I should be reading a comic right now or going to bed, but I just saw the new film from writer/directors Seth Rogen and Evan Goldberg. The same team that brought you This is the End, Pineapple Express, and Superbad. (Though not officially one of their films, Neighbors was extremely funny.) All hilarious movies. Unless you’re deaf to the world around you, you’ve heard of their newest outing, The Interview, a studio comedy that has accidentally found itself becoming a beacon for the Second Amendment, a cultural phenomenon, rising to the ranks of folk hero cult status, which it most likely wouldn’t have received otherwise. But, as we sat in the local, indie theatre (Yo, Cinefamily!), the energy in the room was palpable, curiosity was high, and, once the film started, no one stopped laughing. So, maybe it would have reached some of those levels. This was probably my favorite comedy experience in a theatre since watching Young Frankenstein in a room full of fans. Everybody knew what they wanted, and they got it. Everyone in that theatre simply connected as a community and found synchronicity.
My last experience with Judge Dredd was the Karl Urban film. Ugh, again, I thought, another rebooted film franchise. Thankfully, that opinion changed when I saw it on DVD, and I was immediately bummed that I didn’t see Dredd in the movie theatre, because it was awesome. In the 33 pages of the book that is Judge Dredd #26, I can see that the comic has the same level of awesome going for it, but things have changed for Dredd.
If I told you that my favorite holiday themed television event of all time is the X-Files episode titled, “How the Ghosts Stole Christmas,” would you promise not to laugh at me uncontrollably? (At least keep it to a giggle, will ya?) Yes, indeed. The sixth show of the sixth season, which guest starred Ed Asner and Lily Tomlin, is far and away my most cherished TV holiday viewing pleasure. Those that have read some of my past Fanboy Comics reviews of IDW’s X-Files comic series may have seen this admission coming like a freight train, seeing as I have espoused my love of the FBI’s most infamous sci-fi duo on countless occasions via this site.
Being a reviewer, I don’t always get to jump in at the first issue of a comic book run, and that is my situation here. I’m reading the fourth issue of a four-issue run on Judge Dredd: Anderson, Psi-Division by writer Matt Smith and artist Carl Critchlow. And yet, that shouldn’t matter. Instead of an exciting comic book conclusion, what I’m treated to is half a comic of an antagonist doling out exposition to the protagonist. It’s the old cheat: the bad guy talks so long that it gives the good guy an opportunity to get out of the situation. The good guy never is pushed to do something out of their limits or think on their feet, because the bad guy doesn’t amplify the tension. The good guy, in this case, is Judge Anderson, Judge Dredd’s sometimes psychic partner. Though, as the description of the book states, this is early in her career working in Mega-City One.
When this assignment was first sent out by my boss, I had fellow friends and reviewers approach me with, "Dude, did you pick up that James Bond review?" See, if you know me well enough, you'll know that I am a HUGE James Bond fan! I've seen each of the 23 films more than once. I have autographs from all SIX actors who have played James Bond in the official movies (Yes, including George Lazenby . . . ). I even have signatures by Judi Dench, Richard Kiel (Jaws), and Honor Blackman, better known as "Pussy Galore." I even still own a Nintendo 64 gaming system solely for the purpose of playing the best James Bond video game ever made, Goldeneye. So, when I first picked up a copy of James Bond and Popular Culture: Essays on the Influence of the Fictional Superspy and read that it was dedicated "to fans of spyfi, espionage, and, of course, James Bond aficionados everywhere," I knew I was meant to review this novel.
Not a whole lot of people can identify with an English schoolgirl falling down a rabbit hole, though enough of us have daydreamed of exploring a strange wonderland. Micheline Hess takes a familiar story and introduces us to Lilly Brown, a young girl who dreads the boredom of a summer filled with chores and health food and ends up trapped in a world that makes even less sense to her than the once she misplaced.
I am beyond excited to have the opportunity to write a review for the entire Teenage Mutant Ninja Turtles: Turtles in Time comic book series. Chapter 3 in this series was one of the very first comics I reviewed for Fanboy Comics, let alone one of the first comic books I've read since I was a young boy. Although, at first, I thought time-traveling turtles were a little far fetched, I then remembered that I was reading about a series of ninja turtles who also happen to be mutant teenagers. EVERYTHING is too far fetched for this storyline! And, now that I've read all 4 issues, I actually think this is one of the best TMNT comic books in the entire franchise.
America. Proud, full of opportunity and wonder. Natural and man-made wonders that are her best face looking at the world and saying, “Here, I am! Here’s the power of my dream!” But, what about the dark side of freedom? The holes in the soul that opportunity can leave? The stories that you hear and are always ready to dismiss, because, “That’s something that only happens when things get out of hand.” What about the side of you that only an outsider can see?
Minsc is everything.
The third issue of Legends of Baldur’s Gate is exactly the fun, smashing time I was looking for after Issue #2 got its exposition out of the way. Though there’s just as much gleaned in these pages as in that issue, it all happens on the fly during an episode of Little Rascals Go to Downton Abbey.
The search for the fountain of youth has a been a tale retold throughout the ages. As humans, we are constantly reminded through media and mirrors that we are not immortal. But, what if you were? How would that shape the person you turn out to be? These questions and more are posed in Eternal, a new book out of BOOM! Studios, penned by William Harms, with artwork by Giovanni Valletta, and cover art by Frazer Irving.