Tag Archives: Kingpin

Daredevil: End of Days #1 is as Complex as it is Beautiful

Warning: This review contains spoilers.

I came to Daredevil: End of Days reluctantly. I remember standing in my local comic book store, turning to the now infamous two-page spread in the beginning of the comic, feeling disgusted and angry, putting the comic back and thinking, “Fuck this.” As a devout Daredevil fan, Matt Murdock being murdered in the street by his nemesis, with his own baton, in such a gruesome fashion, seemed ignoble and unworthy. I felt betrayed. But the more I heard people talking about how brilliant it was, I decided I had dismissed it without knowing enough about it. So I gave it a second chance.

Second impressions are a hell of a thing. It’s quite possible that End of Days is a masterpiece in the making. It transcends the conventions and assumptions of comic books and what they can accomplish. This issue achieves a level of complexity, subtext, and characterization normally reserved for novels. And I mean classic novels, like The Sound and the Fury or To the Lighthouse. This comic is so much more than your standard “death of a superhero” story, which was my initial, uninformed opinion of it. No, this comic is a nuanced, subtle examination of “The Hero” archetype, the merging of news and entertainment, voyeurism, schadenfreude, the cheapening of any sense of justice in society, and the untenable dependence between hero and villain. In fact, there are probably layers of this story that I won’t even notice until I reread it multiple times.

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Will Marvel Studios Save Daredevil from Production Hell?

Seriously, it wasn’t THAT bad.

It has been nearly ten years since Fox released the poorly-received Ben Affleck vehicle Daredevil to theaters. Though much of the criticism of that film was justified, it was certainly exaggerated. Yes, it was far from perfect, but much of the hostility about that film had more to do with Bennifer “Gigli” Affleck’s shaky career and tabloid popularity at the time, and less to do with the actual quality of the film. Given Affleck’s meteoric rise in the director’s chair in the last few years, if Daredevil were made with Affleck today, I doubt very much it would have been panned so harshly. It still would have received its fair share of deserved criticism, but Affleck wouldn’t have gotten a Razzie for it. Daredevil definitely had its problems, but many of those were remedied in the 2004 Director’s Cut version of the film. If you’re a Daredevil fan and were disappointed with the theatrical release, then you need to check out the R-rated Director’s Cut. It’s darker, more violent, and includes an interesting subplot that was entirely cut from the theatrical version. Yes, some unforgivable problems still remain, such as the atrocious soundtrack where the orchestral score would have sufficed, and the unintentionally funny fight scene in the park still made the cut. But in general, it’s a vast improvement over the original, and certainly worth two hours of your time. It’s a very fun movie, and it looks great. And frankly, I think Ben Affleck looks the part and did a good job playing it too.

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Review: The Amazing Spider-Man 696 (with sundry complaints about the series generally)

2 out of 5 stars
Marvel Comics
Writers- Dan Slott & Christos Gage
Art- Giuseppe Camuncoli
Inks- Dan Green
Colors- Antonio Fabela

I never thought I would say this (like, ever) but I am glad, nay, thoroughly satisfied, that The Amazing Spider-Man will be coming to an end in a mere four issues. I don’t say this out of some longstanding hatred of the series. In fact, ASM has always been my favorite comic book. I grew up reading Spider-Man. Many of my fondest memories as a Spidey fan were during what I consider the “Golden Age” of Spider-Man comics: the John Romita Jr. and J. Michael Straczynski run. Those comics were exactly what Spider-Man was supposed to be. Romita was an expert in kinetic, fun, evocative art with facial expressions that said ten times what was contained in thought bubbles, and fight scenes so beautifully and perfectly rendered, you could feel his ribs crack as Morlun pounded him or the thrill of success when Spider-Man finally found a way to physically overcome the vampire. There was glory and thrill and a feel of classic comic book storytelling in those books. As far as I’m concerned, that was Spider-Man. But those days are long gone, aren’t they? I think ASM’s “jumping the shark” moment came a long time ago, during the Brand New Day/One More Day line. And it has all been downhill from there.

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