Initially excited about DC Comics’ planned REBIRTH event, I’m starting, as we inch closer to it happening, to get a little apprehensive. Details are being provided; the pieces are coming together; little by little the coloring is being applied to the tapestry, and I’m not at all certain I’m digging what I’m starting to see, if you can dig it. I’m still hopeful, but now I’m also skeptical. A return to the pre-New 52 DC Universe sounded so promising, then this morphed into more of a “let’s keep what’s working from the New 52 but go back to old school with the rest” sort of thing, which seemed even better, in my opinion. The best of both worlds. But can those two worlds really coexist?

How will DC get Superman back to his old, pre-New 52 self? A simple time jump? No, not according to the latest hints. They’re gonna kill the New 52 Superman and bring the old Superman back to replace him. Only they may split Clark Kent and Superman into two different people. This latter sounds, well, stupid, if I’m honest. But what if the Clark sans Superman being teased is really the New 52 Clark, stripped of his powers? That MIGHT be interesting, if handled right. Still, is it really that hard to give us a straight-up Superman story featuring the Superman we’re all familiar with, the one with all his powers intact, in love with Lois Lane, not Wonder Woman, and with his secret identity still a secret?


Skip the Spin. Think for Yourselves. Here’s a little something that is much needed right now, a healthy dose of TRUTH. Facts can be spun any whichyway but they remain immutable. They are still facts whether or not a person exaggerates them or tries to minimalise them. It is a fact that BATMAN VS. SUPERMAN has been a HUGE hit for Warner Brothers, despite the unprecedented vitriol from commoner critics and a highly vocal percentage (I’d estimate this latter at around 30% at most) of fanboys. Did the movie suffer the biggest second weekend drop in history, as the headlines proclaim with such glee? Yes—barely. The FACT is, this drop off in numbers is comparable to the drop experienced by both THE DARK KNIGHT RISES and THE HUNGER GAMES; their ticket sales fell almost as much in their respective second weekends. Also, this drop fails to take into account that the opening weekend figures included Thursday as well, which further distorts the numbers. The clickbaiters are making much ado out of all this, but there really is no story here.

The linked-to article dismisses the suggestion that there might in fact exist some bias against the film, but then goes on to inform the reader that a lot of those “rotten” reviews aren’t rotten at all. It’s spin, pure and simple. I would tend to blame this more on the “pile-on effect” than on any organized conspiracy—but is IS a FACT that Rotten Tomatoes is owned by Disney. Just sayin’.

By the way, BVS has a B+ overall score from viewers and has already made more money than MAN OF STEEL made during its ENTIRE theatrical run. Also just sayin’.


Just got in from seeing this film, and it pleases me to no end to announce that my worries concerning its failure were unfounded. Don’t pay any attention to the commoner critics. This is a damn good movie, period. I’ve stated many times that “mainstream” critics are woefully unqualified to judge genre movies, and this case just proves my point. The fact that so many commoners have lambasted the picture while so many fanboys are lovin’ on it has prompted some to suspect an actual conspiracy to squelch its box office. (Not that it worked; BVS is breaking all sorts of records, critics be damned.) I don’t REALLY believe the conspiracy theories, but there’s enough there to make you wonder. Did you all know that ROTTEN TOMATOES is owned by Disney, which of course owns MARVEL? Curious, no?

Here’s what some folks can’t seem to wrap their brains around: This is NOT the DC Comics universe—key word being COMICS. As I grudgingly came to understand, Ben Affleck is not portraying the Batman from the comics. He is playing the Batman from THE DARK KNIGHT RETURNS graphic novel, only a younger version. Realizing that Ezra Miller is not in any way supposed to be the Barry Allen from the comics makes me feel a lot better about his casting, too. Same with Momoa as Aquaman. The DC cinematic universe is a whole ‘nother animal, way more different from their comics than Marvel’s movies are from their source material—and that’s okay. Beautiful to look at, and well acted (Jesse Eisenberg—holy f*cking $h!t!!!), the movie is, let us say, COMPACT. Every second of its 2 ½ hour running time is stuffed to bursting with plot (The commoners are saying that it is “convoluted,” but I had no problem following it.) and wrings out as much characterization as possible for a film with so many characters. DC wanted to catch up to Marvel. They had a LOT of ground to cover with one movie. Despite the odds, they pulled it off. I am gleefully surprised. F*ck the commoners. Again I say, F*CK ‘EM. Every last one of ‘em. This movie ROCKS.

[NOTE: This article was written on Monday, March 21st.]

I’ve been saying all along that if I was wrong I would gladly admit it. I’m talking about BATMAN VS. SUPERMAN. I’ve been predicting failure for the movie, for numerous reasons. While it’s still too early to say one way or the other—there will be no conclusive answer until I’ve seen the film for myself—the early reviews from fellow geeks coming in are overwhelmingly positive. Even some of the commoner critics, those who don’t “get” genre cinema and are thus unqualified to critique it—not that this ever stops them from doing so—are saying that it’s good; their grousing is limited to the things one would expect, the sorts of things that people who don’t much care for comic book movies would be expected to say. Too action-heavy, too dark, non-comics fans may have a hard time figuring out who’s who, yadda yadda yadda. Not many have said the acting, directing, cinematography or storyline were sub par. In fact several have grudgingly admitted that they were impressed by these. And while many *cough* “professional” critics have grudgingly conceded the films’ quality, the average fan on the street has thus far been shouting with glee from the rooftops.

I was worried that WB was rushing it. I was worried that they were including too many characters, too fast. I questioned their casting choices. (Affleck, Momoa, Miller.) But I’m starting to have hope. Maybe I WAS wrong. I damn sure hope so.

I will have a definitive answer for you, and a full review, next week.

Yeah, we wish. The casting of Affleck was the one decision among all the rest that divided the fan community and firmly implanted doubt in the minds of a multitude regarding the future of the entire DC cinematic universe. And now we get the news that director Zack Snyder DID want Bale—but not as Batman. Boy, is he lucky that Bale didn’t take him up on it. Having the man who SHOULD have played Batman in the film alongside the man they went with, much to the chagrin of so many, would have been an unwelcome reminder to those fans of what COULD have been. It would’ve been like, “Let’s take our audience out of the moment, scrap their suspension of disbelief, and remind ‘em of what pissed ‘em off in the first place!”

Also, Snyder’s assertions that they COULDN’T have used Bale as Batman, because he was “retired,” are ridiculous. Affleck’s Batman is retired, too, until his fears of Superman running rampant spur him to put back on the suit! Ludicrous. The reason they didn’t use Bale is because Bale didn’t want to do the film without Christopher Nolan, and Nolan didn’t want to do the film. The studio SHOULD have just thrown enough money at him until he decided to do it (and then we would have gotten Bale back), but they went in another direction and now, for better or worse, we’re stuck with the results.


In the words of legendary wrasslin’ commentator Jim “Good ol’ JR” Ross, “Bizness is about to pick up!”

I’ve shared my concerns over the “new” Marvel comics in recent posts. Initially those were minimal, but as the months have sped by they have grown exponentially. I’m still digging on THE AMAZING SPIDER-MAN, and the new IRON MAN series is on par with previous runs of the armored Avenger’s exploits. But the new take on the AVENGERS books and teams, while there is nothing overtly wrong with them, can’t help but come across as a little lackluster compared to the earlier epic-ness of Jonathan Hickman’s run, preceded by that of Brian Michael Bendis. Unless you’re all about teen angst superheroics, in which case the focus on Ms. Marvel and Nova should be right up your alley. Longtime fans like me, though, we miss the epic-ness that we enjoyed before Marvel allowed the majority of their established writers’ contracts to expire and replaced them with “fresh blood.” The Marvel Universe, post SECRET WARS, just seems smaller these days. But it may be about to grow again.

This new series STANDOFF is returning the real Captain America, Steve Rogers, to his superpowered prime, and looks to be more in tune with big concept stories of the past like SIEGE and SECRET INVASION. Or, if not so grand in scale, it promises to set up an “event” that IS that grandiose, the upcoming CIVIL WAR 2. Will Marvel get its groove back? I sure hope so.


Technically—if I were speaking that word aloud instead of typing it, I’d draw it out. “Teeeeeeeeeeeeeeeeeh-ch-ni-ca-llleeeeeeeeeeeeeeeeeee”—it was a tie. Godzilla, back when the character was licensed to Marvel in the late 70s, took on the Avengers. And the Fantastic Four. And SHIELD. He would’ve taken on Spider-man, too, but Spidey was late to the party. And combined might of those vaunted heroes failed to take down the big gray-green titan, which—as a lifelong Godzilla fan, I must attest—is how it should be. Earth’s Mightiest Heroes DID manage (with help from some kid) to convince Godzilla to take a hike. Or maybe Big G just got bored. Either way, there was no clear-cut victor. Superhero fans could hold their heads high after the fight (which took place in issue 24 of Godzilla’s Marvel series) and the Godzilla faithful felt satisfied, too. Sure, there were grousers, and there still are. “The Avengers should’a won!” or “Godzilla would’a totally fried ‘em all!” But neither of those could happen.

Marvel didn’t OWN Godzilla, see. They were just renting him. As part of their agreement with Toho Studios, they had to treat the King of the Monsters with all due reverence. They couldn’t depict him getting his scaly hide handed to him by a bunch of costumed do-gooders. Neither was Marvel about to let their top characters—ALL of them—get schooled by any giant monster, not even the greatest of them all. After the rights for the Godzilla character reverted to Toho, Marvel did pull a sneaky and have a giant green beastie show up, one that looked and acted an awful lot like Godzilla but was never mentioned by name, and then they had this faux-zilla get its arse kicked. That fight wasn’t canon, though, and it wasn’t reeeeeeeeeeeally Godzilla.


Looks like the rumors were true. Sorta. DC has taken notice of declining sales figures and grousing, increasing in volume, from its hardcore faithful readership, and is now willing to admit—sorta—that the “new 52” has been a failure. Sure, it snagged plenty of attention at the outset. But as the new series all plodded on, fans soon began to pine for the good ol’ days when Superman wore red underwear (with yellow belt) over his blue suit, and Barbara Gordon was paralyzed from being shot by the Joker in the classic THE KILLING JOKE graphic novel. If the New 52 was DC’s attempt at having an Ultimate version of their universe, ala Marvel, then it came to an end much quicker than did the latter “reimagining.” Sorta.

Geoff Johns, the Chief Creative Officer over at DC, has promised that its upcoming event, REBIRTH, is NOT a reboot. However, he states that the event will restore the “legacy” of the DC Universe, giving back those elements that fans have been missing. Personally I suspect the hesitance to call it a “reboot” has to do with fan fatigue connected with the term in general, as REBIRTH certainly fits all the criteria, by definition, of a reboot. They aren’t throwing away EVERYthing from the New 52, though, but splicing back into the fabric enough of the “classic” DC Universe to appease longtime fans while hanging onto the new ones they acquired via their LAST reboot. Just how much will the new DC resemble the old, and arguably better, one? (I admit I hope to
see the return of Superman’s red underwear. But that’s just me.)


It’s deliciously appropriate that Deadpool would be the one to do this. The movie bearing his name just destroyed all expectations—these based off the flawless “system” employed by simpleminded studio executives to predict whether or not a movie project will be successful, and just how successful it will be—by opening to a bigger box office than had been predicted. How much bigger? Oh, 75 to 100 million, depending on which projection we’re talking about. For the record, DEADPOOL was the highest grossing R-rated motion picture EVER, had the largest single opening day for an R-rated film EVER, the biggest opening in February ever (this last one isn’t THAT impressive, since all it had do was top FIFTY SHADES OF CRAP), and the biggest opening weekend for Fox Studios EVER, beating STAR WARS EPISODE THREE: REVENGE OF THE SITH. Not bad for a flick nobody (but its star) wanted to make.

Why was the movie such a smash? I credit three factors. Ryan Reynolds has never been a great thespian, but he is rock solid in this role; Deadpool is custom-made for him. Also, it’s February. The cinema is typically devoid of tasty geek fare in February, excepting the big holiday movies that are still playing but everybody has seen already. Lastly, because it’s Deadpool. The character is just plain loveable. He’s come a long, long way from the days of his inception, when he was a cheesy rip-off of Spider-Man named after the lamest of the Dirty Harry movies. When did he become so original? When they decided to make him crazy. Crazy is loveable, peeps. Crazy sells.

No, I didn’t watch it. I have never watched it, and, unless someone ties me down and pins my eyelids open, like they did to Malcolm McDowell in A CLOCKWORK ORANGE, and plop me down in front of a television at the prescribed time, I will NEVER watch it. There are only six people in the continental United States who don’t like or watch the (so-called) Super Bowl. Your intrepid reporter is two of those; I hate football that much. (Sports in general, really.) Yes, I am male. Yes, I am heterosexual. Yes, I know I am an anomaly. I never even tuned in just to watch the commercials, which a lot of non-football fans do. If I hear of a commercial that interests me, I just google it. Which is how I saw the ad featuring the Incredible Hulk and Ant-Man.

Kudos to Coke for the best 30 seconds of the night. No, I haven’t seen all the commercials. I don’t have to. I KNOW the Hulk vs. Ant-Man commercial was the best. The ad for CAPTAIN AMERICA: CIVIL WAR came in a close second. I’m still too trepidatious about the BATMAN VS. SUPERMAN flick to get too excited over the trailers. The Coke ad was funny. It prominently featured two of the most popular characters in Comic cinema today. And best of all, it had nothing to do with sports. It just happened to air during a sporting event, one which, as I have told you, I did not see but you probably did. That means you’ve probably seen the commercial, too. You probably saw it before I did, and laughed at it before I did. But you know what they say, “He who laughs last . . .”