Identity Stunt #4

 

Writer: Joe R. Khachadourian

Artist: J, Briscoe Allison (artwork), Juancho Velez (colors) A. J. Scherkenbach (Lettering)

Publisher: Markosia Enterprises (December 2018)

 

Here comes the final act of the film.

Flip your collars up, push up your sleeves and tighten the straps on your cut-off gloves.

If you’ve got a toothpick or a match-stick in your mouth, bite down hard on it.

Adjust your aviators or your ray bans and check your clips.

It’s GO time!

If you’ve just hit the play button on your VCR after a long pause, the shit has hit the fan.

Sami Nasser is knee deep in crazed acolytes. His lady love, Tracy, has joined the dearly departed, and his daughter Alyssa is in the menacing clutches of Dominus Smith as he stands at the cusp of seeing his plans come to fruition. Sami has back up though, Beatdown and Knuckleball are right in the mix. Making this issue an all-in brawl as well as a race against the clock.

Will Sami save his daughter in time? Will Beatdown stop Dominus for good? Isn’t Sami Beatdown? Did dominus lie to us all? Will Knuckleball get his own spin-off?!?!

If you want answers to the big questions in this review, look elsewhere. Spoilers are evil, and Sami Nasser said to always punch evil in the face.

If you want nitpicking and criticism exit stage left as well. No series is flawless. But if you’re not down with the action-packed fun and insanity by now you need to wake up, go back to the start, and read it again. Hell, grab it in trade form while you’re there. This series is a rare thing. An easy read with depth and punches in equal measure. It wears its tropes and influences on its sleeve and charms you into strapping in for the ride.

Joe Khachadourian shows, from the first page, that he’s a writer who can consistently deliver character and dialogue with honesty and authenticity. He can also deliver on some sharp twists and turns and has maintained mastery of pace throughout this series.

Beatdowns hard-boiled dialogue really would make Frank Miller’s god damned All-Star Batman smile.

Briscoe Allison needs to do a team book next. He needs to be on all the books from now on. Making all the money to boot. I was impressed early by his Maduereira-like style and his detailed eye (honestly there are so many Easter-eggs to watch out for in this book), but this issue also makes a strong case for his gift for panel layouts and sequential story-telling powers.

The movie literacy of this series has been one of my favorite things. There are A-team references and Butch and Sundance lines to spare in this issue. But their use in a story set in Hollywood’s stuntman scene, in a series that is an impressive entry into the buddy/action genre, are deployed with brains and precision.

Yes, there are clichés running rampant in Identity Stunt. But clichés become endearing and stand the test of time for a reason. The creative teams employ of the clichés in this issue show that they understand that.

But there’s also originality born from exploring these clichés. Knuckleball both encapsulates and benefits from this particularly. When they make a movie of Knuckleball, my favorite asshole in a uniform, the tagline must be “oh you’ve got to be fucking kidding me…”

The ending is tight enough while still leaving a few loose threads for the sequel.

Everyone knows these types of films are made to have sequels.

Lethal Weapon. 48 hours. Rush Hour. Even Bad Boys. All the best ones should have sequels.

Catch your breath boys.

Cauterize your wounds and hit us with Identity Stunt 2: Stunt Harder, soon!

 

Doomsday Clock #7

Writer: Geoff Johns

Artist: Gary Frank (pencils/ inks), Brad Anderson (colours) Rob Leigh (Lettering)

Publisher: DC Comics (November 2018)

 

In no way is this issue of Doomsday Clock a jumping on point for the series. If you’ve just joined the action then all I can guarantee you are gorgeously rendered illustrations, sharp dialogue, and a lot of questions. That goes double for you if you have no idea of the source story this series builds on. Watchmen (the 1986 series that deconstructs super-hero storytelling) is such a watershed moment in comic book lore that it extends beyond the medium. Doomsday Clock is a series that integrates the characters of the Watchmen universe into the current world of Superman, Batman, Wonder Woman. Delivering it to readers garbed in equal measures of mystery, noir, and realism.

The issue opens with a condensed history of the original Green Lantern, then expands out to unite all the key players introduced by the series thus far. Saturn Girl, Johnny Thunder, and Rorschach (all characters of questionable sanity) are met by Ozymandias (also someone whose sanity is unstable). These four then rescue Batman and The Comedian (who you could also say are both at least a little insane) from the torturous clutches of The Joker, The Mime, and the Marionette (so insane that I feel I owe the others an apology).  Dr. Manhattan disrupts the gathering and whisks some characters away. He reveals some shocking truths and leaves the arc of each character upside down and in disarray. What we get essentially, is a smart, inverting, and entangled display of Joseph Campbell’s refusal of the call.

I mentioned the gorgeously rendered illustrations and I emphatically stand by that. Gary Frank has been drawing comics since the early 90s. He has never fallen below excellent. His clean lines and comedic expressions eventually developed into a realistic style, instrumental in controlling storytelling pace. He conveys emotion with a sense of purity often overlooked in comics. You forgive the book its continued delays if the reason for them is so that Frank can tug on one more heartstring or make that last hair on the back of your neck stand to attention and salute.

Geoff Johns, honestly the torch bearer for DC superhero mythology, re-establishes that he is a brilliant writer. Layered, constantly innovative, and without limits. This isn’t just hyperbole or pandering to an industry heavyweight. Geoff Johns breathes love and veneration into every detail, every word, of these characters. He bows courteously to the original Watchmen series, treating it with the reverence of someone entrusted with minding a Faberge egg. But he also builds on its mythology, explores the psyche of today’s society, and works beautifully to exist both inside and outside of the comic book medium. The book feels like it comes from the same Reaganomics-driven-post-Nixon climate that Watchmen was born from, yet it also exists simultaneously in our world today.

Maybe I was wrong. Maybe you can jump on to Doomsday Clock with this issue and find yourself in the middle of something special. A legitimate event comic.

If you do, you’ll put it down. You’ll run to wherever you get your comic book fix from and pick up the previous issues of the series.

Hurry, before it’s too late.

Before the Doomsday Clock hits midnight.

 

Deadly Class #35


Writer: Rick Remender

Artist: Wes Craig (pencils / inks), Jordan Boyd (colours)

Publisher: Image Comics, Inc. (June 2018)

 

Do you cringe at the memory of the late 80s?

If you’re not a fan of that decade’s movie tropes; smash- mouth action, over-the-top violence, and deliciously bad stereotypes, then stay away.

If you read it despite my warning, then you’re about to be converted. Baptised in blood.

This is the conclusion to the four-part opera of violence that has been Love Like Blood.

The kids of Kings Dominion are on the run and fighting to stay alive.

What’s Kings Dominion?

It’s the Hogwarts for the criminal underworld that this series centers around. The handful of students it focuses on are the Breakfast Club with guns, knives and deep criminal tendencies.

The Love Like Blood storyline sees the cast cornered like rats in Mexico trapped in the crosshairs of a yakuza power struggle. The issue opens with a showdown between original cast members (and previously presumed dead) Marcus and Maria and main series villain Viktor (Ivan Drago’s steroids on steroids). Last issue’s bare-knuckled, broken-toothed, beat down has reached a climax with Marcus primed to shoot Viktor dead. But in a surprising turn of events he instead reasons with Viktor. A very raw conversation follows about duty and whose footsteps we choose to follow in as we build our own identities.

Following this, Marcus and Maria link up with the rest of the students in the nick of time, saving them from crazy hillbilly Brandy, only to again face imminent death at the hands of the yakuza. The outcome of the face-off sees life lost, trusts broken, fences mended, and the characters leave more scarred and broken than before. Does anybody walk away from this story unscathed?

This is a series where the stakes are always sky high and out of reach. While there’s not really been any significant lull in the two-plus years’ worth of issues, the conclusion of Love like Blood is another peak for the series.

The theme of forgiveness and the hints of redemption and sacrifice in this story don’t just play with our emotions. They sadistically torture them. The heart and earnestness in the writing, amidst the blood and betrayal, is a testament to how well-crafted the characters are and how much agency each is given to speak with.

The pitch of the action is at scarlet fever for the entire issue. It’s matched by a pace that is at cardiac event levels. It’s unbearable and at the same time impossible not to be utterly transfixed.

I cannot talk about Rick Remender’s writing and Wes Craig’s separately. They work in perfect synchronicity to elevate each other. The sheer trauma conveyed in the story is a product of this. Is it on the faces of each character? Or is it in their voices? It’s THAT hard to call.

Jordan Boyd’s colours, however, do deserve a spotlight. The colourist adds so much to the story with such a simple palette. It comes across as so virtual, so tangible and hard-hitting, that you’d swear your knuckles were just as bruised and battered as the characters by the end.

Bruised and battered. That’s exactly how this issue will leave you.

Bruised and battered and begging for more.


 

Daredevil Deadpool ’97 Annual

 


Writer: Joe Kelly

Artist: Bernard Chang (Pencils) Jon Holdredge (Inks)

Publisher:  Marvel Comics (September 1997)

 

Sometimes it doesn’t pay to dig up the past.

Sometimes you should just let a sleeping dog lie.

But because Daredevil season 3 is about to hit Netflix, because Typhoid Mary is enjoying her spotlight on Iron Fist’s second season, because there’s an inexplicably undying love for all things Deadpool: because of all these reasons I decided to dig up the past and wake up the sleeping dog that was this single issue.

The basic story has Deadpool develop twisted empathy for Typhoid Mary and track her to New York. She’s there to hunt Daredevil, the man she believes responsible for all her woes. Deadpool hopes to encounter Daredevil first so they can have the classic comic book team up and get Mary the help she needs. Daredevil is skeptical but sides with the less psychotic (no really) Deadpool. The conclusion sees all three use a battle (because this is still 90s comic book storytelling) to work through their issues and tie the story up in a neat little bow. It leaves nothing for the next writer to build upon and no reason for the reader to continue following these characters other than for completions sake (because, again, this is still 90s comic book storytelling).

I was into Kelly’s Deadpool at the time, I was a pre-teen smart ass that liked reading characters who were also smart asses. The art on the regular Deadpool book was cool and innovative for 1997, and the art here by Bernard Chang was clean, fluid, well-constructed and didn’t fall too deep into exaggerated physiques that were all the rage back then. His expression work was good too. But he seemed to favor Deadpool over Daredevil and the story suffers as a result.

Joe Kelly had worked on both eponymous characters. In the case of Deadpool, his work was what rescued the character from being a Spiderman-with-guns-clone from the with-guns-clone-factory that creator Rob Liefeld was operating with impunity.

Kelly’s writing, on reflection, wasn’t yet what it would become by the mid-2000’s. His strength was comedy and super-heroics, not so much theme and character. He wasn’t right for Daredevil. The characterization is way off. Daredevil feels like a bit player in a book whose title bears his name. He should be a cocktail of Atticus Finch, Rocky Marciano, and Robert Redford. Instead, he comes off here as a cardboard stand-in with no volume.

The psychological aspects of the story are left undeveloped. There are at least two characters with which to explore themes of mental illness, adolescent troubles, and identity construction. These are missed opportunities that would have given the story more depth and substance.

A shame, because Frank Miller’s Daredevil had balanced all of this with great action. Although expecting substance and depth from most titles was a big ask at the time, there were still creators who were pulling it off on elsewhere.

In the conclusion to the story, we’re led to believe that, for the characters, digging up the bones of the past can help mend things, bringing them some absolution.

If only that were the case with revisiting the issue itself.

Who Can Save Us Now?: Brand-New Superheroes and Their Amazing (Short) Stories

Authors: Scott Snyder, Sam Weller, Jennifer Weiner, and others

Publisher:  Free Press, 2008

ISBN Number: 1416566449

At a time when superheroes are at the forefront of popular culture, dominating the box office and littering every channel on television. A time when the daily news is a constant stream of growing social awareness, political freak shows, looming terrorist threats, and rising global injustice. Comes Who Can Save Us Now? a book that toys with the pure and idealistic concepts of how heroes are perceived in modern society. Testing each virtue (and vice) to see if they can exist in our complex world.

This enticing premise is where the book succeeds and fails. Each of the 22 short stories are written in a post-war (or post golden age era for comic readers) world, but the broad time setting is a deterrence, creating an uneven reading experience. The other major flaw the book suffers from is the disparate length from story to story. There are some strong ideas that have their potential for greatness dashed by the main villain of the work: space to develop. Of course, there are some stories overcooked by heat vision that would benefit from a shorter page count

Across the board, the uniting strength in these stories are the vivid use of setting and the excellent display of the writer’s super-powered dialogue, most of these writers come from working in comic books or have a deep affinity for the scripted medium and it really shows with realistic exchanges that ring true for any lover of the four-colored literature.

The most endearing stories are the ones that play cleverly with simple comic book lore and archetypes, making for a great story with a cynical, modern take. Stephanie Harrells Lois Lane/Superman deconstruction of ‘Girl Reporter’. The ever-present nods to comic book fan knowledge in Noria Jablonskis ‘The Snipper’. The magazine expose-style take on a Batman-like figure in ‘My Interview with the Avenger’ by Tom Bissell.

Other standouts of the work play closer to real-world scenarios and tone down the fantasy and wonder. Such as ‘The Lives of Ordinary Superheroes’by David Haynes, an almost chamber piece story that reminisces over the erosion of modern values and serves as a fitting final story to the book. Or the Sean Dolittle penned, action-packed, gritty blue-collar ‘Mr. Big Deal’.

The book is written with a lot of love for a genre that has existed long before it became a marketable, blockbuster machine for moviegoers. It speaks to the diversity in theme and subject of comic books. Most of these tales echo the emotional experience the writer has derived from their reading experience. Under the cape and cowl of the stories are somber, deep emotional tales of living with dissatisfaction, without purpose, identity, or hope. Make no mistake, there are plenty of laughs as well. A mix of comedy and tragedy that slightly favors the latter. When it’s at its best, the book will serve to remind the reader of the values of imagination and inherent good. That behind the trials and tribulations life throws, there is potentially a hero in all of us, waiting to save the day.

Preacher: The Story of You-Know-Who

Author: Garth Ennis

Artist: Richard Case (pencil and inks), Matt Hollingsworth (colours)

Publisher: DC/Vertigo (1996)

ISBN Number: 2843990572

 Garth Ennis’ Preacher series is a look at values, morality, love, and meaning in a modern world. The titular character embarks on a literal quest for God and encounters all manner of characters who embody our times. Ennis’ tells the story of one of those characters Arseface, downtrodden Eugene Root, while exploring coming-of-age themes of teenage isolation, domestic abuse, suicide, and pop-culture obsession.

Eugene’s story, appropriately, is an ugly one. He has been psychologically and physically tormented by his small-town sheriff father. His mother lives in bottles of vodka and jars of prescription pills. At school Eugene is despised by his peers and ridiculed by the teachers, a victim of daily bullying. His only ‘friend’ is Pube, a grunge infatuated teenage slacker who constantly puts Eugene down. Every attempt at social interaction is met with either neglect or ignorance by everyone. Every attempt to make a stand and assert some control over his own life falls flat. After a constant cycle of humiliation, abuse, and depression that culminates with the news of Kurt Cobain’s death, Eugene and Pube make a suicide pact, no longer able to endure their torturous existence. Only Eugene survives and re-emerges into the world, disgustingly disfigured but with a new-found optimism on life, as Arseface.

If you can get past the over-the-top use of profanity that is a hallmark of Ennis’ style, this work is both heartfelt and heart-breaking. Ennis writes Eugene’s troubles with such earnestness that you feel every kick in the gut. You can smell, taste, and hear the authenticity in the words and in the art. The art is awkward, nervous, skittish, and dark. It perfectly captures the emotional state of the characters. The colours, even in the few scenes of hope, are bleak and grimy, there’s nothing Hollywood about the world we’re in or the themes that it wallows in. The only time this atmosphere gives way to clarity is when we zoom in on the perfectly placed, emotional expressions and reactions to the events (or non-events) of Eugene’s life.

Pop-Culture permeates every panel of the book. From the musical, generation-spanning chapter headings (a musical tour bus through teen rebellion from the Beatles’ ‘a day in the life’ to Bowie’s ‘rebel, rebel’ to The Moody Blues ‘new horizons’ before finally ending at Nirvana.), to the opening and closing riffs on Forrest Gump. This book places the reader, with all their post-pubescent angst, as close to their own lives as possible. It makes sure things hit home, like a baseball bat to the ribs.

Despite the writer’s penchant for black humor, satire, and the grotesque, teenage depression and suicide and the silent sufferings that lead to it are treated respectfully and lead to some powerful proclamations. Characters rally against expectation and pressures of their miserable lives, constantly getting back up off the floor to keep searching for hope and a better tomorrow. There’s a strong message in here to think about the consequences of your actions.

The real gift of this book though is its inversion of the ugliness that lives inside everyone and that it takes something special to overcome, and sometimes that something special is a fella with a face like you-know-who.

If you or someone you know is struggling with any of the issues mentioned in this review, please speak to someone. There is hope and help available at services like Lifeline (13 11 14) or Kids Helpline (https://kidshelpline.com.au/teens/ or 1800 55 1800) is Australia’s only free, private, and confidential, phone counseling service specifically for young people aged between 5 and 25

Watchmen

Watchmen was never going to be an easy project for the person who was brave enough to finally adapt it to the screen. For years it had been tackled by director after director, each time ultimately shelved. How would you adapt the bible, in all its entirety, and succeed? It’s impossible. How then would you adapt what is revered as the greatest piece of graphic fiction ever published? The Citizen Kane of comics? Something so glued to its medium that no one would have faulted the notion it could never be done at all.

A story that is essentially a murder mystery while also serving as social commentary. A deconstruction of the super-hero genre. A parable of the human condition. Not just what it is to be a super-human. But what it is to be simply human.

How would you adapt the story of a team of superheroes who were shut down by a government act? Decommissioned by the country and the laws they served. Who shed retirement to reveal the truth behind the death of one of their own and to save a world that doesn’t want to be saved along the way?

Zack Snyder gave it his best shot.

Zack Snyder cast this movie almost perfectly. From the principal cast, it’s too hard to pick a stand out between them. Billy Crudup’s tragically human portrayal of an omnipotent being who has lost his faith in humanity and his actual humanity along with it. Patrick Wilson as the idealist crime-fighter whose life is an empty shell, without a sense of self or purpose. Jackie Earle Haley’s unhinged vigilante who may be the only sane person in a world gone insane. Even Matthew Goode who seems unconvincing as the world’s smartest man, the perennial overachiever, peels back that layer to reveal his removal from a realistic portrayal is necessary for a character who is ten steps ahead of the rest of the film.

Zack Snyder picked the perfect soundtrack to carry this film through time. From the ingenious opening credits that move thematically to Bob Dylan’s “The Times They Are A-changing” to the hollow echo of “The Sounds of Silence” to “All Along the Watchtower”. This soundtrack is on the cutting edge of relevance. Think of the great compilation soundtracks at the forefront of movies that are identified by them. From Easy Rider to Saturday Night Fever, to Forrest Gump and Pulp Fiction to Trainspotting. This soundtrack belongs rightfully among them.

Zack Snyder captured the look and feel of the comic perfectly. He gets the balance right with the costume design. That perfect point in between ridiculous and realistic. Functional and silly. He gets the tones and colours spot on, grim when it needs to be, bright when it has to be. Initially, you’ll think this is a dark film, and you can’t argue, given the subject matter, it is. But the colours, the costumes, the settings of this film are all perfectly placed. Even the black and white in this movie has a visual flair.

So why hasn’t Zack Snyder made a perfect film?

Was it written too “in its time”, that the cultural events that lay the framework for the plot points have been done to death?

Was it not what an audience, that is ever growing attached to its big screen comic book movie adaptations, want from its comic book films?

Is it too smart for its own good? Is the subject matter too dense? Are there too many stories happening at once?

Surely it isn’t the one glaring difference that Zack Snyder made in the story from book to film… That change was a necessary one.

Why didn’t Watchmen succeed when there is so much to enjoy and appreciate in this film?

It all goes back to the question of how do you do it?

How do you adapt watchmen for the screen?

The answer’s simple.

You’re not supposed to.

You don’t.

The Dark Knight Rises

The Dark Knight Rises closes out director Christopher Nolan’s Batman trilogy. Batman returns eight years after the events of ‘The Dark Knight’ to combat Bane, who has seized control of Gotham City and threatens to destroy it completely. Batman is joined in this movie by thief Selina Kyle (don’t call her Catwoman, nobody else in this film does) and John Blake, a GCPD officer who reminds Batman why Gotham City needs its heroes.

The story borrows key plot points from the ‘Knightfall’ story arc, where Batman must return from crippling injuries, after suffering defeat at the hands of Bane.

A large part of the second and third acts are also based on the ‘No Man’s Land’ storyline, where Gotham city is declared a disaster zone after an earthquake, isolating it from the rest of America.

At just under three hours long this is a huge movie to take in. The pace of this film carries it well and manages to resolve character arcs and plot points that reach as far back as ‘Batman Begins’, without feeling as if there’s too much going on in this movie. It also does well at making new characters matter. Not a single scene or plot point is filler in this film; everything ties back or reaches forward with purpose and good reason. The scale and scope of events are epic without losing any realism, and although stylistic, it looks very different to the first two movies, and it feels like it belongs securely as the final piece of a near-perfect comic book movie saga.

As with most Batman films, the villain is the showpiece. Tom Hardy’s portrayal of Bane is menacing, beastly, animalistic and powerful. But it is also carefully nuanced and thoughtful. If Heath Ledger deserved his Oscar for his portrayal of the Joker in the last installment, then it is a great injustice that Hardy isn’t seen as deserved for what he does for this rendition of Bane. It could just as easily be his movie as it is Christian Bale’s, and he uses every inch of his acting ability in an attempt to break each finger of Batman’s grip on the film.

The fight scenes are bone-crunchingly brutal and the action is visceral. The truest parts about this film are the ones where these scenes break free of the writing and acting and emit pure primal force.

The comic book version of ‘Knightfall’ was a year-long journey into innovative storytelling when it was published. On the heels of killing Superman, DC comics came up with a way to replace Batman that would renew interest in a flagging comic book industry. For its time it was tightly written. Its logical progression of cause and effect that lead to the wearing down and breaking of a hero was gripping. It introduced new characters that have lasted in the almost thirty years since, and have rightly taken their place in the Batman rogues gallery, alongside icons such as the Joker and Catwoman.

Nine years after ‘Knightfall’ was published, ‘No Man’s Land’ would serve to reinvigorate the Batman character once again. Its sprawling, far-reaching story was even more ambitious an event than ‘Knightfall’. Its gritty artwork perfectly encapsulated a mood of dire hopelessness and ruin. Its writing was an unflinching look into even the deepest and darkest places society will go to when the world has given up. It added new layers, and new motivations to every character in the Batman mythology while never deviating from the core of who these sixty-year-old masterworks of American fiction are.

The Dark Knight Rises does well to take the central points of both ‘Knightfall’ and ‘No Man’s Land’ and refashion them into the concluding chapter of a rare cinematic experience.

A journey through the power of an ideal.

The birth of that ideal.

Standing resilient when that ideal is tested.

And rising from the rubble so that the ideal becomes everlasting.

Daredevil Season 2

In this season Matt, Foggy, and Karen cross paths with Hell’s Kitchen’s newest vigilante, the Punisher. Daredevil is ripped apart at the seams by his double life. An important figure from Matt’s past, Elektra battles against the mysterious ninja cult called The Hand, and Hell’s Kitchen become divided over what a hero is and what kind of hero it needs.

Season two draws its influence from a rich comic book history, taking aspects of ‘The Man without Fear’ series and ‘The Devil in Cell Block D’ storyline, as well as Garth Ennis’ Punisher tale “Kitchen Irish”.

After an incredible season one, Daredevil season two improves on everything that was great about the first thirteen episodes.

If you liked the fleshed-out characters of season one, this season will not let you down. The writing delves even deeper into Matt’s turmoil of doing what’s right without going too far. The disregard for his own self and the sacrifices he makes as Matt Murdock so that he can protect the city he loves as Daredevil is a fascinating downward spiral that will knock the wind out of you and never let you get up.

The introduction of the Punisher, who antagonizes Daredevil as something that will never ultimately fix Hell’s Kitchen, is intriguing enough to make you question your own ethics. But his portrayal by Jon Bernthal as a man over the edge and the remarkable way this character is presented, as one man’s operatic tragedy of violence, is explosive.

The creators of this show have taken a one-dimensional, one-note character from the comic books and added dimension, depth and heartbreak to breathe something new into Frank Castle. He becomes a violent force of nature over the course of the series: you fear him, you despise him, you empathize with him, and you eventually cheer him on before realizing that you still fear him.

Speaking of characters you cheer on, the growth of Foggy Nelson in this season could be its own show. You’d tune in to see his legal exploits and loveable hopeless good guy personality week in week out if this is all the show was.

The same can be said for Karen Page. If you want a show about a strong female character that doesn’t bend to conventions, forget Jessica Jones. You won’t need that. Karen went from damsel in distress to strong female lead in season one. In season two she builds immensely on that and is one of the truest and well-crafted characters on TV today. The writers have given her agency that is rare in any genre.

Unfortunately, the show’s intended ass-kicking female, Elektra, isn’t as well crafted. Her flashback story with Matt provides the viewer with an adrenaline rush of on-screen romance and sexually charged tangoing. But as a vigilante, she is the least fully realized character and doesn’t work as well as the other parts of the show. Even this, though, isn’t a major complaint, just something to develop in the inevitable season three.

The handling of violence in this show has to be mentioned. If the hallway scene in season one was what you’re looking for more of, you will be pleased. There are at least three set pieces like it in this season that exceed the bar set by season one. The fights are innovative, to say the least.

And while this is gruesome and bloody, it’s all in aid of the realism, it’s not gratuitous. It’s well choreographed, well shot and every bit as balanced and entertaining visually as the show is well written and acted. You will watch season two of Daredevil, experience every high and low and feel like you have come out of a great legal drama, Kung-Fu flick, revenge tale, romance, or human drama. You’ll feel like you’ve just stepped out of a great movie that gave you exactly what you asked for and then some.

You’ll forget that it’s television.

Captain America: Civil War

Captain America: Civil War is the latest entry into the Marvel cinematic universe. It picks up after the events of both the previous Captain America films and Avengers: Age of Ultron. In the wake of destruction left by events of any Marvel moment when someone throws a superheroic punch, the Avengers are being held accountable for their actions and are asked to sign a U.N backed accord. Iron Man agrees and becomes the figurehead of the new act, Captain America doesn’t and the heroes from previous films, plus new additions Black Panther and Spider-Man, choose sides.

What do you expect from a Marvel film?

Whatever you answer with, guaranteed, this movie has it. Marvel has got its formula for pleasing all audiences 100% right by now. They’re the new Pixar. They can do no wrong.

The action set piece in the center of the film is more satisfying than anything in the whole two hours and 21 minutes of Age of Ultron. This is THE definitive example of the spectacle you sign up for when you pay to see these films.

The performances from the entire cast exceed excellently. There needs to be a new term to replace “scene-stealer” because this film goes beyond that.

You will admire Paul Bettany’s portrayal of Vision trying to understand his humanity.

The internal conflict you will feel when deciding who to side with will tear you apart.

You will go back and watch Ant-Man again after this and love it more than you did before.

You will look (even more) forward to the coming Spider-Man film and will wonder why you ever questioned plans for a Black Panther movie.

You’ll even watch Hawkeye and wonder where the hell THIS was in both Avengers films and why he hasn’t had his own film yet.

It’s not riddled with faults. There are no questionable editing decisions or cheesy sound choices. It doesn’t suffer from bad writing or confusing cinematography. It’s clean. It’s polished… And when your excitement dies down. When you leave the cinema, get back in your car and stop gushing about it with your friends or online for five minutes you’ll realize this movie is just “process” now. There’s no real ultimate consequence…

I mean… There is implied consequence… (Cant…go… into detail…trying…not… to spoil). But it lacks change.

It’s just another of the now numberless moving parts of the mighty Marvel movie money-making machine.

Civil War, The comic that this movie gets its title and basic framework from on the other hand. That was a game changer.

There WERE consequences.

The story world landscape was changed for a long time afterward.

There’s a reason it’s widely considered in the world of fandom as the greatest Marvel universe story of the last thirty years.

Civil War the comic follows the same major plot as its film version. After a disastrous, destructive event… the heroes of the Marvel universe are asked to register their powers and identities with the government. Heroes (and villains) choose sides.

Villains (and heroes) switch sides.

People die. (No…NO!!! no spoilers…NO SPOILERS DAMN IT!)

The art was incredible… clear, detailed, emotional… The writing had gravity and rang surprisingly true for something based in such a fantastical world. It was born out the events of 9/11, it placed a real problem into a fictional world and asked how heroes define themselves, where their conscience lies in the face of a world that has never been further from black and white. It treated its themes with dignity, with respect and honesty that most people wouldn’t expect from the four colour medium of comics, but by now probably should.

Captain America: Civil War is a well-made meal.

You’ll eat it, even if you weren’t hungry, even if you didn’t NEED it… You’ll eat it all up. But you won’t be dying for another serve afterward.

You’ll just feel like… “I’m full now. What else is there to do?”