One of the best aspects about reading sequential comicbooks month-by-month is looking not at the minutiae, that is, the fine aspects of the story – and don’t get me wrong, it is this very same minutiae that draws a reader in and gets them involved with the character and moves the story and defines the moment – rather, where does the story go in the span of years other than months. How does the character grow and react to a continually changing environment. Does the one moment that is hyped as “nothing will ever be the same again” actually have long term effects?
Looking at complete runs on a title throughout the months where new challenges are met, races are run, moral differences are breached and key relationships wind up being just as trivial as stopping the generic bank robber, my date-conscious mind seeks to place these events in a particular order. Where do key crossovers fit in with the general direction of a run? Certain matchups have to happen before certain events because of location or costume updates. Key characters that have multiple monthly titles obviously are not performing these deeds simultaneously, regardless how supernatural they may be.
This is definitely a tall order and even borders on the insane. After all, all these comics were written, drawn and edited by entirely different people at entirely different times. But finding this proper sequence can be fun – not to mention a unique insight to the psychological ordering of my mind. Yes, issue 324 occurs after issue 323 numerically, but issue 324 happens to be a flashback tale chronicling events leading up to issue 300. This continuity presents such a timeline.
Now, to quote the immortal Beatles, do you want to know a secret? The creation of this continuity timeline, this linear representation of a shared universe that always seems to be a buzzword amongst us geeks, is truly nothing more than a grand excuse to go back and re-read all these countless titles amassed over 20+ years of collecting. Going through back issue upon back issue has allowed the re-discovery of long-forgotten treats as well as the unearthing of a number of blunders that once were an embarrassing part of my collection are now fodder on eBay (so to paraphrase a well-worn saying here in Philadelphia politics: bid early, bid often).
Parts of this blog will be highlighting such treats, as well as the occasional blasting of a youthful and shameful purchase. As always, being an ambassador of the medium, I totally invite you to check out any titles or storylines mentioned in upcoming posts. If you have questions, feel free to join in a discussion.
As always,
theJOE
26 March 2006
16 March 2006
A short story that should have been treated as a short film.
Let’s not look at BROKEBACK MOUNTAIN as the “gay cowboy” movie or as “the film that should have won the Best Picture Oscar.” Let’s avoid the clichés that cinema as an art form reflects the political nature of society and let’s definitely not tiptoe around the assumedly politically-correct stance that the homosexual community needs to rally around this film and treat it as a benchmark. Instead, let’s look at BROKEBACK MOUNTAIN as a film, something many reviewers (and fans) refuse to do.
From its opening scene of a lonely pre-dawn road through the entire first act filled with Canadian majesty masquerading as the purple mountains of Wyoming, film auteur Ang Lee tries his best to illustrate the solitary life that a sheep-herder must certainly face. This solidarity continues its theme as Ennis and Jack learn that they are a definite minority and how their lifestyle affects other choices they must deal with.
BROKEBACK MOUNTAIN possess a number of fine and memorable scenes, most of which occur in the following two acts where Ennis and Jack, apart from each other, do their best to simply live life. Lee’s base camerawork coupled with beautifully-authentic looking sets helps capture these cinematic moments. Where BROKEBACK MOUNTAIN fails is its inability to place these individual moments into a cohesive and compelling film. Lee fails in glancing over this solitary cowboy life by providing nothing more than the quickest of glimpses. As a result, BROKEBACK MOUNTAIN as a whole appears as nothing more than filler material padding a short story.
The silent moments in a cowboy’s life is a topic that has been illustrated in more compelling films than this. Kevin Costner’s OPEN RANGE is perhaps the most current example. A handful of good scenes does not make a complete narrative and Ang Lee and James Schamus have partnered on better collaborations than this.
Heath Ledger’s Ennis is a one-dimensional rough and stoic cowboy of old whose press has surprisingly outshone that of Jake Gyllenhaal’s work, whose character – and acting – is definitely the superior of the two.
Not to slight Annie Proulx’s magazine story, it appeared that Lee and Oscar-winning writing team of McMurty and Ossana failed to forget the basic premise of adapting a single short story into a full-length feature. Great scenes become highly memorable but without a cohesive story combing such scenes into a greater sum results in an unimpressive product.
As Always,
theJOE
From its opening scene of a lonely pre-dawn road through the entire first act filled with Canadian majesty masquerading as the purple mountains of Wyoming, film auteur Ang Lee tries his best to illustrate the solitary life that a sheep-herder must certainly face. This solidarity continues its theme as Ennis and Jack learn that they are a definite minority and how their lifestyle affects other choices they must deal with.
BROKEBACK MOUNTAIN possess a number of fine and memorable scenes, most of which occur in the following two acts where Ennis and Jack, apart from each other, do their best to simply live life. Lee’s base camerawork coupled with beautifully-authentic looking sets helps capture these cinematic moments. Where BROKEBACK MOUNTAIN fails is its inability to place these individual moments into a cohesive and compelling film. Lee fails in glancing over this solitary cowboy life by providing nothing more than the quickest of glimpses. As a result, BROKEBACK MOUNTAIN as a whole appears as nothing more than filler material padding a short story.
The silent moments in a cowboy’s life is a topic that has been illustrated in more compelling films than this. Kevin Costner’s OPEN RANGE is perhaps the most current example. A handful of good scenes does not make a complete narrative and Ang Lee and James Schamus have partnered on better collaborations than this.
Heath Ledger’s Ennis is a one-dimensional rough and stoic cowboy of old whose press has surprisingly outshone that of Jake Gyllenhaal’s work, whose character – and acting – is definitely the superior of the two.
Not to slight Annie Proulx’s magazine story, it appeared that Lee and Oscar-winning writing team of McMurty and Ossana failed to forget the basic premise of adapting a single short story into a full-length feature. Great scenes become highly memorable but without a cohesive story combing such scenes into a greater sum results in an unimpressive product.
As Always,
theJOE
02 March 2006
Oscar Rant 2006
What a year for movies, eh? Well maybe not, seeing as how attendance levels were consistently down throughout the year. Two-Thousand Five, and let’s mark it now shall we, is the our first year without a Lord Of The Rings movie. And sorry, Peter, as cool as Kong was, it didn’t feature an Hobbits!
This year’s Top 10 grossing films featured Jedis, teenage Wizards, a Lion, an alien invasion, a 25-foot ape, a montage of weddings, the chocolate factory, the Bat, CGI zoo animals and a vehicle spotlighting Brad and Angelina’s romance. Once again and consistently so, none of those top-grossing films broke into the elite of the nominations. Even DreamWorks’ Madagascar failed to receive a nod for Animated Feature. And aside from the typical Visual Effects, Sound Editing, Costume Design groups (Star Wars’ only entry: Makeup) only Batman Begins was able to break into the Cinematography category – not Original Screenplay but hey, Hollywood is hardly the place for dreams.
Also as usual there is one film that generates all the typical buzz about it and regardless how well received it may be, I find myself uninterested and even uncaring about it knowing full well that I’ll see it on DVD after it wins its multiple statues on March 5. Last year that film was Million Dollar Baby. This year’s darling, and not surprising, is Brokeback Mountain.
The choice not to see the film is not political nor is it a product of a religious boycott, both of which are perfectly valid statements. Rather, I grew up watching westerns. If there was ever anything I would want to do on a magical trip to the past, it wouldn’t be visiting Camelot or participating in the Last Supper or watching the raising of the flag on Iwo Jima – all of which would be ridiculously grand. No, no, I would want to be a Post-Civil War cowboy out exploring the Great West. Rescuing nieces from Indians like in The Searchers, being a shotgun-riding pioneer from How The West Was Won or simply annoying the Mexicans ala Clint in Fist Full Of Dollars.
Why deconstruct one of the last great American myths? Answer: obviously because this is the 21st Century and everything needs to be deconstructed. I guess. I simply fail to find entertainment in the basis of Annie Proulx’s tale. And, naturally, all this will be recanted in an 8 point font somewhere on my blog after viewing the aforementioned DVD. Have to hand it to Ang Lee; the man keeps making hit after hit.
I did see nearly everything else, and, naturally, comments abound. I invite you to read on and feel free to post comments on my blog. What follows are highlights from some key categories as well as mentioning those absent. This is not a list of picks because, after all with politics being what they are in the Academy, very rarely does the deserved win.
Picture
There was none better, I believe, in 2005 then Paul Haggis’ Crash (please, most definitely not to be confused with the same titled movie by David Cronenberg). After seeing it, and thoroughly being amazed, I instantly knew that this movie was so good that it would be completely ignored by the All-Knowing Academy. Six nominations later quickly had me cast aside my sour prediction.
The Academy may have done right by one movie – and certainly not to slight either Good Night, And Good Luck or Munich – but there were two hefty absences from the ballot.
And the envelope please… Cinderella Man and Walk The Line. Two major biopics that were feel-good without being saccharine, strong without being smothering, honest without being preachy. Honorable Mention: The Constant Gardner, a political-preachy film that deserves to have a larger audience.
Director
Fact: Capote was truly a great film. Aside: not too sure if Bennett Miller deserves the nod. Replacement: Ron Howard. Cinderella Man is the film that should have brought him home the Oscar; not A Beautiful Mind.
I’m rooting for Clooney and Spielberg on this one. Steven for making Munich visually stunning; George for keeping Good Night, And Good Luck so beautifully simple.
Supporting Actor
The only category that I wouldn’t mind seeing Crash lose to this one as Paul Giamatti needs to win. One of the biggest crimes this century in Hollywood was not allowing this man to win for American Splendor or Sideways. Redemption needs to be made and justice meted out.
Absurdity at its best: William Hurt for A History Of Violence. If over-the-top buffoonery is to be awarded, then Bill Shatner and Christopher Walken need their Lifetime Achievement Awards.
And the envelope please… how’s this for a replacement? A little known B actor named Clifton Collins who truly gave life to the killer Perry Smith in Capote. Dare it be said that part of the excellence Philip S. Hoffman’s performance is due to this man.
Another suggestion. If Hurt is allowed a nomination, then where the hell is Jack Black’s for King Kong? Or Tim Robbins’ for War Of The Worlds? All kidding aside, how about Daniel Craig or Ciarán Hinds for Munich? And speaking of, where the hell was Eric Bana’s Actor nomination?!
Original Screenplay
Again, none better this year then Crash. The timeliness and poignantly political nature of both Good Night, And Good Luck and Syriana should both be commended, even though the slightly unstructured complexity of the latter was a bit of a downfall.
Although certainly not surprised by its absence, it’s my opinion that one of the most original thrillers of the year was The Skeleton Key, a film that really warrants higher exposure than it got.
Adapted Screenplay
Tough category this year, and, tons of absences. Three of the five were stellar picks: Capote, The Constant Gardner and Munich. A History Of Violence came as a little surprise, especially because the adaptation of the John Wagner/Vince Locke graphic novel could have been so much stronger. See the film first, then read the gn for the full and complete – and better - story.
And the envelope please… The Lion, The Witch And The Wardrobe, Walk The Line, Layer Cake, King Kong, Hitchhiker’s Guide To The Galaxy and Jarhead. Absentees each and every one with Narnia being the most grave loss.
Animated Feature
Difficult to believe and equally difficult to admit, but the Academy got it right with the nominations of Corpse Bride, Wallace & Gromit in The Case of the Were-Rabbit and Howl’s Moving Castle. Truly, may the best film win but not only was Wallace & Gromit the best Animated film, it was one of the year’s best in general as the cheese eater and his silent friend prove once again that their adventures are nothing but magical. The other two nominees are certainly worthy contenders. Miyazaki-san won the Oscar three or so years back for the phenomenal Spirited Away. Howl, not as visually or artistically compelling as Spirited Away or especially Princess Mononoke, still possesses a great charm. Same can be said for Burton’s Corpse Bride, whose animation style is as wonderfully unearthly as the film’s content. In Bride’s case, the film might not be award-worthy as Henry Selick, who directed Burton’s classic The Nightmare Before Christmas back in 1993, was not involved. For those missing Selick’s animation style, be sure to check out the underwater animation scenes from 2004’s The Life Aquatic With Steve Zissou.
Rant, cheer, groan, smile or complain, the simple – and yes, perhaps sad – truth of the matter is that after Sunday the traditional holler of, “Ride ‘em, cowboy!” is going to have a completely different connotation.
I’ll be cheering on Crash as well as Wallace & Gromit in hopes that entertainment and solid story-telling is still rewarded. See you on the Red Carpet.
As Always,
theJOE
This year’s Top 10 grossing films featured Jedis, teenage Wizards, a Lion, an alien invasion, a 25-foot ape, a montage of weddings, the chocolate factory, the Bat, CGI zoo animals and a vehicle spotlighting Brad and Angelina’s romance. Once again and consistently so, none of those top-grossing films broke into the elite of the nominations. Even DreamWorks’ Madagascar failed to receive a nod for Animated Feature. And aside from the typical Visual Effects, Sound Editing, Costume Design groups (Star Wars’ only entry: Makeup) only Batman Begins was able to break into the Cinematography category – not Original Screenplay but hey, Hollywood is hardly the place for dreams.
Also as usual there is one film that generates all the typical buzz about it and regardless how well received it may be, I find myself uninterested and even uncaring about it knowing full well that I’ll see it on DVD after it wins its multiple statues on March 5. Last year that film was Million Dollar Baby. This year’s darling, and not surprising, is Brokeback Mountain.
The choice not to see the film is not political nor is it a product of a religious boycott, both of which are perfectly valid statements. Rather, I grew up watching westerns. If there was ever anything I would want to do on a magical trip to the past, it wouldn’t be visiting Camelot or participating in the Last Supper or watching the raising of the flag on Iwo Jima – all of which would be ridiculously grand. No, no, I would want to be a Post-Civil War cowboy out exploring the Great West. Rescuing nieces from Indians like in The Searchers, being a shotgun-riding pioneer from How The West Was Won or simply annoying the Mexicans ala Clint in Fist Full Of Dollars.
Why deconstruct one of the last great American myths? Answer: obviously because this is the 21st Century and everything needs to be deconstructed. I guess. I simply fail to find entertainment in the basis of Annie Proulx’s tale. And, naturally, all this will be recanted in an 8 point font somewhere on my blog after viewing the aforementioned DVD. Have to hand it to Ang Lee; the man keeps making hit after hit.
I did see nearly everything else, and, naturally, comments abound. I invite you to read on and feel free to post comments on my blog. What follows are highlights from some key categories as well as mentioning those absent. This is not a list of picks because, after all with politics being what they are in the Academy, very rarely does the deserved win.
Picture
There was none better, I believe, in 2005 then Paul Haggis’ Crash (please, most definitely not to be confused with the same titled movie by David Cronenberg). After seeing it, and thoroughly being amazed, I instantly knew that this movie was so good that it would be completely ignored by the All-Knowing Academy. Six nominations later quickly had me cast aside my sour prediction.
The Academy may have done right by one movie – and certainly not to slight either Good Night, And Good Luck or Munich – but there were two hefty absences from the ballot.
And the envelope please… Cinderella Man and Walk The Line. Two major biopics that were feel-good without being saccharine, strong without being smothering, honest without being preachy. Honorable Mention: The Constant Gardner, a political-preachy film that deserves to have a larger audience.
Director
Fact: Capote was truly a great film. Aside: not too sure if Bennett Miller deserves the nod. Replacement: Ron Howard. Cinderella Man is the film that should have brought him home the Oscar; not A Beautiful Mind.
I’m rooting for Clooney and Spielberg on this one. Steven for making Munich visually stunning; George for keeping Good Night, And Good Luck so beautifully simple.
Supporting Actor
The only category that I wouldn’t mind seeing Crash lose to this one as Paul Giamatti needs to win. One of the biggest crimes this century in Hollywood was not allowing this man to win for American Splendor or Sideways. Redemption needs to be made and justice meted out.
Absurdity at its best: William Hurt for A History Of Violence. If over-the-top buffoonery is to be awarded, then Bill Shatner and Christopher Walken need their Lifetime Achievement Awards.
And the envelope please… how’s this for a replacement? A little known B actor named Clifton Collins who truly gave life to the killer Perry Smith in Capote. Dare it be said that part of the excellence Philip S. Hoffman’s performance is due to this man.
Another suggestion. If Hurt is allowed a nomination, then where the hell is Jack Black’s for King Kong? Or Tim Robbins’ for War Of The Worlds? All kidding aside, how about Daniel Craig or Ciarán Hinds for Munich? And speaking of, where the hell was Eric Bana’s Actor nomination?!
Original Screenplay
Again, none better this year then Crash. The timeliness and poignantly political nature of both Good Night, And Good Luck and Syriana should both be commended, even though the slightly unstructured complexity of the latter was a bit of a downfall.
Although certainly not surprised by its absence, it’s my opinion that one of the most original thrillers of the year was The Skeleton Key, a film that really warrants higher exposure than it got.
Adapted Screenplay
Tough category this year, and, tons of absences. Three of the five were stellar picks: Capote, The Constant Gardner and Munich. A History Of Violence came as a little surprise, especially because the adaptation of the John Wagner/Vince Locke graphic novel could have been so much stronger. See the film first, then read the gn for the full and complete – and better - story.
And the envelope please… The Lion, The Witch And The Wardrobe, Walk The Line, Layer Cake, King Kong, Hitchhiker’s Guide To The Galaxy and Jarhead. Absentees each and every one with Narnia being the most grave loss.
Animated Feature
Difficult to believe and equally difficult to admit, but the Academy got it right with the nominations of Corpse Bride, Wallace & Gromit in The Case of the Were-Rabbit and Howl’s Moving Castle. Truly, may the best film win but not only was Wallace & Gromit the best Animated film, it was one of the year’s best in general as the cheese eater and his silent friend prove once again that their adventures are nothing but magical. The other two nominees are certainly worthy contenders. Miyazaki-san won the Oscar three or so years back for the phenomenal Spirited Away. Howl, not as visually or artistically compelling as Spirited Away or especially Princess Mononoke, still possesses a great charm. Same can be said for Burton’s Corpse Bride, whose animation style is as wonderfully unearthly as the film’s content. In Bride’s case, the film might not be award-worthy as Henry Selick, who directed Burton’s classic The Nightmare Before Christmas back in 1993, was not involved. For those missing Selick’s animation style, be sure to check out the underwater animation scenes from 2004’s The Life Aquatic With Steve Zissou.
Rant, cheer, groan, smile or complain, the simple – and yes, perhaps sad – truth of the matter is that after Sunday the traditional holler of, “Ride ‘em, cowboy!” is going to have a completely different connotation.
I’ll be cheering on Crash as well as Wallace & Gromit in hopes that entertainment and solid story-telling is still rewarded. See you on the Red Carpet.
As Always,
theJOE
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