s on the ground being beat, he doesn’t do some crazy move to get back on his feet, he flails his legs and arms just hoping he’ll connect with a devastating blow. And that’s what this creative team does: They connect with us on a primal perverse manner. It’s we, the readers, who are the gratuitous ones. (Grade: A+)

– J. Montes

Criminal Vol.2 #1 – Review

By Ed Brubaker (writer), Sean Phillips (art), Val Staples (color)

This is my favorite Criminal story yet. Ed Brubaker snags you in from page one and doesn’t let go. The beauty of this book is while the story will continue for issues to come, the story presented here is very much self contained. Sean Phillips is in top form on art duty. The facial expressions and body language we renders give so much life to Brubaker’s script while Val Staples does a great coloring job portraying the mood of urban life in the 1970s.

The story follows the lives of two men – one white, one black. Both of their fathers were crime lords, thus in a way, they were raised like brothers. As they’ve grown into men, the white kid (now a man) goes to college and is groomed to take the mantle of his father’s empire. The black kid tries to find his own way, becoming a boxing champ. As the two men go their separate ways, destiny comes in the form of a woman and their lives are once again entangled.

Words can’t begin to describe how enamored I am with this story. It’s honest, hard-hitting, and so well written. Brubaker does such a wonderful job getting you into the heads of both men and their situations. You can’t help but feel sympathy for either of them, despite their faults. When the crap hits the fan (and it does), it’ll leave you gasping for what happens next. Like I said, the story will continue, but with this expanded issue (32 pages), Brubaker is able to keep it all self contained. Don’t wait for the trade to come out. Buy this today. You’ll be happy you did. (Grade: A+)

– J. Montes

Kick-Ass #1 – Review

By Mark Millar (writer), John Romita Jr. (pencils), Tom Palmer (inks), Dean White (colors)

Everything you’ve heard about this book is true. It’s gritty, real, and violent. For those not in the know, the book’s premise is simple: A high school kid who’s a big comic book fan wonders why no one ever dresses up and does the “super hero thing” in the real world. He decides to be the first and is (literaly) hit with a grim reality.

What’s so fascinating about this book is not just how grounded in reality it is, but also how it comes to its conclusion. I know there’s more issues coming, but from the catastrophe we witness, you’d think there wouldn’t be much left for a second issue. What also surprised me is just how much narrative we’re given. I was expecting a “silent” type of book where Millar and Romita take us out on a day with this kid. Instead, we get a complete origin story. This isn’t a book you’ll breeze through in a few minutes – there’s a lot to read!

Mark Millar does an excellent job getting us into the shoes of the “hero” and learning about the world he dwells in. His references to other comics aren’t distracting either – this is stuff comic book geeks really talk about! And John Romita Jr.? What’s there to say? He’s a god. This is easily the best art he’s produced in the last few years. If you were expecting the rushed look he did in World War Hulk, you’re in for a big surprise. The world he draws is completely alive and full of detail. His storytelling is spot on perfect, and when things get frantic, he steps up to the plate and hits us a home run. Romita’s portrayal of violence stings and there will be moments that’ll genuinely make you cringe. Because it’s all real. And reality hurts. (Grade: A)

– J. Montes

A Second Opinion

I knew little about the book, but I like that it’s based on reality, not the Marvel universe of superheroes. Love the nerd references, lots of funny moments. This is a truly great origin story.

I didn’t expect the ending as well. How does he get to be a superhero if he’s almost dead? I can’t wait for next issue! Every comic book fan needs to buy this comic, it’s about you! (Grade: A)

-Daniel Yanez