It’s obvious to me that the 2011 film version of The Green Hornet won’t strike the sort of chord with viewers that a film like Iron Man or it’s brethren did. Those films were a bit more straightforward and followed an established pattern for an origin story and didn’t skew too fair outside of mainstream sensibilities. With the Green Hornet as your main character you’re faced with a few problems, the main one being that today’s audience doesn’t really know much about the character outside of having a vague recolection of his existence. Critics called Iron Man obscure so take that in for a minute when you realize that Green Hornet made it to the screen.
The few people who do have a knowlege of the Hornet will probably not care for this incarnation. Its sensibilities are distinctly modern and while the TV show of the sixties seemed to be a more stern-faced alternative to the campy excess of the Batman series, the tables have been turned and we get overly melodramatic pseudodarkness through The Dark Knight and The Green Hornet strives only to be a fun adventure/actioner film that doesn’t really aspire to be anything special in the terms of refined cinema.
Seth Rogen plays his character well. I say this within the context of the film. He’s not what you would really expect out of a superhero, but that is what the film plays upon. The idea that a schlub like this gets drawn into a superhero world and only really succeeds because of blind stupidity and the talent of his chaeuffer/executive assistant Kato played by Jay Chou who, despite some handicaps with the english language, is one of the more entertaining parts of the film.
That really is the crux of the thing. It’s fun. Don’t look for that much more out of it. I know the pedigree of Michel Gondry causes you to squee a little inside that it’ll be more than a quick, fun ride but his flourishes are really few and far between. This one is probably the most mainstream minded film you could possibly imagine him directing. Hopefully it’ll do well and he’ll get a little more sway to work to his content in the near future.
Bottom Line. It’s better than Kevin Smith’s new comic book but not quite as good as Matt Wagner’s, if you needed a reference point.
I’m liking what I see. It’s probably a little more comedic than some people would have wanted but Kato looks like a certifiable badass and Christoph mother-effing Waltz is playing the villain. So I’m on board.
Did you miss me? I bet you did. How would you know what comics to buy if I didn’t tell you what was good or not? Surely you would be lost and you would have to find a new hobby. Like knitting. I’m sure you could do that on your own. Can you tell I’m completely rambling right now? Sorry. I went to a Dropkick Murphys concert last night and didn’t get any sleep afterward. Oh yeah, comics!
THE PULL LIST:
ADVENTURE COMICS #8 3.99
AMAZING SPIDER-MAN #623 2.99
BOYS #40 (MR) 2.99
BUFFY THE VAMPIRE SLAYER #33 TWILIGHT PT 2 (OF 5) 2.99
CHEW #9 (MR) 2.99
CONAN THE CIMMERIAN #19 2.99
DEADPOOL TEAM-UP #895 2.99
DETECTIVE COMICS #862 3.99
FALL OF HULKS SAVAGE SHE-HULKS #1 (OF 3) FOH 3.99
FIRST WAVE #1 (OF 6) 3.99
GIRL COMICS #1 (OF 3) 4.99
GREEN HORNET # 1 3.99
INVINCIBLE IRON MAN #24 2.99
JSA ALL STARS #4 3.99
MIGHTY AVENGERS #34 2.99
PRELUDE TO DEADPOOL CORPS #1 (OF 5) 3.99
PUNISHER MAX BUTTERFLY #1 (MR) 4.99
ULTIMATE COMICS AVENGERS #5 3.99
ULTIMATE COMICS NEW ULTIMATES #1 3.99
WOLVERINE WEAPON X #11 3.99
And now, my humble opinions…
I’ll start off by saying that, yes, the art has taken a bit of a nosedive for this issue. The art isn’t horrible. It’s a bit muddy, but it’s not indecipherable and it clears up in scenes set in daylight. However, I believe that any art will look lackluster when following Michael Lark. Because, c’mon, it’s Lark.
The story however is right up my alley. We finally get a little background on this new Vulture and we get some throwback to JJJ’s involvement in crafting the original Scorpion. There’s a lot to love for Spider-Man purists here, while being modern enough to appeal to people who think that the old Lee/Ditko Spidey stories were too cheeseball.
One thing I would like to point out is that we once again get some acknowledgment of the daughter of Kraven’s existence. She’s been on the periphery for a while now but hasn’t been directly involved in the proceedings, it looks like we’re finally getting to the crux of the story, and I’m anxious to see how things play out.
First of all, how weird is it that this book has reached issue forty? It doesn’t feel like I’ve been reading it for that long. And yet, it’s been on shelves for over three years, and chugging along like a juggernaut each and every month.
This issue sees the fallout from the last issue, which I reviewed HERE starting to shape up. It plays with the common storytelling trope where the reader knows everything but the parties involved know only pieces of the puzzle, thus creating a sizeable bit of tension and drama. Here, Butcher has drawn his own conclusions upon finding out about Hughie’s relationship with a known supe. Hughie is unaware of Butcher’s knowlege and we start to see a bit of a breakdown within the group. As readers we’ve come to really like Hughie and hate to see him put in such a position, and we hope that nothing bad happens as a result of Butcher’s rash and brash nature, but this being a Garth Ennis book, we have a sinking feeling in our gut that something REALLY bad is going to happen soon, and so we are forced to keep reading with mindless zeal.
Batman does not appear in this book. Unless he was stealthily hiding in the shadows or something. I just feel like I should point out that this intro issue is definately a showcase for Doc Savage and the Question, providing the new readers with an insight into the diversity of their crime-fighting styles. Throwing Batman in there might have muddied the waters, I suppose. Still, I’m never going to say that something should have less Batman. I mean, wouldn’t Avatar have been even more awesome if there were some Batman in it? I just imagined There Will Be Blood with a Batman cameo. That would rock.
As far as the issue goes, they do a good job of setting up the story. It’s full of classic noiry intrigue. The kind that Brian Azzarello does so well. And the art by Rags Morales is quite effective. Remember that book called Identity Crisis (aka Mindwipe & Rape : A Musical Revue)? That was a detective story at its core, albeit a shoddy one. But the art was very well done. Morales knows how to capture the tone of a pulp/noir/detective environment and here it most definately shows.
But the next issue better have some Batman or I’m gonna start wrecking shit.
In the same comic we get a cute little comic about Venus trying to prove her worth to the male gods of the pantheon by working at a fashion magazine and a story where the Punisher goes all Chris Hanson to the nth degree on a pedophile at an amusement park.
Kind of a striking dichotomy no?
Everything about this felt…wrong. It was too modern and too keen on being hip to feel like The Green Hornet. The voices of the characters seemed off. I know that characters are open to different interpretations and that no one embodiment can be considered definate because it could always be replaced down the line. I mean, c’mon, look at Batman. But in this instance it just seems like it doesn’t fit anything previously established with the character. Like, if Superman started saying “Yo, man. Stop the crime, dude.”
I spent an entire review praising Kevin Smith’s work on Cop Out, but I cannot do the same here. It just doesn’t feel right. It just didn’t click with me. I hope it clicked with someone because Dynamite put out EIGHTEEN variant covers for this issue, and that’s a lot of effort gone to waste if everyone felt like I did about this particular issue.
The ending of the Tony Stark : Dissassembled arc hits home with a fairly anti-climactic final issue. I think that attempting to balance a fight with Ghost against the cerebral surrealism inside Tony Stark’s head led to a contrast of intent and could only really be resolved in a manner that felt overly simple in the end.
What the book has going for it however, is the last few pages which really drive home how much has changed for Tony Stark. During Civil War someone commented that they wished Tony Stark from years back could see his actions during that crisis, and here we sorta get that but with none of the satisfaction. It’s more of a shallow pity and it does a great deal toward redeeming Stark as a character. Which needs to happen considering he’s just as recognizable as Spider-Man in the public eye now.
The issue begins with a panel of Lady Deadpool seen from behind where her leg tapers off into something that looks like a suction cup. It’s supposed to be her foot.
Did I just start this review with the statement that Rob Liefield can’t draw feet? A fact that is pretty much abject fact at this point? Yes I did. And do you know why? Because it doesn’t get any better from there. The book is one long rambling fight sequence, then Deadpool shows up and drafts Lady DP into some mission and the issue ends.
There is NO substance here. And for a character where razor-sharp wit is the defining characteristic, this issue is filled with some of the dullest humor and sloppiest attempt at witty writing this side of a Dane Cook special.
My fears have been realized. Deadpool is no longer infallible in my eyes. Excuse me while I weep.
I think this book simply proves my point that the Punisher is only as interesting as the people he kills. Garth Ennis knew this. Jason Aaron knows this. And Valerie D’Orazio knows this.
If you don’t know Valerie’s story, and believe me it is a long surreal tale unlike any you’re likely to hear in the world of comics again, you might want to take the time to give her pseudo-memoir/blog “Goodbye to Comics” a look-see. It’s not a short read by any means, but it is something that begs to be read. For a quicker bio, you can click HERE.
There are two ways to read the book. You can read it knowing Valerie’s story or going in blind. If you’ve read Goodbye to Comics you can get an inkling of how cathartic writing this book must have been for her. There are themes that are definitely derived from her experiences in the publishing world and it helps to make the book feel genuine. If you know nothing about the writer, you’ll either bitch that there’s not enough Punisher in the book or you’ll comment on how the best Punisher stories of the last few years seem to use the actual character of Frank Castle sparingly. Like the shark in JAWS.
Jeph Loeb didn’t make me want to kill myself while I read his latest offering to the Ultimate universe. You may remember how I called Ultimatum one of the worst books of 2009. I stand by that. UCNU (because typing out that long ass title every time would make me want to kill myself) is about as middle of the road as you can get. It is not excellent nor is it bad. It simply is. I like where Loeb hs put Tony Stark. I like that we got to see Frank Cho draw Hela undressing herself seductively in an attempt to get Thor to “raise his hammer.” I like that nobody was eaten alive.
It’s like when Homer Simpson invented the Flaming Homer; “It passed the first test…I didn’t go blind.”
Wolverine celebrates the resurrection of Steve Rogers by having Nightcrawler fly them around the world to different bars where they get drunk and form a nice little bromance. Also there are multiple Deathloks going all Terminator on the progenetors of the next generation of heroes.
Yeah. I dug it.