There are many things that Steven Universe fans love about the animated series: the anime style, the jokes, the lore, the cosplay appeal, its inclusive attitude and content, the heartwarming tweeness of it all.

And key to Steven Universe’s charm are the songs. Oh, the songs! So charming, so light, so silly, so packed with character. It’s tough to love Steven Universe and not show similar affection for its music, even for the crusty-hearted, musical theater-averse viewer of Rebecca Sugar’s Emmy-nominated hit series.

After five seasons tons of fan demand since the show’s debut in 2013, Cartoon Network released Steven Universe Soundtrack Volume 1 as a digital album on June 2. It’s sure to enliven every Steventhusiast’s spirits.

The album kicks right off with the theme song, “We Are The Crystal Gems.” It sets the tone of Steven Universe right off the bat, with its cheery harmonies, ukelele, 8-bit video game sounds, and that exuberant “And Stephen!”

All the songs are here from the creative minds of Rebecca Sugar and the incredible Steven Crewniverse, or at least it feels that way. But it’s not enough for the soundtrack to indulge completists by grabbing material from across the series 120-plus episodes.

The digital album features a deep roster of re-mastered songs handpicked by Sugar and performed by the series voice cast, including Zach Callison (Steven), Estelle (Garnet), Deedee Magno Hall (Pearl), Michaela Dietz (Amethyst) and Tom Scharpling (Greg); as well as special performances by guests and Sugar herself.

“I am so excited about this album that I hardly have the words,” Sugar said. “We poured our hearts into these songs and now they’re finally collected and stunningly re-mastered by our composers Aivi & Surasshu.”

And the songs – whether 35 seconds long like “Destiny” or going over three minutes like “I Think I Need A Little (Change)” – sound great, both clear and sharp.

Furthermore, listening to the 37 (!) tracks as a whole really showcases how the Steven Universe’s musical range is as expansive as the show itself. The music goes from style to style: twee, kids’ music-style lessons, musical theater, cabaret, garage rock, and R&B.

Deedee Magno Hall shines brightest on the album in torchsong laments such as “It’s Over Isn’t It,” as Pearl’s buttoned-up emotions lend themselves best to expressive storytelling lyrics. Tom Scharpling’s performance as Greg Universe show more artistry and talent that you expect, much like Greg the character.

Zach Collison’s performance as Steven always does a balancing act of boyhood sweetness, wonder and yearning for more. Listening to the songs alone, I laugh even harder at his full-powered imagination such as on “Cookie Cat,” a frozen snack about an space alien refugee, in which Steven exclaims, “He left his family behind!”

Some of the songs don’t work so well in retrospect. “Stronger Than You” has clunky lyrics and Estelle is too grounded in performing Garnet to let her voice fly the way I know it does. But it doesn’t matter as my mind goes back to the pivotal episode “Jail Break,” as Garnet fights Jasper, the Gems’ plot is revealed, and we find out Garnet herself is a fusion.

And that’s the chief fun of soundtracks, to take you back into the show close to your heart. In that regard, Steven Universe Soundtrack Volume 1 excels on all levels.

Sugar herself knows this. “Please blast them!” she said about the songs. “Please sing along! That’s what these are for! If the music of Steven Universe has been a tiny piece of the score of your life, please know that I am so honored. I hope you’ll love this album as much as we loved making it.”

Steven Universe Soundtrack: Volume 1 is available now for purchase
in digital music stores, as well as on all major streaming platforms.

Oscar winners Morgan Freeman (“Million Dollar Baby”), Michael Caine (“The Cider House Rules,” “Hannah and Her Sisters”) and Alan Arkin (“Little Miss Sunshine”) team up as lifelong buddies Willie, Joe and Al, who decide to buck retirement and step off the straight-and-narrow for the first time in their lives when their pension fund becomes a corporate casualty, in director Zach Braff’s comedy “Going in Style.”

Desperate to pay the bills and come through for their loved ones, the three risk it all by embarking on a daring bid to knock off the very bank that absconded with their money.

The film also stars two-time Oscar nominee Ann-Margret (“Tommy,” “Carnal Knowledge”) as Annie, a grocery cashier who’s been checking Al out in more ways than one and Joey King (“Wish I Was Here”), as Joe’s whip-smart granddaughter, Brooklyn.  John Ortiz (“Silver Linings Playbook”) stars as Jesus, a man of unspecified credentials who agrees to show the guys the ropes, and Peter Serafinowicz (“Guardians of the Galaxy”) as Joe’s former son-in-law, Murphy, whose pot clinic connections may finally prove useful; with Oscar nominee Matt Dillon (“Crash”) as FBI Agent Hamer; and Christopher Lloyd (“Back to the Future” trilogy) as the guys’ lodge buddy, Milton. Zach Braff (“Garden State”) directs from a screenplay by Theodore Melfi (“Hidden Figures,” “St. Vincent”).

“Going in Style” will be available on Blu-ray for $29.98 on August 1, and includes the film in high definition on Blu-ray disc, a DVD and a digital version of the movie in Digital HD with UltraViolet*. Fans can also own “Going in Style” via purchase from digital retailers beginning July 11.

BLU-RAY AND DVD ELEMENTS

“Going in Style” Blu-ray Combo Pack contains the following special features:

• Deleted Scenes
• Director’s Commentary by Zach Braff

“Going in Style” Standard Definition DVD contains the following special features:

• Director’s Commentary by Zach Braff

For more details, visit Facebook.com/goinginstylemovie
#GoingInStyle

I Hate Fairyland Volume One: Madly Ever After (collecting issues #1-5)
I Hate Fairyland Volume Two: Fluff My Life (collecting issues #6-10)
Written and illustrated by Skottie Young
Colored by Jean-Francois Beaulieu
Lettering and Design by Nate Piekos
Published by Image Comics, Inc.

Now imagine your favorite, sweetest, most adorable fairytales with fluffy animals, puffy clouds and happy endings. Put them in a big ol’ blender. Pulse about half a dozen times. Pour that and a generous portion of ink into a roasting pan and bake on scorching hot temps for a day.

These aren’t simply ye olde fractured fairy tales. Oh, no, this is much darker and comical than that.

I Hate Fairyland are books that you should completely judge by the covers. Volume One, for example, features a little girl with missing teeth, coyly holding a bomb, bearing a bloody two-sided axe and offering the most maniacal little kid grin ever. Literally topping it off is a blurb from the dark comic deity, Neil Gaiman: “A candy-colored and vicious delight, and always dangerously funny.”
And, yes, it is.

WHAT THE SPELL IS GOING ON HERE?!

L’il Gertrude is your typical pink dress wearin’ little girl with giant curly – albethey green – locks, enjoying life and wishing to be in her own magical fairytale. Suddenly her deep pink shag carpet opens wide, sucking her into a swirling vortex until she slams down into Fairyland so hard she loses a tooth and a fractured bone is clearly protruding from her arm.

Queen Cloudia gifts Gertrude little Larrigon “Larry” Wentsworth, a semi-helpful cricket who is supposedly going to help her find home. Instead of the quick, pleasant journey through candy forests and frolicking flower, however, flash forward more than 27 years to a bitter, surly, crankipants of what appears to be a little girl gone wrong. It seems she’s not only *not* found the magical key to the door home in less than a day but she’s also become a FLUFF-mouthed bully with murdery, cannibalistic tendencies.

Outside, she’s still kinda cute but, inside…no so much.

Despite the rules of kindness towards visitors, the Queen hires Bruud the Brutal to snuff out Gertrude. As it turns out, Gertrude has become quite formidable, stowing a rather impressive armory within Larry’s pockets. She’s able to dispatch pretty much anyone – or anything – in her way.

Gertrude seems to find a way to hack, slice and thieve her way around the the comically named lands, not only pissing off inhabitants, but demonstrating behaviors rather unbecoming of any child.

Fairyand laws dictate that any visitor to Fairyland cannot be killed and that the queen cannot harm a single hair on their head, so they plan a way to circumvent that law by bringing in a new outsider. Enter Happy, a wide-eyed little girl from, naturally, Joyville, Wisconsin, who happily skips her way through the quests that took Gertrude wa-a-a-a-a-ay longer to (not) complete. Meanwhile, Gertrude takes the low road to find the most evil-y way to compete with Happy’s glittery rainbow ray.

Giving only a wee bit away, the first volume ends with maybe the best, justicy-y plot twist ever to set up the second volume: Gertrude becomes the queen of Fairyland.

Yup, she rules over the very land she’s spent decades trying to escape and obviously despises.

While pondering the various types of queens she can be – and simultaneously trouncing upon many princess tropes – it’s become rather clear that she cannot even succeed at being queen.

Eventually another kid gets sucked into Fairlyand wearing a purple dinosaur costume, which, as we all know, is the costume of doom. Gertrude goes all shades of Mad Max, complete with crazy hair and studded shoulder pads.

The second volume isn’t quite as story filled as the first, but it certainly keeps up the puns and ends with enough of a cliffhanger to make us ache for the next set.

HUGGIN’ MUFFIN FLUFFING FUN

In case it’s not abundantly clear, this is not a series to read to your little loved ones before they drift into Dreamyland. In other words, do not let your children read this. Do not leave it on a chair. In fact, lock it up until they are already eye-twitchingly well within REM and read it under candlelight with naughty, giggling glee.

Sure, at times this seems like it is written for kids (see the four pages of pee jokes) but the violence and gritty imagery would cause kind little kiddos to curl up in to the fetal position and sob alone in the corner, afraid to be touched.

Also, in case I was not being obnoxiously clear, this series is absolutely hilarious. The art constantly pushes the boundaries of adorability simply to highlight how inappropriately and raucously funny it is.

The almost constant layering of pop culture adds another dimension of humor throughout the books.

Early on, for example, there is the Slug “Slug Life” Lord á la Jabba the Hutt who gets taken out “Jabba style.” Dawn (or Shaun) of the Dead gets a sendup as Faun of the Dead and we even get some talking trees á la The Lord of the Rings. There are also homages to Harry Potter, Aliens, Godzilla, Mad Max and video games galore.

The trend to feature a “strong female lead” has been to a whole new, nay, wrong level with I Hate Fairlyand. And it is adorable mockery goodness.

And for my Cincinnati “Porkopolis”, Ohio, friends, yes, pigs in this book do fly. Of course, pretty much everything talks, walks, flies or does all three, but you’ll still get a an extra giggle.

It is friggin’ Fairyland after all.

PS: What the Spell…now FLUFF off.

Skelton Crew Studio, a comic book replica studio based in the wilds of Maine, has collaborated with “Head Lopper” creator Andrew MacLean to create a brand new collectible based on the book’s stoic hero, Norgal.

This officially licensed figure will stand 9-inches tall with four points of articulation in the shoulders and wrists for fist-pumping poseability. The studio is releasing two versions, a limited edition based on Norgal’s traditional appearance in the comics and a Bog Blue variant designed by MacLean. Bog Blue Norgal will be hyper-limited, available only during the month of June.

Skelton Crew Studio has been making vinyl figures since 2012 when it released the original pink 6-inch vinyl Chog from “CHEW,” but this release marks a pair of firsts for the studio. This is the first vinyl with articulation and it’s their first collaboration with MacLean. Skelton Crew looks forward to more of both.

“I’ve loved Andrew’s art ever since I first laid eyes on it and he’s a wonderful storyteller,” said studio head Israel Skelton. “And I love Norgal as a character, a no-nonsense guy who lugs around the severed head of a sassy witch — can’t ask for anything more than that.”

All orders for the standard version of Norgal received by July 1 will come with a bonus canvas Map of Barra, one of the settings in “Head Lopper,” also designed by MacLean.

“It’s been a dream working with Skelton Crew,” said MacLean. “They couldn’t be more passionate about what they make, who they work with and the overall quality of their work. We worked really close on this figure and I think we’re all really proud of the outcome. I’m so excited to put this in the hands of HEAD LOPPER fans!”

Fans can find the Norgal vinyl figure and other limited edition replicas at www.skeltoncrewstudio.com

About Skelton Crew Studio: Israel Skelton founded the studio in 2008 and it was behind IDW’s San Diego Comic Con exclusive Ghost Key for “Locke & Key” in 2009. Since the studio’s founding, it has created officially licensed merchandise for a number of best-selling and award-winning comic book series, including “CHEW,” “Hellboy,” “B.P.R.D.,” “Mouse Guard,” “Head Lopper,” “Revival” and many more. The studio’s been featured on the A.V. Club’s Pop Culture Gift Guide, G4’s “Attack of the Show!”, MTV, Nerdist and dozens of other news and pop culture sites. Skelton has been sculpting and creating for more than 30 years.

Welcome back to Graphic Breakdown!

We have a special trade paperback and comic book week here…so let’s get started!

Rockstars Volume 1: Nativity in Blacklight
Written by Joe Harris
Illustrated by Megan Hutchison
Published by Image Comics

Man, I love Joe Harris. He’s a terrific writer. He’s incredibly underrated and deserves more recognition. This take on the music industry is both intriguing and original and extremely well thought out.

Back in the 1970, there was a bunch of unsolved “groupie murders.”

This cuts to present day Los Angeles where the murders seemed to have resumed. The only person to make the connection is Jackie Mayer, who knows everything there is to know about rock and who has an ability to see what other people might not. He joins forces with Dorothy Buell, and his cat to figure out this conspiracy.

I said a lot about the writing but the art is truly awesome too.

It’s a new look for comics we haven’t seen before and I love it. The storytelling is wonderful and inventive. I can’t get enough of this comic.

If you’re looking for something original and well done, this is it. It’s well worth the price of the ticket for this rock concert comic.

RATING: A

Mighty Mouse #1
Written by Sholly Fisch
Illustrated by Igor Lima
Published by Dynamite Entertainment

Here he comes to save the day! I love Mighty Mouse.

The cartoon is always a good time and this comic is no different. This is something completely cool.

That’s because they hired writer Sholly Fisch.

Mighty Mouse is trapped in another dimension with no way to get out. We cut to the real world. We see a boy named Joey who loves Mighty Mouse. He even wishes Mighty Mouse would team up with him.

Then, Mighty Mouse jumps out of the television into the real world.

This is an inventive take on a silly cartoon.

Somehow, Fisch makes it work and work well. The art is awesome. Lima is a star.

I can’t believe I’m saying this…but I can’t wait for the next issue of Mighty Mouse.

RATING: A

Josie & The Pussycats Vol. 1
Written by Marguerite Bennett and Cameron Deordio
Illustrated by Audrey Mok
Published by Archie Comics

I love the new Archie Comics. So this paperback collecting the first five issues of the new Josie and The Pussycats series was a given read for me. I loved it of course. This is comic books at their best.

This comic series retells the origin of Josie and the Pussycats.

It’s full of humor, silliness, and just fun storytelling. Bennett and Deordio write extremely well together and the joy of what they are doing permeates each page.

Wonder Woman has arrived. After numerous failed attempts to bring the iconic DC Comics character to the big screen, and following a recent aborted TV series revival, the folks over at Warners/DC finally strike pay dirt with a picture that is glorious, colorful, and infectiously fun—everything that their Man of Steel, Batman v Superman: Dawn of Justice, and Suicide Squad were not.

In celebration of Diana Prince/Wonder Woman’s splashy cinematic debut, let’s recap the ten best superhero movies. Some are sunny, funny, and optimistic; others are dark, grim, and pessimistic; and a precious few straddle the line between both styles.

Collectively, they represent the greatest examples of the seemingly endless capes-and-tights genre.

#1) Superman: The Movie (1978)

Nearly 40 years after its launch, Richard Donner’s original Superman movie is still the very best of the superhero genre and remains the gold standard for all optimistic comic book adaptations. It’s bright and cheerful; full of adventure, emotion, and witty comedy; jam-packed with a staggering all-star cast; and boasts a luxurious production design, luminous cinematography, impressive visual effects, and one of moviedom’s most enthralling and immediately recognizable orchestral scores.

The dour Man of Steel reboot would have us believe the notion of Superman as the ultimate Boy Scout is obsolete, but four decades later, Superman: The Movie still makes us believe a man can fly.

#2) The Dark Knight (2008)

This second installment in Christopher Nolan’s reboot trilogy is the gold standard for all serious and gritty superhero adaptations. The tone is solemn (though there are some well-calibrated moments of levity); the violence is shocking, brutal, and has severe emotional consequences (the PG-13 movie toes the line of an “R” rating); and the plot’s themes of split identity, honor, sacrifice, and revenge are definitely not your usual superhero movie trappings.

Cumulatively this all adds up to one of the genre’s most mature and adult-oriented offerings, and the movie remains the indisputable crown jewel of all “dark” capes-and-tights flicks.

#3) Logan (2017)

James Mangold’s elegiac farewell to the Wolverine fits very comfortably into the X-Men universe while simultaneously flipping it—and, consequently, the entire comic-book movie genre—upside down. The bloody “R”-rated violence is both crucial and excruciating, and the somber tone is a fierce rebuke to the jokey, juvenile, samey-samey feel of most mass-appeal Hollywood blockbusters designed by committee. Logan elevates the superhero genre to such great heights it’s hard to imagine where Marvel (and, in turn, DC) can go from here.

#4) Captain America: The Winter Soldier (2014)

Having established the history and dynamics of its characters with the WWII-set adventure Captain America: The First Avenger, the modern-day-set fish-out-of-water sequel ups the ante with a taut and twisty super-heroic spin on the classic conspiracy thrillers of the 1970s. Herein lie the first hints that the makers of the Marvel Cinematic Universe aren’t afraid to shake up their own style by shifting tonal gears and tackling mature contemporary issues such as national security, allegiance, and military readiness. It’s also a rare superhero picture that has all the stylized violence and emotional gravitas of the “dark and gritty” pictures while simultaneously reminding us of the bright and colorful comic book panels from whence Cap sprang.

#5) Spider-Man 2 (2004)

The first Spider-Man movie did a lot of the heavy lifting in establishing the world of Peter Parker/Spider-Man and explaining all-important character back-stories and relationships. For the superior follow-up, director Sam Raimi gets to play in the sandbox he helped to build in the first film, and goes for broke with the purest and most ticklishly entertaining comic book sequel we’ve yet seen. It’s second only to the first Superman movie as a shining example of the “bright and cheerful” capes-and-tights genre.

#6) Iron Man (2008)

Jon Favreau’s rip-roaring adaptation of one of Marvel’s so-called “lower-tier” comic book heroes diligently follows the template of the “bright, cheerful” superhero picture, and kicked-off the fledgling Marvel Cinematic Universe in high-flying style. Nearly ten years on, it’s not hard to see why it remains one of the genre’s very best: the cast is superb; the technical merits are astonishing; and the screenplay astutely blends emotional gravitas and character enrichment with flippant comedy and eye-popping action.

#7) X2: X-Men United (2003)

The second X-Men adaptation has a lot in common with the second Spider-Man flick for how deftly it expands the universe established in the first movie and how much deeper it bores into the hearts and minds of its heroes and villains. Not as overtly dark as, say, The Dark Knight or Logan, it’s definitely not a cheery, sunny, happy-happy-joy-joy type of comic book flick.

#8) Batman Begins (2005)

After four wildly different Batman films from Tim Burton and Joel Schumacher, director Christopher Nolan successfully reboots the series by exploring Batman/Bruce Wayne’s untold origin story and by keeping things serious and relatively grounded—well, as grounded as things can be for a movie about an orphaned billionaire vigilante who gets dressed up as a bat at night to secretly fight crime.

#9) Superman II (1981)

Though the more outrageously comical aspects of Superman II keep it from equaling the majesty of the first movie, it remains one of the most upbeat and relentlessly entertaining superhero movies ever made. For its slam-bang climactic battle royal over the skyscrapers of Metropolis, many fans consider this sequel to be a truer “comic book” picture than its predecessor. Alas, the movie’s awkward tonal seesawing—the result of an editorial juggling act that uses footage filmed by director Richard Donner before he was fired and mixes those scenes with the lighter and decidedly campier material directed by substitute Richard Lester—results in a picture that looks and feels somehow less timeless than its predecessor.

#10) Batman Returns (1992)

Tim Burton’s cold and kinky follow-up to his super-sized 1989 blockbuster Batman is perhaps the director’s purest vision, undiluted by the studio pressures and mandates that made the first film feel like a mere product, and starring the best cinematic Bruce Wayne/Batman: Michael Keaton. Admittedly too dark and macabre for the Happy Meal set, but more in the spirit of the celebrated Dark Knight graphic novels by Frank Miller. After this heavy noir picture frightened kids, mortified parents, and stupefied film critics, the studio rejiggered the series and transformed it into a gaudy and campy freak show. When Joel Schumacher’s subsequent two risible sequels killed fan goodwill, the studio changed gears yet again, and Christopher Nolan’s resulting Dark Knight trilogy re-wrote the book on serious comic book movie adaptations. Hard to say if Nolan’s trilogy would have been as widely regarded or felt as revolutionary had Schumacher’s two Bat-flicks not stunk so horrendously, but it’s safe to say Burton’s Batman Returns blazed the trail.

Missing memories provide an intriguing mystery for everyone’s favorite young female protagonists in the all-new animated film, LEGO DC Super Hero Girls: Brain Drain. Produced by Warner Bros. Animation, DC Entertainment and The LEGO Group, the film – the first LEGO entry in the worldwide DC Super Hero Girls franchise phenomenon – will be distributed by Warner Bros. Home Entertainment (WBHE) July 25, 2017 on Digital HD ($19.99 SRP) and August 8 on DVD (SRP $19.98).

When Supergirl, Wonder Woman, Batgirl, Bumblebee and Katana suddenly realize they cannot remember a single moment from their Monday at Super Hero High, the young DC Super Heroes spring into sleuthing action! Suspecting foul-play, they band together to retrace their steps and uncover the mystery of who exactly stole their memories – and what nefarious plan might be afoot?

LEGO DC Super Hero Girls: Brain Drain voice cast returns its core cast in Grey Griffin (Wonder Woman), Tara Strong (Harley Quinn/Poison Ivy), Anais Fairweather (Supergirl), Teala Dunn (Bumblebee) and Stephanie Sheh (Katana), with Ashlyn Selich joining the group (as Batgirl). The cast also includes Yvette Nicole Brown (Amanda Waller), Greg Cipes (Beast Boy), Romi Dames (Lena Luthor), John DiMaggio (Gorilla Grodd, Wildcat), Jennifer Hale (Mad Harriet), Josh Keaton (Flash), Tom Kenny (Gordon), Rachael MacFarlane (Artemiz), Mona Marshall (Eclipso), Khary Payton (Cyborg) and Meredith Salenger (Lashina).

Todd Grimes (Back at the Barnyard, Star Wars:  Detours) directs LEGO DC Super Hero Girls: Brain Drain from a script by Jeremy Adams (Justice League Action, LEGO Scooby-Doo) . Rick Morales (LEGO Scooby-Doo! Haunted Hollywood) serves as producer, with Sam Register (Teen Titans Go!), Jill Wilfert (The LEGO Movie, The LEGO Batman Movie) and Robert Fewkes (My Little Pony: Friendship Is Magic)  as executive producers.

Following the success of two home entertainment releases for the DC Super Hero Girls franchise – DC Super Hero Girls: Super Hero High and DC Super Hero Girls: Intergalactic Games, Warner Bros. Home Entertainment has brought together two of the world’s most recognizable brands in DC and LEGO for their first combined DC Super Hero Girls franchise production. The DC Super Hero Girls franchise aims to empower and connect with young girls through the brand’s vast digital content networks across LEGO.com, DCSuperHeroGirls.com, YouTube and social media.

“Warner Bros. Home Entertainment is excited to unite two extremely popular brands – LEGO and DC Entertainment – to present the first ever LEGO DC Super Hero Girls film,” said Mary Ellen Thomas, Warner Bros. Home Entertainment Vice President, Family & Animation Marketing. “Animated feature-length movies featuring DC Super Hero Girls and LEGO are extremely popular amongst our fans, so we look forward to bringing this first collaboration to life.”

Produced by Daniel Blanc,
Radium Cheung, Jamin O’Brien
Written by Stephen Molton, Frank Pugliese
Based on Border Crossing by Pat Barker
Directed by Bette Gordon
Starring Julia Stiles, Josh Charles, Avan Jogia,
Tracie Thoms, Leo Fitzpatrick, Robert Clohessy 

The Drowning is a film adaptation of the Pat Barker novel, Border Crossing. It is a dark psycho-thriller starring Josh Charles as a therapist with a troubled past and Avan Jogia as a one of the main sources of that trouble. The film opens with Dr. Tom Seymour (Charles) saving Danny Miller (Jogia) from a suicide by drowning attempt. After Danny is pulled from the water Tom realizes he saved the life of a murderer that had been sent to prison based on a testimony that Tom had given.

This revelation leads to a fairly predictable series of interactions where Danny insinuates himself back into Tom’s life. He shows up at the house. He interacts with Tom’s wife Lauren, played by the always enchanting Julia Stiles. While the returned to society killer with an ax to grind story has been told far too many times to count, Jogia’s performance is really strong. His on screen charm and ability to manipulate everything around him is surprisingly credible.

Robert Clohessy, one of the great character actors of his generation, has a small role as Danny’s father. For most of the movie he remains off screen as the possible catalyst for Danny’s evil. When he appears it becomes clear he is one of the only people Danny hasn’t charmed and wants to correct the mistake of fathering such an abomination.

Being forced to act to subtext in almost every scene can’t be easy. Bette Gordon’s direction and framing is constantly insinuating things unsaid. Is Lauren having an affair? Is there some question to Danny’s guilt for the crime he was convicted? Is Danny sleeping with his case worker? What happened at the lake when Tom was a kid? There is a constant undercurrent of implication with very little in the way of payoff.

Josh Charles’ character is the leading man and he dominates the film. He is in almost every scene and the complexity of his character is very challenging. The nuanced strength of his performance can’t be minimized. Who is Dr. Tom Seymour? The answer to that question continues to evolve throughout the film.

This is a film about conflict. Both Danny and Tom are in conflict with each other, themselves and everyone around them. As each conflict gets resolved we find out more about who they really are. They change each other in ways you don’t always expect and that is an excellent recipe for a psycho-thriller.

 

4 out of 5 stars

The Drowning is available on Digital HD

Thanks to a new critical chorus of voices, film aggregator sites such as Rotten Tomatoes have been criticized for harming film culture by putting clouds over movies with negative ratings, and discouraging people from watching them. It used to be that only film critics had a voice when it came to lambasting or praising a film. Nowadays, however, anyone can get online and throw in their two cents thanks to the ease with which you can set up a website or blog.

This is significant when one looks at the giant influence films have on popular culture. Either they’re channeling the zeitgeist, using topical events or political landscapes to create a story, or they’re actually changing it (the way Jaws helped create the Blockbuster phenomenon as well as the birth of multiplexes for example). These films can actually change the way people think, and the way they perceive the world, other cultures and certain ideas. It’s therefore a powerful and impressive thing to be able to craft something that has this potential… and it’s also expensive.

But for some people, making films is something that shouldn’t be constrained by something as unimportant as money. Without giant production studios behind them, indie filmmakers have been telling honest stories in their own way, and some of those have stood the test of time. Below we’ll look at some of the most influential indie films to date.

Slacker

The reigning king when it comes to loose structure and flowing dialogue, Richard Linklater first brought his style to the forefront with Slacker. Almost completely plotless, the $23000 film follows the life of a group of twenty-something misfits in Austin, Texas. The film discusses issues such as social stratification, terrorism, conspiracy theories, joblessness and the government, and the way they affect the characters. It’s this content and the style of the film itself that went on to influence indie filmmaking and the zeitgeist of the 90s. It also popularized the use of the word “slacker” and the apathy and aimlessness it conveyed.

Clerks

Another dialogue-heavy masterpiece, Clerks was the debut film of cult icon Kevin Smith. Chronicling the lives of two convenience store workers and made on a budget of $27000, Clerks is noted for the realism inherent in the dialogue between characters and went on to achieve a cult following. Spawning several sequels and recurring characters (and one bizarre TV pilot that never got off the ground), Clerks is also notable for its frequent references to pop culture and Star Wars.

Pulp Fiction

Perhaps one of the most classic films in modern cinema, Quentin Tarantino’s inimitable crime drama dazzled audiences with its memorable characters, razor sharp dialogue, non-linear storytelling and moments of unrestrained brutality and violence. The effect of Pulp Fiction was immediate and profound. It was a cultural phenomenon that heralded in a new era of cinema due to its nontraditional formats, unusual storyline and unmitigated violence. It’s responsible for reviving several genres including noir and gangster films, bringing about shows such as The Sopranos.

And then there’s the soundtrack, an eclectic mix of surf music and rock n roll, which culminates with everything to deliver one of the most influential films of the decade, if not at all time.

The Winchester family business adds a little more family in Season Twelve! Continue the thrilling and terrifying journey with the Winchester brothers when Warner Bros. Home Entertainment releases Supernatural: The Complete Twelfth Season on Blu-ray^TM and DVD on September 5, 2017. The set contains all 23 gripping episodes from Season Twelve and is packed with over four hours of bonus content – including 3 Mythology featurettes, commentaries, the show’s packed Comic-Con panel, deleted scenes and a priceless gag reel.  Supernatural: The Complete Twelfth Season is priced to own at $49.99 SRP on DVD and $54.97 SRP on Blu-ray including a Digital Copy.

In the show’s twelfth season, Sam and Dean Winchester (Jared Padalecki & Jensen Ackles) are reunited with their mother, Mary Winchester (Samantha Smith), newly resurrected by the apocalyptic force known as the Darkness. But Mary Winchester is not the only family appearing this season.  In addition to Lucifer being sprung from Hell, he’s also expecting a son.  Now, the Winchesters – with Castiel’s help – must not only contend with Crowley, Lucifer and his spawn, and the arrival of the conniving British Men of Letters (who’ve come to “complicate” their hunting days), but they’ll also have to relearn what it is to be a family again after all these years.

“After twelve captivating seasons on the air, Supernatural has remained a strong seller on all home entertainment platforms and ratings hit for The CW,” said Rosemary Markson, WBHE Senior Vice President, Television Marketing. “We’re thrilled to offer the show’s ravenous fans the latest season to add to their Blu-ray and DVD collections – loaded with hours of new behind-the-scenes bonus content.”

Supernatural stars Jared Padalecki (Friday the 13th, Gilmore Girls) and Jensen Ackles (Smallville, My Bloody Valentine) as Sam and Dean Winchester, in addition to Misha Collins (24, Girl Interrupted) as Castiel and Mark A. Sheppard (In the Name of the Father, White Collar) as Crowley. Created by Eric Kripke (Revolution, Timeless), the twelfth season of the hit series was executive produced by Andrew Dabb, Robert Singer (Timecop, Lois & Clark), Phil Sgriccia (Smallville), Brad Buckner & Eugenie Ross-Leming (Lois & Clark) and Jeremy Carver (Frequency, Being Human) Produced by Warner Bros. Television, Supernatural returns for its thirteenth season this fall on The CW.

BLU-RAY, DVD and Digital HD FEATURES

• The Winchester Mythology: Mary Winchester
• The Winchester Mythology: Clash of the British Men of Letters
• The Winchester Mythology: The Hunters Life
• Supernatural 2016 Comic-Con Panel
• Audio Commentaries
• Deleted Scenes
• Gag Reel

Produced by Phillip Guzman, James LaMarr,
Philip Marlatt, Derek Lee Nixon,
Galen Walker, Kurt Wehner
Written by Jeffrey Reddick
Directed by Phillip Guzman
Starring Jocelin Donahue, Jesse Bradford,
Lori Petty, Brea Grant

When Beth Bowman dies mysteriously in her sleep, her sister Kate starts to investigate Beth’s night terrors. Unfortunately for Kate, her research prompts night terrors of her own and subjects here to attacks from a supernatural force. Kate must then join forces with Beth’s boyfriend, Evan, and an old friend, Linda, and seeks help from Dr. Hassan Davies, a sleep specialist whom Beth had consulted.

Explaining that the night terror’s phenomenon known as “Old Hag Syndrome” is actually a predatory supernatural force, Dr. Davies aids them in their fight. But how do they conquer a force from the dream world?

Dead Awake is a quality supernatural story in a genre quickly becoming synonymous with low budget crap.

Writer Jeffrey Reddick (best known for the first two Final Destination films) has crafted a solid story with believable and likeable character while director Phillip Guzman has made a fine film with great atmosphere and some memorable scares. My only criticism really is a stylistic choice rather than an actual problem, this is the look and demeanor of the supernatural being. I’m getting a bit tired of the post “J Horror” boom of weird erratic ghost movement á la The Grudge or Ringu.

Aside from the technical aspects Dead Awake also features a strong cast with Jocelin Donahue (House Of The Devil and Insidious 2) playing both Kate and Beth Bowman, plus an appearance by Lori Petty (Tank Girl and Orange Is The New Black).

Overall, Dead Awake is a tense supernatural thriller with good scares and good characters all while being a more interesting exploration of night terrors than the acclaimed 2015 “documentary,” The Nightmare.

Check it out, but maybe not right before you have to go to sleep!

Dead Awake is now available on Digital HD

This summer, the irreverently funny, new HBO hit series that “hits all the right notes” (Vanity Fair) and “delights at every turn” (TIME) will be available to take home on Blu-ray and DVD. Starring and created by Pete Holmes, one of today’s most popular stand-up comedians, Crashing: The Complete First Season is the semi-autobiographical comedy that follows a stand-up comic whose suburban life unravels, causing him to lose everything, but his sense of humor. Achieving universal critical acclaim and already renewed for a second season, Crashing: The Complete First Season will be available on Blu-ray and DVD on August 1, 2017 featuring all eight season 1 episodes and Pete Holmes’ first ever HBO stand-up comedy special Pete Holmes: Faces and Sounds.

Crashing: The Complete First Season includes even more exciting bonus content, including:

• Guest Star Fan Club – Pete Holmes talks about his experience working with comedians Artie Lange, T.J. Miller, Hannibal Buress, and Sarah Silverman, all of whom guest starred in Season 1 of Crashing.
• Comedy Extras – Enjoy the comedy stylings of T.J. Miller, Aparna Nancherla, and Pete Holmes as they perform their hysterical scenes from Season 1.
• About Crashing – Get the hilarious lowdown on Crashing with star Pete Holmes and executive producer Judd Apatow.
• The Art of Crashing – Hear what it takes to make it in the comedy business from Pete Holmes and his comic cohorts in this behind-the-scenes featurette.

Executive produced by Judd Apatow and Pete Holmes, and loosely inspired by Holmes’ personal experiences in stand-up comedy, Crashing follows an aspiring comic named Pete (Holmes), who finds out his wife Jessica (Lauren Lapkus) is cheating on him, forcing a move to New York to pursue his dream of being a comedian. Thrown into the deep end in a city that’s not for the faint of heart, the formerly sheltered Pete learns some hard lessons about life and comedy, encountering all sorts of stand-up talents along the way, from cynical guru Artie Lange, to outrageous provocateur T.J. Miller, to benevolent motivator Sarah Silverman, and many more. While trying to make ends meet by crashing on other people’s couches (hence the series name), Pete finds goodness in unlikely places, evolving into someone who’s a little more okay with the messiness of life. A love letter to stand-up, Crashing is a series about discovering humor, beauty and grace in the crazy den of thieves that is the NYC comedy scene.

Other comedy heavyweights and who also guest star in season 1 include Jim Norton (Louie), Hannibal Burress (Broad City) and George Basil (Flaked).

Produced by Marc Sterling, Tommy Stovall
Written and Directed by Tommy Stovall
Starring James Martinez, Trevor Sterling Stovall,
Michael Chieffo, Farah White, David Castellvi

A 12-year-old hemophiliac boy, incessantly tormented by a bully at school, eventually must go the hospital after one of his scuffles leads to some internal bleeding.

Once released, the boy begins to exhibit some bizarre physical traits: he has no appetite, his skin becomes very quickly irritated and beyond when exposed to direct sunlight, and he has sudden strength and agility.

Any seasoned horror fan can see where this is going, and certainly Aaron’s Blood does cover some familiar ground.

However, this one is more akin to Martin, The Addiction and Only Lovers Left Alive, in terms of looking at vampiric lore from a different perspective.

For while there are certainly some creepy moments here – as well as one good shock – Aaron’s Blood is really about a single dad’s desperate attempt to save his son’s life and soul before it’s too late.

Not only does Dad need to figure out how to reverse the transformation, he must also contend with a modern-day vampire hunter who wants the boy dead. Also, Dad, in his desperation, commits a few crimes in his quest, possibly paving the way for a loss of his own morality in order save his son.

While the very low budget is evident and the film is far from a slam-dunk, it does work, thanks in large part to the surprisingly good acting on hand. James Martinez as the loving father is very effective – and affecting – in what could have been a one-note role.

Trevor Stovall as the infected boy also delivers, offering a wholly believable shift from bullied kid to tough, mean vampire to increasingly-despairing young man terrified of losing his humanity.

Also notable is veteran character actor Michael Chieffo, on hand as Earl, the aforementioned vampire hunter. The character and performance pleasingly wind up being more layered than initial impressions suggest.

The film stumbles a bit in its pacing. Even at a brief 80 minutes, the film is padded with several nightmare sequences that, while offering a glimpse into Dad’s psyche, are ultimately unnecessary and slow the film down.

Those looking for a terrifying, roller coaster ride of a horror flick should look elsewhere, but Aaron’s Blood is a slight, but worthwhile vampire film for those looking for something a bit different.

Aaron’s Blood is now playing in limited release
and is available On Demand and Digital HD.

Patty Jenkins’ Wonder Woman sees the hero brought to the big screen for the first time in her own movie, and fully realizes the breathtaking wonder, strength, and grace of such an historic character. Wonder Woman: The Art & Making of the Film celebrates the creation of this groundbreaking movie, taking fans on a voyage of discovery through the world of Wonder Woman. Showcasing the earliest concept art, set and costume designs, sketches and storyboards, the book delves deep into the filmmaking process, from creating the stunning island of Themyscira to the war-torn trenches and towns of First World War Europe.

This official companion explores the Amazons’ rigorous training regimens, their weaponry, armor, Themysciran culture, and the amazing women themselves. With exclusive insights from cast and crew, including director Patty Jenkins, production designer Aline Bonetto, and Diana herself, Gal Gadot, this volume is the ultimate guide to the past, present, and future of one of the most iconic heroes in the world – Wonder Woman.

And we’re giving away three copies!

To enter, please send an email with the subject header “ART OF WW” to geekcontest @ gmail dot com and answer the following:

What is the name of Diana’s mother?

Please include your name and address (U.S. Residents only. You must be 18 years old).

Only one entry per person and a winner will be chosen at random.

Contest ends at 11:59 PM EST on June 18th, 2017.

Welcome back to Graphic Breakdown!

Let’s waste no time and let’s get to talking about some comics!

Dark Knight III: The Master Race #9  
Written by Frank Miller and Brian Azzarello
Illustrated by Andy Kubert and Frank Miller

I loved this. When I originally read they were letting Frank Miller have one more go round with the Dark Knight franchise, I shuddered with fear.

The second part was a rough go and this one wasn’t looking promising.

Then I got to read it. It was bananas. Absolutely bananas.

I couldn’t get enough.

This title was plagued by delays. I didn’t care though. As long as the quality was high and the story was interesting, I’d wait for it as long as it took. It’s been about two years since this has started.

Damn, they did a good job.

Azzarello tempered some of the more wacky ideas Miller has  it seems, and he has grounded them. Miller raised the quality of Azzarello’s writing and made it have some bite. They work well together in that context.

The art is great.  It was obviously a passion project for Kubert and it shows. Thumbs up to this issue and thumbs up to this entire bizarrely nuts series. It’s top quality and if they made another chapter? I’m there.

RATING: A

 
Batman #24 
Written by Tom King
Illustrated by David Finch and Clay Mann

I want to like this title. I just can’t seem to grab onto it no matter how hard I try. Tom King is actually a good writer. Sheriff of Babylon? Excellent. Vision? Genius. Omega Men? Unbelievable.

So why can’t he get Batman right after 24 plus issues? It has to do with characterization.

King’s Batman is the most one-note Batman of all time. When he tries to give him dimension, it comes off as false.

This issue is just a bunch of talking heads. Batman is reeling after the “epic” Bane storyline. He talks with Gotham Girl, and then Catwoman. I wish I can say it goes beyond that, but not so much.

The surprise ending feels forced. I didn’t care much for it.

The good part of the issue is the Clay Mann art. It’s beautiful and I wish he would do more Batman now.

I’m pretty much done with Finch at this point, but Clay Mann on a Batman title? He’s fantastic.

RATING:B-

 
Deathstroke #20   
Written by Christopher Priest
Illustrated by Carlo Pagulayan

This is the epilogue for The Lazarus Contract. I liked this  crossover with the Titans books quite a bit. It was better than I thought it it was going to be.

Now we are back to our regularly scheduled program.

That means that this issue is spectacular, truly spectacular.

I loved it because it was a quieter issue than what we are used to. Priest knows how to keep our interest throughout. If it was a less capable writer, this issue would be full of talking heads.

Yet, Priest keeps the dialogue fun and the emotion high.

There is a scene where Deathstroke has come to another character’s door to apologize. It’s one of the most painfully funny scenes I’ve read in this title.

There is also a looming threat. The threat looks to be the antagonist in the coming issues. There is a sense of dread which I really enjoyed here.

The art by Pagulayan is great as always. I hope he and Priest stay on this title for many, many more issues. We are back to the comic I love (without pesky crossovers) and I can’t wait to read the upcoming issues. Good stuff.

Rating: A-

 
Shade The Changing Girl #9
Written by Cecil Castellucci
Illustrated by Marley Zarcone

This is one of the best new titles of the last year. I love the writing so much on this. It’s hip without being cute. It’s smart without talking down to the reader. And man, it is full of emotion.

This is some top quality comic book writing.

This is part two of Shade’s trip to Gotham City. The denizens of Shade’s home planet of Meta is tracking her down. Things are gettng wild! Shade is on the run! The coat is acting weird! What’s going to happen?

Castellucci makes the comic book sing. He’s not afraid to be weird or make his characters weird. He does it well. He makes them beautifully weird in fact. You love Shade in this and you quietly cheer her on.

It makes for some excellent comic book reading.

Zarcone is one of my favorite artists in the field right now. The storytelling is crisp and joyous. The book is deeply strange but Zarcone does it all with a straight face. Together, this creative team is making one of the best books currently on the stands and you are missing out if you are not reading it.

RATING: A

 
Bane: Conquest #2 
Written by Chuck Dixon
Illustrated by Graham Nolan

Have you ever wondered what it would be like if Bane had his own comic book limited series?

Well, neither have I, but DC comics is obsessed with Bane these days, so much so that he has been everywhere.

Bane has been captured by a cult leader Damocles.

Apparently, Damocles is as obsessed with Bane as everyone else over at DC is.  Bane then plots his escape. Dixon keeps things interesting on this front. His Bane is nutso, and this issue is pretty nutso at that. The tension is high throughout and that is to Dixon’s credit.

Nolan is an artist I love. He doesn’t do enough work. He’s a classy comic book artsit and keeps the storytelling crisp. He’s at the top of his game. In fact, his linework has never been better. I’m glad he’s still working.

Conquest may be an unnecessary title. Still, It’s a solid enough work, and I enjoy it enough to recommend.

RATING: B

 
Aquaman #24   
Written by Dan Abnett
Illustrated by Scot Eaton and Phillipe Briones

Holy crap! Aquaman has been pretty awesome!

Dan Abnett is taking the character and turning him on his head and I am loving it! I’m excited about where this series is going.

The people of Atlantis are tired of Aquaman’s antics and they have stripped him of his crown!

Guess what? They even replaced the guy! Can you believe it? What a bunch of hooligans.

Then, they make things even worse and more hurtful.

They decide to make Corum Rath, someone Aquaman REALLY despises , their new king.

And then things get even worse.

Abnett takes Aquaman, who can come off as a joke, and turns him into a multi-layered, viable character.

He finally made Mera a fully developed character as well. The storylines have been more viable than they have been in years. It’s wonderful to pick this title up every month.

The art is the weak point here. It’s not consistent from issue to issue. The artists aren’t even close to each other half the time. If they can fix that bump, the rating would be higher. Still, this is a decent book. Pick it up. Well worth your time.

RATING: B+

 
Superman #24 
Written by Peter J. Tomasi and Patrick Gleason
Illustrated by Doug Mahnke and Patrick Gleason

This is part five of the Black Dawn storyline. It’s a good one too. Superman faces the one adversary he wishes he didn’t have to.

Who is it?

Well, it’s Manchester Black. Superman and Manchester Black go toe to toe. It’s brutal. It’s exciting. It’s a great comic book.

The cool thing that Tomasi and Gleason have done is that they have taken Superman and they have turned him on his head.

Manchester Black screws with Superman and makes him crazy. He’s spending time beating him down, both physically and psychologically.

Tomasi and Gleason also use this opportunity to illustrate why Superman is necessary.

The art is awesome and vivid. Both Gleason and Mahnke are excellent and they bring this book to life well. It’s an exciting read from start to finish.

The best line of the book? “We need Superman.”

Yes, we do. Especially from this creative team.

RATING: A

 
Nightwing #22 
Written by Tim Seeley
Illustrated by Miguel Mendonca and Vicente Cifuentes

Well, Tim Seeley is back writing this title. I was secretly hoping for a creative team shakeup. No such like here. He’s back on this title with the writing duties, giving us yet another standard issue.

Blockbuster is back in Bluhaven to wreck some havoc.

This leads to a fight with Nightwing to stop him from creating that havoc. It’s not terribly exciting nor inventive. The whole thing is rather a bore and needs a little spicing up. The characters are even boring me a bit at this point.

I wish something crazy would happen.

The art is capable here. Again, it’s nothing new.  I am wishing each month  for a more passionate creative team. This is just  just okay.

RATING: C+

 
The Fall and Rise of Captain Atom #6
Written by Greg Weisman and Cary Bates
Illustrated by Will Conrad

Man, Will Conrad is good. His art on this title far exceeded my expectations. This is one of the most unexpectedly great comic book series of the year. I hate Captain Atom but this creative team really did a great job on it.

This is the final chapter of the “Mission Creep” storyline. Past and present events collide here and it leads to a huge final battle for Captain Atom.

The big problem is he has no idea who is on his side and who isn’t. It makes for some excellent dramatic storytelling.

I was on the edge of my seat this entire issue and it did not disappoint. The only thing that made me a bit sad was it was the final issue.

I hope there’s more in the future. Maybe by this exact creative team?

Only time will tell.

RATING: B+

With an average weekly audience of 9.3 million in its first season, FOX’s #1 new series is an explosive thrill ride filled with comedy, action and heart that features America’s original buddy cop duo. Based on the hit movie franchise, Lethal Weapon, tells the story of a slightly unbalanced former Navy SEAL joining forces with a veteran detective as partners on the Los Angeles police force. Warner Bros. Home Entertainment brings all 18 episodes of this season’s most electrifying action series to Blu-Ray and DVD with the release of Lethal Weapon: The Complete First Season on September 19th, 2017. Available to own for $39.99 / $44.98 SRP, Lethal Weapon: The Complete First Season also includes a Blu-Ray and DVD exclusive featurette; an uncensored, extended pilot episode; deleted scenes and a hilarious gag reel! Lethal Weapon: The Complete First Season is also available to own on Digital HD via purchase from digital retailers.

Roger Murtaugh (Damon Wayans) and Martin Riggs (Clayne Crawford) are back on the streets of L.A., in Warner Bros. Television’s adaptation of the classic buddy cop action-comedy. The series introduces these two polar opposites: Riggs a volatile former Navy SEAL-turned-detective out of El Paso, Texas with a tendency to dive into the line of fire following the tragic deaths of his wife and unborn son; and Murtaugh, a seasoned, by-the-book detective cautiously returning to the LAPD in the wake of a heart attack that nearly killed him. While the partnership seems doomed from the start, the dynamic is crazy enough that it just might work. The question remains… can the two of them work together to protect the crime-ridden streets of Los Angeles, or will Riggs get the two of them killed first?

With Blu-ray’s unsurpassed picture and sound, Lethal Weapon: The Complete First Season Blu-ray release will include 1080p Full HD Video with DTS-HD Master Audio for English 5.1. The 3-disc Blu-ray will feature a high-definition Blu-ray of all 17 episodes from season one.

From executive producers Matt Miller (Forever, Chuck), Dan Lin (Sherlock Holmes, The LEGO Movie), Jennifer Gwartz (Veronica Mars, Forever) and McG (Charlie’s Angels, Terminator Salvation), the action-packed first season of Lethal Weapon stars Damon Wayans (In Living Color), Clayne Crawford (Rectify, A Walk to Remember), Jordana Brewster (The Fast and the Furious), Keesha Sharp (Are We There Yet?), Kevin Rahm (Desperate Housewives), Chandler Kinney, Dante Brown (Mr. Robinson), Johnathan Fernandez (Girls) and Michelle Mitchenor (Chi-Raq). Returning for a second season on FOX, Lethal Weapon is produced by Lin Pictures, Inc. in association with Good Session Productions and Warner Bros. Television.

“Warner Bros. Home Entertainment is thrilled to deliver Lethal Weapon: The Complete First Season to Blu-ray and DVD this fall,” said Rosemary Markson, WBHE Senior Vice President, Television Marketing. “Fans old and new will embark on an action-packed ride throughout all episodes of the hit new series as well as new exclusive bonus features and extras.”

BLU-RAY & DVD FEATURES

• Reloading Lethal Weapon – NEW Featurette
• Uncensored – Extended Pilot Episode
• Deleted Scenes
• Gag Reel

From Carlo Barberi’s amazing layouts in Green Lanterns, Oliver Queen rising from the ashes, Harley’s mystery guests to Everafter‘s shocking twist, it was a week of big reveals that didn’t hold back. The citizens of Bedrock waved farewell while the Watchtower suddenly became overpopulated and Cain took on Abel for the fate of New York.

More ups and downs than a roller coaster, but here’s my look into the DC Universe this week!

Cyborg #13
‘Danger In Detroit’ – part 4: Fyrewyre
Written by John Semper Jr.
Art by Allan Jefferson
Inks by Tony Kordos
Cover by Allan Jefferson & Guy Major
Variant by Carlos D’Anda

Black Narcissus is holding the fort in Detroit while Cyborg is away. Cyborg, meanwhile, has secretly made it back and with the help of Exxy and is in contact with Sarah in STAR Labs. Despite their clandestine approach, Cyborg is discovered and attacked by a technological ninja named Fyrewyre.  This foe is able to bend space and time making him a formidable foe for Vic alone.

With the aid of Black Narcissus they are able to take on Fyrewyre but just when they think they have the upper hand Anomaly reveals his deadly plan and it might be the end of Victor, STAR Labs and all of Detroit.

Black Narcissus was exactly what the book needed, a fresh face to drive the story in a new direction.
Fyrewyre is a wildcard I can’t figure out almost like the first season of a television show he popped up like a villain of the week.

The inclusion of Sarah to move the narrative along is necessary and I hope now that Cyborg and Sarah are reunited that the Anomaly storyline will finally be heading for that climax it has been skirting around for months.

Everafter: From The Pages Of Fables #10
‘Gone To Seed’ – Part 3: The Unsentimental Education
Written by Dave Justus & Lilah Sturges
Art by Travis Moore
Cover by Tula Lotay

The siege on the school has grown to horrific levels as Kellen, Vad & Garrett rule and torture with their mystical weapons.
As time slows to a crawl the trapped teenagers forge an alliance of faith to get them through.

Bobby Speckland inspires the captives and they grow in number and strength until they are finally strong enough to stand up for themselves.  When Kellen, Vad and Garrett stand off against the rebellion they discover a truth about Bobby Speckland that even he never suspected.

Will this secret help them survive or destroy them? That is a question of faith.

Everafter is not your average book. The siege, the escalation and then the rise of the students, it is a turbulent and fascinating journey.

Sometimes reading a book that is nothing to do with superheroes opens your mind to how innovative a medium the comic book can be. The twist at the end of the issue was entirely unexpected but gave the book and its army of students the power of faith and inspiration. The softness of the artwork makes some of the more shocking scenes very hard to stomach.

Green Arrow #24
‘The Rise Of Star City’ – Finale
Written by Benjamin Percy
Artwork by Juan Ferreyra
Cover by Juan Ferreyra
Variant by Mike Grell & Lovern Kindzierski

The Ninth Circle has control of Star City and systemically dismantled Queen Industries and Team Arrow. Oliver Queen has nothing to lose but far from leaving him beaten it has made him a force for good the Circle had never counted on.

John Diggle has joined forces with Malcolm Merlyn.
Henry Fyff (seemingly) killed when the Treetop base was burnt down. Eddie Fyers revealed he had switched alliances.
Only Dinah, Arsenal, Emiko and Victoria Much stand by his side and even that is a tenuous alliance.

Ollie hunts for the inner sanctum of the Ninth Circle and thanks to Much he realises it is underneath Queen Industries itself.

While the remains of Team Arrow take on the Horsemen Ollie battles the Circle and their evil legacy.
What follows leads to Ollie revealing himself to Seattle to be alive and insistent that he will be returning as CEO of Queen Industries.

The only problem is he is wanted for murder!

Too fast!

I was really enjoy the build up to this story and as it grew with each issue and Ollie’s world was deconstructed the stakes were growing bigger and bigger. Then, just like that it’s over. Its not really been that fast, its just that there is so much to take in I wanted to savour it a bit longer. Suddenly the rug has been pulled out from beneath me and Benjamin Percy has shifted the status quo again! This book is the epitome of ‘never a dull moment!’ and I urge you all to read it!

Green Lanterns #24
‘Lost In Space’ – Conclusion
Written by Sam Humphries
Art by Carlo Barberi
Inks by Matt Santorelli
Cover by Brad Walker, Drew Hennessy & Jason Wright
Variant by Emanuela Lupacchino

Jessica and Simon had failed, or so it seemed, but the two heroes of sector 2814 don’t fall so easily and with determination and willpower, they defeat their tutors, Kyle Rayner and Guy Gardner and graduate as fully fledged Lanterns.

The celebrations are cut short as the two reinstated Lanterns are ordered to lead a new mission before they can return to Earth. They must aid a Guardian of Oa with entry to The Vault Of Shadows but this Guardian has a secret agenda, one that will mean the end of either Jessica Cruz or Simon Baz.

The real story, the true core of this Lost In Space storyline is not the journey of Simon & Jessica, but the secret plot of the Guardian. It is a little annoying that this has been the case for the past few issues and the scenes that focused on this plotline were relegated to short 3-4 page vignettes.

Even more annoying is that the story of the Green Lantern boot camp was far more interesting and engaging. I care about this fumbling duo more than I do the Guardian but at least Humphries has tied the plotlines together. Poor Jessica has been through the mill all over the DCU these past few months, I hope she stops being a damsel in distress soon. The one thing I thought was fantastic was Carlo Barberi’s artwork, it really brought the story to life.

Harley Quinn #21
‘Right Back At Ya!’
Written by Amanda Conner, Jimmy Palmiotti & Paul Dini
Art by Joseph Michael Linsner, John Timms & Brett Blevins
Cover by Amanda Conner & Alex Sinclair
Variant by Frank Cho

Batfan is determined to kill Harley Quinn and they have a war both physical and of words but it is a stand-off neither can win until a third party attacks them both and takes them captive.

As Harley is knocked out by gas Batfan in introduced to her ancestor who is threatened with death if Batfan persists in her plan.

Batfan’s captor reveals himself to be Red Tool, or as she knows him, the original Batfan that travelled back from her time but was lost. Red Tool gives Batfan a new life to live out before her time travel device returns her home in a year, on the understanding that Harley is left alone for his own plan.

Harley wakes up at home unharmed but when the doorbell in her apartment rings, Harleen Quinzel has two very shocking visitors to meet.

In “Harley Loves Joker” Part Five, Joker and his gang need a new hideout as their current living situation grows even more stressful. Harley takes it upon herself to seek out an old friend, Jenna and her hideout, Jake’s Joke Shop. Full to the brim with gadgets and toys perfect for Harley and Joker it is a perfect new home – except for the fact it’s new owner want to demolish it and create a coffee house. Can Harley save the shop before it’s too late?

Well who would have thought that a character such as Red Tool would actually become far more than a pale one dimensional copy of Deadpool, not me that’s for sure.

Palmiotti & Conner have definitely knocked me for six with his backstory, this was not the ‘Back To The Future’ parody I was expecting. I thoroughly enjoyed this unexpectedly multilayered storyline and that Mary Jane moment at the end was another shocker. The only thing I am now left wondering is whether Red Tool is a good guy or a bad one.

Elsewhere, now that we have more chapters of ‘Joker Loves Harley’ it is finally beginning to take shape. I think it would have been better published as a whole, perhaps as a one shot but till then I’ll enjoy the segments for their nostalgia.

Justice League #22
‘A Thousand Little Things’
Written by Shea Fontana
Art by Philippe Briones
Cover by Paul Pelletier, Andrew Hennessey & HiFi
Variant by Nick Bradshaw & Alex Sinclair

Lois & Jon are visiting the Justice League Watchtower so Lois can write a story on the League as a ‘puff piece’ for Perry.  Cyborg alerts them to a microscopic lifeform Simon & Jessica have inadvertently brought aboard the satellite and suddenly what was a peaceful day escalates quickly as the lifeform replicates forcing the Watchtower to go under quarantine.

As the team struggle with their prison, Wonder Woman invites the Lanterns to spar with her but they aren’t alone as a swarm of the lifeform appear, taking human form, attacking Diana. When the rest of the League arrive, Batman realises Jessica has a queen parasite within her and the swarm is protecting her quarry and unless Jessica begins to believe in herself they will all die in space…

Poor Jessica Cruz just can’t catch a break can she?

The elements of this are very similar to the storyline over in Trinity, so much so they even reference it.  Is that bad timing? I’m not sure.

I really liked some of what Fontana was doing here, the elements of the the bugs, the quarantine, being trapped, there was so much mileage but the resolution felt, forced, rushed and ultimately went nowhere.

Perhaps if it was over a few issues and played with the theme of claustrophobia, of the contagion and being held essentially in a prison unable to return to Earth… it could have gone someone different.

Savage Things #4
‘Savage Things’ Part 4
Written by Justin Jordan
Art by Ibrahim Moustafa
Cover by John Paul Leon

The trap leads Abel to abandon his chase of Cain. 

As New York sinks into chaos, Cain uses the opportunity to launch into a killing spree.  Abel and Kira waste no time chasing him down and discover a masked man killing civilians.

They may be evenly matched black ops soldiers but now Cain knows Kira is the Achilles heel he needs to win, but when the police arrive, who will they believe?

As fantastic as this series is, this issue was a bit of a disappointment.

One long scene that was already set up last issue that really didn’t go anywhere.

I enjoyed it, but to call this issue a story is being generous.  It added a little more to the backstory of Cain & Abel, but other than that (which we’d already seen the like of before) it just felt like padding until the final page’s reveal.

The Flintstones #12
‘Farewell To Bedrock’
Written by Mark Russell
Art by Steve Pugh
Cover by Yanick Paquette & Nathan Fairbairn
Variant by Rick Leonardi, Scott Hanna & Steve Buccellato

By order of Mr. Slate and to win the job of site foreman, Fred must win a bowling tournament against the all female league ‘The Spare Ribs’

Of course nothing goes to plan and an unruly ‘armadillo’ ball ruins his chances. Poor Fred vows never to bowl again but Mr. Slate surprises Fred with his reaction, somehow along the way everyone has begun to learn and grow as human beings, could that be the influence of The Great Gazoo?

As he prepares to leave and deliver his final report Bedrock must face a final judgement, along with mankind!

And it’s over!

I must have been the only one not enamoured by this series. I disliked everything about it. It wasn’t funny, it was always trying to be clever (trying) and those character designs… to fans of the show it was almost offensive.

Even as a final issue the story make little to no sense, the last page narrated by The Great Gazoo was the only part that was a saving grace, it was also the moment I could breathe a sigh of relief as it ended.

You’re welcome to disagree, but for me this was not The Flintstones, not by a long shot.

Wonder Woman: Steve Trevor Special #1
Wonder Woman’s Boyfriend, Steve Trevor in ‘The River Of Lost Years’
Written by Tim Seeley
Art by Christian Duce
Cover by Paul Renaud
Variant by Yanick Paquette & Nathan Fairbairn

Steve Trevor and Wonder Woman are an unbeatable team, but Steve isn’t just man candy for Diana to rescue.  He is Master Chief of ARGUS, and a decorated soldier in his own right.

Steve’s mind wanders back to a time without Diana when he was a member of the ARGUS team, The Oddfellows, and had to rescue hostages from Saturna and her army of Crimson Men.

They, like ARGUS, seek out artifacts and myths but the Crimson Men want to use these secrets for evil. The hostages trust Steve and asked him to keep this mission secret.

Good natured Steve agrees, but is shocked to find they have are protecting the location of a secret valley where you are immortal within it. Saturna and her Crimson Men attack, but Steve vows to protect the people living in the valley, and helps to fight them off. Years later of course Steve is a force for good with Diana at his side. Did Saturna really fall at the hands of Steve and The Oddfellows or will Wonder Woman and Steve live to regret Steve keeping this a secret?

This issue, I’m unsure of… is it just to capitalise on the movie release? If so shouldn’t it really have been a tie in?

Regardless of the marketing of the story, it is a solid issue, it really works at giving Steve the spotlight.  It also sets up Saturna for a return in the future, however considering the fact that truth and lies have been the foundation for Wonder Woman’s Rebirth, it is a bit of a shock that that continues to play through this issue.  What does this mean for the couple moving forward, as this is inevitably going to resurface at some point?

Toronto’s Papergirl Press is launching The Pushpin, a curated website of collectible, high-quality giclée prints for sale by acclaimed graphic novel artists — including Kate Beaton (Hark! A Vagrant), Johnnie Christmas (Angel Catbird), Michael Cho (Shoplifter), Valentine De Landro (Bitch Planet) and Jeff Lemire (Royal City) — and acclaimed editorial illustrators Julia Breckenreid, Dani Crosby, ​Chloe Cushman, Jay Dart (as his alter-ego Granduncle Jiggs), Sarah Lazarovic, and Christian Northeast. The site will also launch with Pushpin Originals — prints of new and never-before-seen art created specifically for The Pushpin by Kagan McLeod (Kaptara), Ryan North (Romeo and/or Juliet: A Chooseable-Path Adventure) and Chip Zdarsky (Sex Criminals). Prints currently available from the Pushpin range in price from $25 to $150.

The Pushpin is a project of Papergirl Press, a small printing company in Toronto committed to working exclusively with independent artists, run by former journalist Jessica Johnston. “Until a year ago, I was a newspaper editor, where I worked with freelancers to make a culture section. Now I’m working with artists to make a website. It feels similar in some ways, but my walls look way better now,” said Papergirl Press Owner Jessica Johnston. “The site is pretty much an even split between comic artists and editorial illustrators, which differentiates it from other art print sites. I love having the two side-by-side, since there is a lot of overlap between the disciplines. Comic work and illustration often also share a clever, playful sensibility, which is a big theme on The Pushpin.”

“As satisfying as it is to see my work in newspapers and magazines, having high-quality prints of it available to people means the work lives on in a more permanent way,” said Julia Breckenreid. ”It’s so great to have an outlet for my illustration that treats it with the same level of care that I put into it.”

At launch, The Pushpin will feature more than 40 prints including:

• King Baby by Kate Beaton;

• 2 Pisces prints by Johnnie Christmas;

• Pee Wee Herman’s loafers, rendered by Sarah Lazarovic

• A Sweet Tooth and an Essex County print by Jeff Lemire;

• 3 Kagan McLeod prints including a portrait of Prince and a Pushpin Original History of Hip Hop;

• 2 Pushpin Original prints by Ryan North;

• 3 Chip Zdarsky pieces, including a Sex Criminals print and a Pushpin Original print entitled The Solar System: The Graphic Guide to Our Universe.

“Science is more important than ever. And even more important than science, is letting people know how much you love science,” said Sex Criminals artist Chip Zdarsky about his Pushpin Original. ”So I wanted to create a poster that could convey to your houseguests that you’d be perfectly at home retweeting Neil deGrasse Tyson, or that you read National Geographic magazines as a kid. My highly informative information graphic on THE SOLAR SYSTEM™ does just that.”

“I do a lot of work in text, and I love the idea of an image that can surprise you when you come closer,” said Ryan North about his Pushpin Original entitled Great Day. “This print on the surface says, ‘Hey, inspirational poster! You definitely know what this is!’ but as you get closer you realize, ‘hey wait’ — turns out it’s actually quite a bit more complicated than that. JUST LIKE LIFE ITSELF?? When I look at it I feel a little inspired and a little sad, which is a nice feeling, and I hope I can share that feeling with others.”

“The artists featured at launch are all Canadian, but genius is everywhere, so we will be expanding our borders in upcoming months, adding new work all the time,” explained Johnston.

Artists who will have work on the Pushpin in the coming months include Bryan Lee O’Malley (Seconds), Marguerite Sauvage (DC Bombshells) and illustrator Gordon Wiebe. For updates, follow @pushpinprints on Twitter, Facebook, and Instagram.

Check out some of my favorite prints below.

Chip Zdarsky

Jeff Lemire

Johnnie Christmas

Kagan McLeod

Sarah Lazarovic

Michael Cho

Kate Beaton

Ryan North

To see all prints currently available, visit thepushp.in

Just in time for Arrow’s sixth season on The CW, viewers can catch up with the thrilling series as Warner Bros. Home Entertainment releases Arrow: The Complete Fifth Season on Blu-ray and DVD on September 19, 2017. Averaging 3 million viewers weekly for each original episode, Arrow is the #2 series on The CW season to-date amongst Adults 18-34, behind only The Flash. The release contains all 23 exhilarating episodes from the fifth season, the show’s 2016 Comic-Con Panel, never-before-seen featurettes, and much more. Arrow: The Complete Fifth Season is priced to own at $49.99 SRP for the DVD and $54.97 SRP for the Blu-ray which includes a Digital Copy. Arrow: The Complete Fifth Season is also available to own on Digital HD via purchase from digital retailers.

In Season Five, newly appointed Mayor Oliver Queen finds himself challenged as he fights on two fronts for the future of Star City. With his right hand, John Diggle, back in the military and his sister Thea adamant about hanging up her vigilante hood as Speedy, Team Green Arrow is down to just Oliver and Felicity – but they’re no longer the only vigilantes in town. Green Arrow’s public defeat of Damien Darhk at the end of Season Four has inspired a new crop of masked heroes to step up and defend the city, though their painful inexperience makes them obstacles rather than allies in the field. The arrival of a deadly new adversary will force Oliver to confront questions about his own legacy, both as mayor and as the Green Arrow.

“After five strong seasons, Arrow remains one of the most talked-about shows on the air,” said Rosemary Markson, WBHE Senior Vice President, Television Marketing. “The loyal fan base will enjoy the special features, in addition to the 23 gripping episodes following new challenges and new characters.”

With Blu-ray’s unsurpassed picture and sound, Arrow: The Complete Fifth Season Blu-ray release will include 1080p Full HD Video with DTS-HD Master Audio for English 5.1. The 4-disc Blu-ray will feature a high-definition Blu-ray and a Digital Copy of all 23 episodes from Season Five.

Arrow stars Stephen Amell (Private Practice), David Ramsey (Blue Bloods, Dexter), Willa Holland (The O.C.), Emily Bett Rickards (Brooklyn), Echo Kellum (Sean Saves The World), with Josh Segarra (Sirens, Chicago P.D.) and Paul Blackthorne (The River). Based on the characters from DC, Arrow is produced by Bonanza Productions Inc. in association with Berlanti Productions and Warner Bros. Television, with executive producers Greg Berlanti (The Flash, Supergirl, Blindspot), Marc Guggenheim (DC’s Legends of Tomorrow), Andrew Kreisberg (The Flash, Supergirl), Wendy Mericle (Desperate Housewives) and Sarah Schechter (The Flash, Supergirl,Blindspot).

BLU-RAY & DVD FEATURES

• Arrow: 2016 Comic-Con Panel
• The New Team Arrow
• Allied: The Invasion Complex (Arrow)
• Returning to the Roots of Arrow: Prometheus
• Deleted Scenes
• Gag Reel