Review: Shazam! #9

It's unprecedented!  It's apocalyptic! It's putrid!  The latest issue has been released a month after the previous issue! But after reading it, I kind of wish there was a longer gap between these issues.  This issue picks up with the newly created Daddy Shazam (although he's wearing Zazzo-Plus's costume) encountering his son, who he doesn't recognize as his son, Captain Shazam.  There's a long monologue recapping every thing that has gone on... like we really need to read about it all again.  Nice way of filling a perpetually delayed issue, Johns.  Captain Shazam, Daddy Shazam and Sexy Shazam team up to attack Black Adam, but he removes the power from Mary.  Daddy Shazam attempts to fly Mary to safety but she inadvertently takes his power.  The game of Hot Potato, Geoff Johns style.

The three retreat to the Wozenderlands (a name that gets more stupid every time I have to type it).  They are found by the Scarecrow.  No not that one, the one from the Wizard of Oz.  With the Munchkins, no less. They carry them off to see Dorothy. This is quickly turning into either bad fan-fic or a really bad acid trip. Mary's and the dad's powers keep going on and off.  Then Wizard Shazam (who was foreshadowed as being an imposter a few issues back) pops in with the other kids. Wizard tells Captain the reason the powers are going on the blink is that he must choose between his father and his foster family.  The dad and the kids all give their closing arguments.  And then Billy chooses (spoiler alert)......
.
.
.
.
.
.
.
.
.
.
all of them.  Cut to the Rock of Eternity where Sivana and Mr Mind, observing all that has happened, plot their next move.   The artwork, by three different artists, unclear who did what, is in spots a notch above last issue's, but still generic.  Geoff Johns' script... he needs to lay off the LSD.  This issue earns a D.

Review: Shazam #8

After being postponed four months, issue 8 of Shazam! is finally released and could be the final issue of the troubled series. At least it is the last issue to be scheduled for the foreseeable future, and with a rumored "five generation" timeline reboot for DC continuity on the horizon, this whole series may end up being moot.

The issue starts in the Wozenderlands (don't ask) with a rabbit (Hoppy?), Eugene, Pedro and Wizard Shazam (who may be an imposter) around a campfire discussing how a seventh member for the Shazam Family needs to be found in order for all to fully realize their powers.  Cut to Billy's father... remember he came looking for Billy a few issues back.... as Mary and the Vasquezes cover for Billy who has, as Captain Shazam, gone to the Darklands.  As Billy's dad leaves, he is trailed by Sivana and Black Adam.  Meanwhile in the Darklands, Captain Shazam encounters a skeleton in a Captain Shazam costume, who explains he is the counterpart who defends the Darklands. Then it's back to Sivana, Mr Mind, and Black Adam trailing Billy's father.  They argue about their plan with Geoff Johns clearly implying Black Adam is really a good guy who gets put in bad situations by other people.  Then it's back to the Darklands where Captain Shazam and Skeleton Shazam are discussing making a deal when the skeletal remains of the "original" Marvel Family emerge from their graves.  They help Captain Shazam escape to rescue Freddy and Darla with Mr Tawny.  They get back to the Vasquez house just as Black Adam attempts to abduct Billy's father.  Captain Shazam arrives to fight Adam, but the 7 Deadly Sins abduct Billy's dad.  As he falls to certain death, Captain Shazam infuses him with power and spells out the name he is supposed to say.  The dad does and transforms into Daddy Shazam, the previously missing seventh member. (Or maybe it's Zazzo-Plus?)

Typical slightly below average script by Geoff Johns (with the advertised return of Captain Marvel utter BS), and generic art by Scott Kolins. Will there be another chapter to this overlong, drawn out story, or does it end here with the upcoming company wide "Five Generation" reboot wiping it all out of continuity?  Does anyone still care at this point?  Stay tuned.  This issue earns a C-.

review: JOKER

In the world of comic book movies, the year 2019 has three significant achievements. First, 2019 was the year the MCU jumped the shark.  Second, Shazam! was the worst comic book movie of 2019.  Third, Joker was the most artistic comic book movie of 2019.

You have to go into this movie with the mindset that while it is based on the comic book character of the Joker, it is separate and not connected to the classic version. You had to be in the same mindset with Shazam!, but perhaps because Joker is such a much better made and better looking film, it is so much easier to get lost in this new take without constantly finding contradictions with the classic version, one of the many things Shazam! failed miserably at.

Within the first minute, Jared Leto's bungled take from Suicide Squad is completely blown away.  What we have here is a character study of a mentally ill person, Arthur Fleck (played by Joaquin Phoenix) that, at times, gets uncomfortable to watch. The concept of giving Arthur Pseudobulbar affect (PBA) is brilliant in its obviousness and makes one think why no story has ever hinted at The Joker having this ailment before.  Arthur is on screen for nearly the entire movie, and we are immersed in his daily life.  Outside of a straight narrative, we also get glimpses of Arthur's daydreams and fantasies.  Just when you think a concept is part of the story, it gets revealed it was only in Arthur's imagination.  Zazie Beetz plays Sophie, a woman Arthur becomes fixated on. Robert DeNiro  plays Murray Franklin, essentially a variation to David Endochrine from Frank Miller's Dark Knight Returns graphic novel, and surely, the main thrust of this movie is a live action variation of the scene from the graphic novel.  Arthur's aspiration to be a stand-up comedian comes from The Killing Joke. Brett Cullen plays Thomas Wayne as a physician-turned-politician much like in the unused Tom Mankeiwicz Batman screenplay.  Another borrowed idea comes from the recent Gotham TV series, where its proto-Joker Jeremiah Valeska inspired a movement, much like Arthur does in this movie, although with a more Antifa-like result.  One of the more cringe worthy moments is when Arthur begins to believe Thomas Wayne is his father, which I'm sure causes eye rolls from all comic book fans thinking "oh, that's original... make the hero and his enemy brothers". What makes it even more weird is that Arthur and Thomas look to be roughly the same age, even though in real life the two actors are nearly 20 years apart.  There actually isn't too much violence in this movie, but what there is, is very graphic. We also don't see Phoenix in full-on Joker mode until the last act of the movie, and don't expect to see any kind of Joker crime sprees.  But do expect to see that chilling, iconic moment on Crime Alley. 

The direction by Todd Phillips and the cinematography are top notch, and as I said at the beginning, very artistic, and visually Joker completely blows away a film like Shazam!  As I also mentioned, at times this movie does become uncomfortable to watch, but wouldn't it be a disservice if a movie based on the Joker was all lighthearted fun?

Review: Shazam #7

After an almost comedic amount of delays, Shazam #7 is finally released.  Was it worth the wait? Well... maybe, depending on how you look at the ending.

But first,  the story picks up where the last issue left off, if you can remember that far back. Wizard Shazam brings Pedro and Eugene to the Wozenderlands, a bizarre mash up of Wonderland and Oz (I'm starting to think Geoff Johns might be doing some LSD while writing this. It would also explain the numerous delays).  Then it's to the Earthlands where we see the result of Mary exposing her secret to the Vasquezes, and she convinces Billy to spill the secret also.  Mr. Vasquez seems a little too giddy about it.  Perhaps foreshadowing a heel turn for him down the line?  Then it's cut to the Wildlands and Freddy and Darla, who were missing from the last issue, as they are about to be fed to Mr Tawny.  They say "Shazam" but do not change.  They are about to be eaten, but at the last second Tawny protects them from the other tigers, and the three of them escape.  In an attempt to get back home, the end up in the Darklands.

Then it's back to the Vasquez house where Captain Shazam and Sexy Shazam instruct the Vasquezes to keep their secret.  Sexy Shazam goes to get Wonder Woman to bail them out, while Captain Shazam flies to the Rock of Eternity.  Sivana has won his fight with Black Adam, and Captain Shazam is transported to the Darklands where he sees tombstones of all the characters. The Wizard appears and reveals to Billy there is an imposter - the one with Eugene and Pedro. He gives him instructions, only to fade away, revealing a tombstone for (spoiler alert)....




Captain Marvel.  So next issue New52 Shazam meets Captain Marvel.  Now, knowing Johns' track record, I am not going to get excited about this.  This will not be the classic pre-New52 Captain Marvel returning.  If anything, this will be a way to illustrate "Captain Marvel" is gone forever and all that is left is New52 Shazam.  Johns' script is typical Johns, and the art by Dale Eaglesham and Scott Kolins is rather generic.  This issue gets a C-.  Be back in four or five months for the next issue.

review: SPIDER-MAN FAR FROM HOME

To cut to the chase, Spider-Man Far From Home is a notch below Homecoming, both directed by Jon Watts.  The first part of the movie has a very similar tone to a 1990s sit-com that has a "very special" multi-part episode where the cast goes to a scenic locale.  Peter and his classmates' summer vacation has a strong Disney Channel sit-com feel to it, mixed with a big budget travelogue. Ned, Flash, and Michelle (aka "MJ") are all back, and Betty Brant, played by Angourie Rice, who I thought was one of the best characters in Homecoming, gets a lot more screen time in this installment.

Mysterio is introduced as a superhero from an alternate earth in the multiverse, who comes here to destroy the Elementals, who destroyed his earth, before they can do the same to this earth. Mysterio takes Peter under his wing.  As with Dr. Octopus in Spider-Man 2 and the Lizard in The Amazing Spider-Man, there is an expected and predicable heel turn. Then the movie finally starts to kick in to high gear. Through the Mysterio character, there are some good natured jabs at the whole CGI dominance in movies, and the ever growing outlandishness of the plots.  Jake Gylanhaal, who ironically was considered as a possible replacement for Toby Maguire in the original Spider-Man films when Maguire injured his back and was uncertain if he could continue in the role, plays Mysterio in a kind of likable, yet sort of phoned in way.  Its as if he figures "this is just a comic book movie, so I won't be using all cylinders of my acting talent".

Tom Holland naturally returns as Peter Parker, and keeps the same light comedic tone he established for his take on the character. Marissa Tomei returns with her radically different take on Aunt May, and Happy Hogan (Jon Favreau) is back to keep this version of the Spidey continuity firmly tied to Tony Stark, as well as attempting to get tied to May. Samuel L. Jackson is along for the ride playing Nick Fury.... maybe.

One of the biggest plot flaws in the movie deals with Mysterio gaining control of Tony Stark's EDITH computer program. Once Happy is informed of this by Peter, he should have been able to simply override Mysterio's control of EDITH. But then the movie would be about 45 minutes shorter.  There is a mid-credits scene that changes the status quo of Spidey's life, and re-introduces J. Jonah Jameson to the movies.  Not to mention any names, but the character is played by the same actor who played him in a previous franchise.

Far From Home is above average and very enjoyable, yet also shows signs that Endgame could be pinpointed as the moment the MCU jumped the shark.

Review: Shazam! #6

This issue picks up with Captain Shazam and Sexy Shazam breaking free from King Kid and searching for the others.  There is an interlude with the fight between Sivana and Black Adam, where in between punches, Adam gives the same kind of over-explanatory speech that was mocked in the movie.  The effects of the fight causes Billy and Mary to magically pop back into the Vasquez house, where Billy comes face to face with his dad.  Billy's dad tells him where he was born and how they moved to Philadelphia and reveals he was a criminal and served time in prison.  He wants to take Billy and search for his mother.  Cut to the Gamelands where Latino Shazam and Asian Shazam are playing the video game to try to escape, when Wizard Shazam does a Batman-like entrance, pissed and looking like he's ready to strip the powers away from the kids.  Cut back to King Kid who mentions for the sake of the reader that there will be a war between kids and adults.  And the issue ends with Mary revealing to the Vasquezes she's a superhero.

Once again, Geoff "The Snake" Johns turns in a mediocre script.  It almost reads like a recap issue, which I thought was a weird way to advance the story, for what little advancement there is.  The artwork by Marco Santucci, Dale Eaglesham, and Scott Kolins is OK but kind of generic.  Once again I could say this book needs a new writer and needs to add Mayo "Sen" Naito as artist, but at this point, I wish DC would cancel this series and replace it with a Thunderworld/Earth-5 series of the "real" Captain Marvel.  But what do I know, I'm just a fan, and as this series and the movie prove, fans are very low on the totem pole of DC's priorities. This issue earns a D.

Double Review: Three Stooges Astronuts and Laurel & Hardy #1

The Three Stooges Astronuts features a new lead story that is similar to the boys' later space themed shorts and features, but on a much larger scale that a comic book can illustrate opposed to the low budget of two-reelers or b-movies.  The script by S.A. Check faithfully captures the mayhem of the latter day Stooge space exploits, and the artwork by Brendan and Brian Fraim is, as usual, excellent, with gray tones by Dan Conner (hey, wait... the Roseanne guy?) giving it a vintage look. My one critique would be, since this is a space themed installment, it might have been better to have Joe Besser or Joe DeRita as the third Stooge instead of Curly Howard.  The second story is a reprint, and like the previous issue, it suffers from a crude xerox black & white look.  It would be better if the reprints that were originally in color were reprinted in color.  This issue earns a B.

Laurel & Hardy #1 (it has yet to be seen if this series will have normal numbering or will follow in the Stooges' footsteps by having all #1 one-shots) presents three stories, all in color.  The first one written by S.A Check, is well done, and I might hazard to say his style may be a better fit for Stan and Ollie than the Stooges.  The second story is written by Jordan Gershowitz, and captures the feel and tone of the classic Hal Roach two-reelers.  Both stories are drawn by Jorge Pacheco, who perfectly interprets the classic Larry Harmon character designs with a slightly more modern look.  The third story is a classic Larry Harmon-era reprint and holds its own opposite the new material.  This issue earns a B+.

Review: Shazam! #5

This issue picks up with Black Adam being the adult in the Rock of Eternity as he deduces how the kids have screwed up by going to the Magic Lands, albeit a cruel adult who reasons he must destroy Billy Batson "before it's too late".  We cut to the Funlands, where after some verbal back and forth with King Kid (including a reference the movie plot point of Billy being separated from his parents by getting lost is now canon), Captain Shazam un-gags Mary who turns into Sexy Shazam.  Then it's cut to the Gamelands, where Latino Shazam and Asian Shazam, after a quick recap of Eugene's "origin", try to arrange a game with the Gamemaster so they can escape.  Then it's to the Wildlands where Freddy and Darla are on trial by the talking animals.  They are sentenced to death by tiger.  Then it's back to the Gamelands with a quick recap of Pedro's "origin".  Pedro gets ready to challenge the Gamemaster.  Freddy and Darla are thrown to the tigers (with a quick background on Mr Tawny tossed in). Black Adam approaches the Magiclands, to save (or destroy, depending on your point of view) the kids, but hits a roadblock-- Dr Sivana, who orders Adam to join the Monster Society of Evil... or die.  Next issue, the fight no one (except for maybe Mark Strong) has been waiting for - Sivana vs Black Adam.

The issue, written by Geoff "the Snake" Johns is par for the course.  Despite the illusion that a lot is happening, nothing really does, it's just all setting up the next issue, where again, nothing will happen just setting up the following issue.  A far, far cry from the brilliant Otto Binder, who could write a complete and great story with a beginning, middle, and end in about 10 pages. The art is by, well, four different artists, none of whom is Mayo "Sen" Naito.  It's all rather good but generic, and again I say Sen should be the artist on this series.  And really, the Snake needs to be replaced as writer.  This issues earns a D.

movie review: AVENGERS ENDGAME

Avengers Endgame is the concluding chapter to what could be considered volume 1 of the MCU.  It's a 3 hour movie, so I am going to keep this review short as possible.  Despite being 3 hours, it flows fairly well.  There are some moments that drag on, like some of the "kitchen sink drama" scenes, but over all it does not feel as clunky or bloated as the Shazam movie was.   Unlike Infinity War, which wasn't so much a true Avengers movie, but rather a giant MCU crossover, Endgame is a true Avengers movie that keeps the spotlight on the core team plus Ant-Man, who was a founding member in the comics, if not the MCU, and Rocket Racoon. Captain America, who was a minor background character in Infinity War, resumes his leadership role in this one. One of the film's low lights is Carol Danvers, who doesn't get much screen time, but when she is on the screen, she sucks all the energy out. She is without personality, a card board cut out, whose purpose in the film is to be the MCU version of Supergirl (the original Danvers). Thor is kind of reduced to a joke with a beer gut and self-pitying, so that Carol can fill the role that should be Thor's. Hulk likewise has become more of a comedy character as he has balanced Banner and the Hulk into a merged being.

The main thrust of the film is time travel, and even though the characters joke about time travel inconsistencies, the film goes head first into the same dilemmas.  Case in point  - SPOILER ALERT: turn away now if you haven't seen the film-

when Thor is in the past on Asgard and takes his Uru Hammer from the past with him, does that mean Thor now doesn't have his hammer in any events after that point? (Not to mention Captain America later essentially claims the Uru Hammer as his own. Unless when Rogers took the hammer with him when he returned the stones, he also returned the hammer to Asgard at the same point in time.)  Or when Steve Rogers goes back in time to live happily ever after with Peggy Carter, does that mean Captain America no longer existed from Marvel's The Avengers onward? Or does that mean we now have untold tales of Captain America in the 1950s and '60s battling Communists and Socialists?  Or when past Thanos was killed in the present by Iron Man, does that mean the events in Infinity War never happened?

Despite these headache inducing questions, the movie powers on to a grand battle finale that resembles a football game-the infinity gauntlet being the football. The MCU was founded on Iron Man, and here it ends with Iron Man.  Some characters meet their final fate, some go off to live happily ever after, and some move on to the next adventure.  This movie is a must see final chapter, but it also brings up the question, is this the point where the MCU jumps the shark... will the next chapters live up to legacy or will it start to unravel?

movie review: SHAZAM!

It's been a long and arduous road of road of 17 years since the Shazam! movie was first announced in 2002.  The time has come.  The movie is here.  But before I get into the review, let me set the stage.

When Michael Uslan first announced he obtained the film rights to Captain Marvel, excitement raced through this life long Captain Marvel fan.  I quickly started envisioning what I hoped the movie would be like: a visually unique art deco world where a kid who says a magic word and turns into the World's Mightiest Mortal co-exists with a humanoid talking tiger who dresses in plaid sports coats, and an evil alien worm.  An Alex Ross painting come to life. I started envisioning Micky Dolenz as Uncle Dudley, who would be a scene stealing highlight. I envisioned the movie having a soundtrack of all Elvis Presley songs. My anticipation grew with every passing month.

There were several false starts along the way. The original script by William Goldman was rejected. And so was a draft by Joel Cohen and Alec Sokolow.  Things seemed to pick up when Peter Segal was announced as director, and John August was tapped to write the latest script, and there was heightened buzz when Dwayne Johnson signaled he was interested in playing Black Adam. Yet things still managed to fall apart. I got ahold of the rejected Goldman and August drafts of the scripts, and was somewhat relieved they were both rejected, as the scripts seemed far too grounded and ordinary to be worthy of Captain Marvel's unique world. But also the first red flag went up when I noticed both scripts shared two disturbing aspects: Billy "learns" how to be a superhero by reading comic books, and the over-emphasis on this being a remake of Big with superpowers.

Then David Sandberg was signed to be the new director, and suddenly things started moving fast.  Cautious anticipation started to build again, as viewfinders for the title role landed on Derek Theler or Lou Ferrigno Jr.   But then the role went to Arthur "Dagwood" Lake look-alike Zachary Levi.  And then it became evident the film would be based on the much hated Curse of Shazam new52 reboot instead of the classic Golden Age Fawcett comics.  The anticipation and excitement for this movie died.  It came to the point I questioned whether I even wanted to go see this movie in the theater.  With expectations at a low... Joel Schumacher Batman & Robin low... I watched Shazam!

What I saw was schizophrenic, disjointed, bloated and campy. It switches between comedy, scare, and after-school special genres faster than you can say Shazam.  The humor mostly fell flat. The only bit that made me chuckle was when Eugene attempts to use nunchuks. Likewise the attempts at scaring seem like they were trying way too hard and missed the mark. In many ways, it feels like a parody not unlike Superhero Movie (2008).

The story opens on Sivana as a child, and he gets picked by Shazam to become Captain Marvel. Only he fails a purity of heart test and is rejected. Skip ahead to today and we meet Billy Batson, an orphan abandoned by his teenage mother in a life long search for her.  He gets sent to a foster home where he meets Freddy Freeman. Meanwhile Sivana has acquired powers from the seven deadly sins. The wizard picks Billy to stop Sivana.  We then have the over long "clumsily finding out the powers" sequence. His most used power is shooting lightning out his fingers, a power never seen in the Fawcett comics. By time Sivana finds Captain Marvel to steal his powers (why, since he already has powers, is never made clear), the movie turns into another typical CGI battle fest with very crude and badly done CGI.  It gets worse when the movie goes into full "Mighty Morphin Power Rangers" mode for the finale. Contrast this to the recent Joker trailer that has little to no CGI, yet looks very rich and lush.  Joker looks like an epic motion picture.  Shazam! looks like a TV show. 

For years, the talk from those involved said this movie would be its own thing.  It would not be tied to the DC Film Universe. The end result is the opposite.  This movie is so chained to the other DCEU movies that certain scenes feel like an infomercial for the DCEU.  There was enough "Superman worship" to turn my stomach. If there needed to be references to other superheroes, it should have been the classic Fawcett heroes, like Spy Smasher, Ibis, and Bulletman. Sandberg and writer Henry Gayden have no idea what these characters are about, have no context for the source material---the real Fawcett source material.  It appears they are solely going by what Geoff the Snake Johns dictates.  This film could have used a more experienced director with knowledge and love for the Fawcett comics who had the cojones to tell the Snake to buzz off.

Asher Angel as Billy Batson and Jack Dylan Grazer as Freddy Freeman are the two best things about this movie. Although Sandberg and Gayden get Billy's character all wrong (he's not pure hearted as all the dialogue states, he lies, cheats and steals), Asher gives his all to the material and gives a great performance. But playing his other half, Zachary Levi is far too over the top to be believable as Captain Marvel, and in fact comes off far more immature and spastic than Asher. It's hard to see them as the same character.  I don't care what anyone says, Captain Marvel is not meant to be a Tom Hanks cover-band, and that is all Levi brings to the table. Furthermore while Asher handles the dramatic scenes easily, Levi struggles with them, again over acting and mugging.

Grazer also handles the role of Freddy very well, despite this not being the Fawcett version.  Freddy is essentially robbed of his story arc, as he should not be crippled at this point.  But Grazer also gives his all to the material and is a standout.

Mark Strong would make a great Lex Luthor or a fine Hugo Strange, but is horribly miscast as Sivana. Sandberg said the main reason for cutting Black Adam out of the movie is that he couldn't handle two origins in one movie.  Yet, he and Gayden give a back story to Sivana that is essentially a riff on the Black Adam origin. I'm sure Dwayne Johnson is thrilled to have his character's story diluted. And did they really have to cast Smallville's Lionel Luthor as Sivana's father?  Strong gives a bland phoned-in performance that bears no resemblance to the classic Sivana of the Fawcett comics, the quintessential Napoleon-sized, cackling mad scientist who sees himself as rightful ruler of the universe.  Instead, Strong's weak personality Sivana is just a generic magic-infused bad guy.

The wizard Shazam, played by Djimon Hounsou, is flat. Hounsou's delivery is similar to one reading a teleprompter.  I'm kind of shocked Tom Hanks wasn't cast as the wizard.

Of the other foster kids, Darla played by Faithe Herman, is given the most screen time with her distinct and somewhat annoying Crank Yankers' Special Ed personality.  Mary, played by Grace Fulton, is wasted, with very little to do, and the other two just stand around to react to everyone else, although as I said, Eugene does get the movie's only real laugh.

The bizarre Superman cameo at the end, where his face is cropped out of frame, if it needed to be there (which it didn't), they should have had Dean Cain do it. Or, have Gal Gadot as Wonder Woman instead. The best part of the movie is the mid credits scene with Mr. Mind.  That was the only part of the film that felt like a true Captain Marvel movie.  But as it is, Sandberg did not make this movie for life long Captain Marvel fans.  He made this movie for Geoff The Snake Johns. As a parody of Big and of superheroes in general, using the Captain Marvel characters aimed at the Nickelodeon demographic, Shazam! is average at best. But as a Captain Marvel movie, it is a disappointing failure.

UPDATE: Even though I was disappointed in the movie, I am still filled with a sense of awe and wonder, and a little proud, to see Captain Marvel - or a facsimile thereof - have the number 1 movie in the world.

Ron "The Ghoul" Sweed, R.I.P.

Ron Sweed, whose alter ego was the horror movie host "The Ghoul", passed away on April 1, 2019, after suffering a massive heart attack in November 2018.  He was 70 years old. When I was a kid, I caught the tail end of The Ghoul's reign on TV, and a brief revival a couple years later, yet he had a lasting impression. Thanks, Mr. Sweed, for being a great part of my childhood.

Eternal Rest grant unto him O Lord,
Let perpetual light shine upon him,
May he rest in peace.

Review: Shazam! #4

This issue opens up in the Wildlands, with Mr Tawny starting his day. This first part of the sequence is almost Fawcett-like, until Tawny steps out his building door, and it becomes evident the Wildlands are more like a Loony Tunes-Merrie Melodies cartoon (You could almost hear The Merry Go Round Broke Down playing). Tawny appears to be arrested for not being a proper tiger, i.e., he's reading a book against nature, "How To Stop Eating Your Friends".

Cut to Freddy and Special Ed... er, Darla, also in the Wildlands as they are captured by animal cops.  A missed opportunity by the creative team... they didn't make them bulls.  Freddy says Shazam but nothing happens.  Back to the Funlands, where Captain Shazam is held by King Kid.  He explains the Funlands is a haven for abused kids, and no adults are allowed. All the adults, including Mary, are slave laborers underground, and Captain Shazam joins their ranks.

Back to The Wildlands, where Freddy and Darla are on trial.  Then it's to Earth, where the Vasquezes have the cops in to find their missing kids.  Billy's "father" mentions Billy has a habit of running away.  Then it's to the Gamelands, where Latino Shazam and Asian Shazam are trapped in a game.  They find out only be beating the game master can they escape.  Then it's to the Rock of Eternity, where Black Adam notices the doors to the other realms have been breached. The next issue blurb hints it will be Black Adam who saves the day.  Of course it will, this is a Geoff "the Snake" Johns production.  He loves the villains and is indifferent to the heroes.

Johns' script is average, and with all the cutting back and forth between realms, it seems like a lot is going on, but actually not much happens.  The art by Dale Eaglesham and Marco Santucci is the usual - good yet generic.  Again, Captain Shazam is drawn to look way too much like Superman complete with spit curl.  Mayo "Sen" Naito is sorely missed this issue, and again, should be the main artist on this series. This issue earns a C.

The final Shazam trailer

The second and final full length trailer for Shazam! has been released.


I found it to be a shorter, re-edit of the first trailer.  Still very underwhelming.  Still too childish and jokey - catering to the fart joke connoisseur.  Still too New52. Still way too much emphasis on Big, which is the opposite of the original Fawcett era Captain Marvel. There is the one cool shot of Billy jumping off a roof and transforming to Captain Shazam... but can you really build an entire movie around one cool shot?

Let me explain it this way.  I am not much of a Fantastic Four fan.  All I know about them is the basic premise, and I don't follow or read the comics.  When Tim Story's Fantastic Four starring Jessica Alba was released, I went to see it, and I enjoyed it. I thought it was an entertaining movie. Hard core Fantastic Four fans, however, were outraged by the movie, thought it got too many things wrong, and generally despised the movie. But the general movie going public essentially enjoyed the movie like I did, and it became a hit. That is how it is going to be with Shazam!   I am clearly a hard core Captain Marvel fan, and I will hold this movie to a greater standard than I did for Fantastic Four.  I will criticize and nit pick smaller details.  As all my regular readers know, I am not a fan of the new 52 reboot of the character, and having this movie be an adaptation of that is already a major strike against it in my eyes.  Now, the general movie goer, and even the general DC supporter will probably not have such high standards for this movie, and probably do not care about the minutia of detail regarding Captain Marvel.  As with me with Fantastic Four, they will go in, enjoy it and like it if they find it an entertaining movie.  Some may like this movie simply out of brand loyalty to DC and/or Geoff Johns regardless if it is good or not.

The thing is, Shazam! is going to be DC's Fantastic Four.  The question is, will it be Tim Story's Fantastic Four where general movie goers like it with long time Captain Marvel fans rejecting the movie... or will it be Josh Trank's Fantastic Four where it's so bad, everyone across the board hates it?  We'll find out in one month.

Review: Shazam! #3

The 3rd issue picks up at the Funlands with a celebration for Billy and his family.  King Kid reveals his mission as appointed by the council of wizards to run this amusement park for troubled kids from the seven realms.  Everyone is having fun except for Mary, who is very suspicious of the whole situation.  King Kid claims to be the seventh champion (there needs to be one for each of the seven realms), and almost tricks Darla -whose Crank Yankers' "Special Ed" personality is in full force- into revealing the magic word. Luckily Mary stops her.  King Kid tells his origin story in an attempt to earn Mary's trust. In summery, he ran away from a cruel home, found a magic wishing stick, and created the Funlands.  King Kid continues to push to be accepted as part of the Shazam Family.  The three Flashpoint kids are willing to accept him, but Mary still isn't sold. King Kid becomes agitated when he finds out Mary is an adult, i.e. almost 18, and has his clown henchmen attack the kids, sending Mary, Freddy and Darla into an underground shaft. The other three turn into Captain Shazam, Asian Shazam and Latino Shazam, and King Kid seems very outraged that the champions are in adult form.  Captain Shazam is quickly overpowered and sent to the shaft.  Asian Shazam and Latino Shazam get sucked into the Gamelands.  Freddy and Darla, meanwhile, end up in the Wildlands... a land of talking humanoid felines.


Geoff Johns' script is, intentional or not, kind of on the childish side, where he's essentially put these characters into a Hasbro Candyland world. The whole grim and gritty thing didn't work out in Curse, so now he's trying to turn the series into a Nicktoons-inspired kids book, without realizing that an all-ages concept has already been done so much better in the Billy Batson and the Magic of Shazam series.  The artwork is all over the place, with Dale Eaglesham and Marco Santucci in tandem handling most of the issue, with Mayo "Sen" Naito (who really should be the main artist on this series) handling the King Kid origin sequence.  Over all, this issue is par for the course earning a C.

Peter Tork, R.I.P

Very sad news, today.  Peter Tork has passed away at the age of 77.  He was battling adenoid cystic carcinoma, a rare cancer of the salivary glands, the past ten years, going thru two surgeries and chemo treatments early on.  He was in remission for several years.   Two years ago when he stepped away from the Monkees after the 50th Anniversary tour, and went into seclusion, there was speculation the cancer had returned. 

An official statement from his family states he succumbed to the disease, and he "died peacefully... at a family home in Connecticut".

Michael Nesmith issued this statement,
“Peter Tork died this a.m. I am told he slipped away peacefully. Yet, as I write this my tears are awash, and my heart is broken. Even though I am clinging to the idea that we all continue, the pain that attends these passings has no cure. It’s going to be a rough day. I share with all Monkees fans this change, this ‘loss,’ even so. PT will be a part of me forever. I have said this before — and now it seems even more apt: the reason we called it a band is because it was where we all went to play. A band no more, and yet the music plays on, an anthem to all who made the Monkees and the TV show our private — dare I say ‘secret’ — playground. As for Pete, I can only pray his songs reach the heights that can lift us and that our childhood lives forever — that special sparkle that was the Monkees. I will miss him — a brother in arms. Take flight my Brother.”

Micky Dolenz sums it up best,
"There are no words right now...heart broken over the loss of my Monkee brother, Peter Tork."

I can only offer up my prayers for Peter and his family.  You will be missed greatly, Peter.

Eternal Rest grant unto him O Lord,
Let perpetual light shine upon him,
May he rest in peace.

movie review: STAN & OLLIE

This dramatized biographical film, directed by Jon S. Baird, stars Steve Coogan as Stan Laurel, and John C. Reilly as Oliver Hardy, telling the story of the famous comedy team's final bow on a tour of the United Kingdom in 1953.  The film opens in 1937, on the Hal Roach lot, of the team filming their movie Way Out West, to introduce the characters and set up the story. Roach has the duo signed to separate, staggered contracts, which limits their power of negotiating. In this scene I quickly noticed a mistake.  On the Roach lot, there is a poster of the Little Rascals.  The "Little Rascals" name did not exist at that time.  It was a title created for the films' TV syndication in the 1950s.  The series was originally titled Our Gang Comedies and the group of kids were billed as "Hal Roach's Rascals", although by the mid 1930s, both the series title and the group of kids were streamlined to simply "Our Gang".

We skip ahead to 1953, and the team, despite failing health, embark on a tour of the United Kingdom in hopes to get financing for one more movie. There is heart, humor, and a bit of drama.  Coogan and Reilly do a magnificent job portraying Mr. Laurel and Mr. Hardy, and one of the highlights of the film is to see these guys doing comedy bits off stage in "real" life, not so much for the entertainment of others, but for their own amusement. The film also portrays their wives, played by Shirley Henderson and Nina Arianda, as an entertaining comedy team in their own right. One thing I find unique about Laurel and Hardy is that they were not an "organic" comedy team, like The Marx Bothers, The Three Stooges, or Abbott and Costello.  Much like The Monkees are considered a "manufactured" band, Laurel and Hardy were a "manufactured" comedy team, put together by Hal Roach.  And like The Monkees, it was the right combination that resulted in magic.  This movie is well made, and it shows on the screen. This film is in limited release, but if you happen to have in playing in your town, be sure to see it.

Review: Shazam! #2

This issue opens with the Vasquezes suspicious about the man who claims to be Billy's father, continuing the final scene from the previous issue.  Cut to the kids in the Rock of Eternity, debating if they should explore the Magiclands. They decide to go to Funland, despite Mary's protests. We then cut to Dr Sivana, waiting to see a medical doctor, as he is infected with Mr Mind.  Back to the kids, on the train, they arrive at Funland and are met by a talking clown doll. Funland appears to be "Disneyland on steroids", and we get the very first "Holy Moley" from Billy in this continuity (prior to this, Johns attempted to make "badass" Billy's catchphrase during Curse of Shazam and his appearances in Justice League). The kids pair off to explore.  Back to Sivana in the doctor's office.  Mr Mind tells him to take the doctor's tongue for a magic spell.  Back to the kids, enjoying the amusement park.  Billy and Freddy observe a suspicious incident where an adult is running away from a child.  Then they meet King Kid, who looks like he stepped out of an old Sid & Marty Krofft production. 

Geoff Johns' script is kind of trite, and this issue reads almost like a filler. The art is by Marco Santucci, who, like Dale Eaglesham last issue, turns in a good yet generic job, although Santucci's art is a little more polished.  If I had my druthers, I would prefer Mayo "Sen" Naito be the series artist, as her artwork from last issue's back up story showed far more charm and character that would better embellish Johns' underwhelming scripts.  This issue earns a C-.