A Queen's Ransom - Blu-ray Review

 

Having been known for serving on Her Majesty's Secret Service, protecting Queen and country, I'm incredibly surprised to learn that there was a time when James Bond actor George Lazenby once plotted to kill her. 

A Queen's Ransom sees Lazenby playing IRA terrorist George, a man who's in Hong Kong putting together a team of crack killers and skilled mercenaries in order to assassinate Queen Elizabeth II during her visit in 1975. Joining him in his mission are Bolo Yeung, Judith Brown, Pei-Shan Chang, and other familiar faces, playing a variety of folks including diving specialists, explosive experts, and even a criminal swordsman. The eclectic group begin planning their attack on the Queen, but when the authorities learn of the assassination attempt things become more complex.

On the surface, A Queen's Ransom is a pretty simple and straight forward film, a group of bad people want to kill the Queen, the cops are trying to catch them. And the film does stick to this plot for a while, with the audience following both groups as they work towards these goals. But there's a strange sub plot happening involving a third group renting out a remote building to store some chests in, and cracks begin to form within the assassins group that leads to some tension and even a double cross or two. It's when the film gets towards it's final act, however, that we find out the audience has been duped, and that the assassins have a whole other scheme going on that's been kept secret from us; and it's this point the film goes from being decent, to being ridiculously fun.

I'm not going to spoil the final act of the movie, but it's one that I didn't see coming, despite the movie laying the groundwork for it quite well in the early stages. The film subverts your expectations, and you get so absorbed in the various plots and changes of plans (the gang seems to have so many of them), that when the rug gets pulled out from under you you're taken by complete surprise. 

The action scenes in A Queen's Ransom are pretty arch, and go over the top where they can despite not having a huge budget or lots of resources. A lot of the actors go big on their death scenes, and the violence has a strange mix of being quite shocking, yet also a bit pantomimish too. It keeps things from becoming too serious, and it ends up leaving the viewer with a smile on their face. And that's perhaps one of the best things the movie does, it takes a story that could have been very grounded and gritty and it injects just the right amount of silliness. It's not enough to make A Queen's Ransom a comedy film, but it is enough that you know not to take things too seriously and to just enjoy the ride.

Some of the best scenes involve the criminal gang, and there are a number of recognisable faces amongst them. Lazenby manages to steal a lot of the scenes that he's in, swaggering around as the top dog in the pack. He seems to be enjoying playing the villain rather than the hero, and his thick 70's moustache and bad Irish accent (dubbed rather poorly too) make him a character that instantly stands out amongst his compatriots. Other than Lazenby, the most recognisable is Bolo Yeung, who most people will recognise from Bruce Lee's Enter the Dragon. As with most cast's he in, Yeung dwarfs most of the other people on screen thanks to his physical size, and he uses his presence well here, getting to have a number of scenes where he and the other gang members get into some heated moments with each other. 

The new release from Eureka Entertainment, the first time the film has been released on Blu-ray I believe, comes with both the English language export cut of the film, and the original Hong Kong theatrical cut of the movie. Alongside both versions of the film is a new audio commentary by Asian film expert Frank Djeng, and another from Mike Leeder and Arnie Venema. Folks who've been watching the Eureka releases will be familiar with all three of these guys, and will know that they offer very different things on their commentary tracks, with Djeng going into the careers of those in front of the camera and behind the scenes, as well as talking about the impact of the movie, whilst Leeder and Venema take a much more laid back, conversational approach where they will bounce off each other a lot. There is also a collectors booklet with some new writing on the movie too.

For fans of Hong Kong cinema this is an enjoyable film, one that has a lot of charm thanks to the twisting and unexpected plot, and which uses the real world visit of the Queen to springboard off of to create a movie that's more enjoyable than you'd expect. It's also one of the few times that Queen Elizabeth can say she's been in a Hong Kong action movie, thanks to the film making use of footage from her visit the year before it's release. That alone should get you considering giving it a watch. 

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Prison Walls: Abashiri Prison I-III - Blu-ray Review

 

There's this thing that seems to happen whenever a much loved film gets a sequel, where people who enjoyed it will roll their eyes at the idea and claim that filmmakers have run out of ideas, or are trying to milk something for all its worth. We're in an age of franchises, where it's not hard to find series with multiple entries, or entire film universes. But this is nothing new, films have been doing this for a long, long time. And Japan loves a good sequel. As long as there has been cinema in Japan there have been sequels, with some of their biggest hits and most enduring characters being part of multi film epics. And despite what you might think looking at the cover of Prison Walls: Abashira Prison from Eureka Entertainment, this series is not a neat and tidy trilogy; there are eighteen films in this series.

Collecting together the first three of these films into one neat package, this new release offers film fans a chance to discover an enduring and much loved series from Japanese cinema. The seventh instalment was the highest grossing film in Japan in 1966, so these weren't cheaply made and quietly released movies. Having never heard of this series before this release, I was incredibly surprised by how many films there were, but having thoroughly enjoyed the first three I can see why audiences kept coming back for more.

The first film, based on a novel about someone's real life experience in the remote Abashira prison, tells the story of Shinichi Tachibana (Ken Takakura), a young member of the yakuza who is sent to the titular prison for a light six month sentence. However, Shinichi is worried about spending even such a short time in prison as his mother is gravely ill, and he worries that she may pass before he returns home to her. Because of this, and with him being a model prisoner, Shinichi is working towards an early release. However, when working on one of the chain gangs in the cold of winter, Shinichi finds himself tied to the hardened criminal Gonda (Kôji Nanbara) as he enacts an escape attempt, forcing him to go along. 

Because of the lack in studio trust in the movie, the first entry in the series was made in black and white, and stands out from the others because of this. However, the black and white does lend the film a certain extra weight, and makes it feel like a film worth paying attention to. Perhaps it's being alive in a time where black and white tends to be an artistic choice in modern cinema, but knowing that Abashira Prison was made in black and white in a time where other films were in colour does make it feel like more of a thematic choice. The black and white also looks great in the snow covered environments too. 

The movie is pretty straight forward, and it manages to get you on board with its lead thanks to flashbacks that flesh out his character and makes you see him as someone to sympathise with despite being a character you probably shouldn't. Those who've watched The Defiant Ones will notice some big similarities, but the film does enough new in itself to not feel like a rehash or a cheap knock off. 

The second film, now shot in colour thanks to the firsts popularity, shows Shinichi as he attempts to re-join society after the events of the first film have been resolved. But, luck is not on his side. A group of thieves have robbed a bank, stealing a cache of diamonds. The thieves hide the diamonds inside an algae ball, carried around by a fake nun (you can tell the tone has shifted somewhat here), but one of the balls manages to find its way into Shinichi's keeping. This puts our protagonist in the sights of both the law, and the criminal gang. Shinichi embarks upon a mission to clear his name, and avoid another prison sentence. 

Another Abashiri Prison Story is something of a change in tone from the first film, and it take on a much more light hearted approach. The change from black and white to colour coupled with this tonal shift does make the change feel a bit stark when watched alongside the first; however, the two happening at the same time does kind of work too, with the lighter themes and different approach to the material ushering in literal colour into this world. The change from the cold, snowy environs of the first film to the bustle and excitement of the big city also marks this as a big change for the series; but one that I think allows for more room for the sequels, as eighteen movies of Shinichi in the same prison just wouldn't work. 

Abashiri Prison: Saga of Homesickness is the third film in the set, and returns to the more serious tone of the first, by completely ignoring the events of the second film. Having been released from prison, Shinichi makes contact with his yakuza boss, played by Kanjūrō Arashi. We see the fallout of Shinchi's actions, and learn how things have changed for his entire yakuza gang whilst he was away. The film is quite melodramatic in places, and has the twisting narrative that a lot of Japanese crime dramas have. It questions whether it's actually possible to leave the criminal life, as Shinichi and others try to go straight but are forced by circumstances to break the law once again. It posits the idea that once you start down the criminal path it is impossible to ever be fully off it. 

The film also contains a sub plot about a young girl with a mix race heritage, being both Japanese and Black. The movie tries to do commentary about race and racism in Japan, but is hampered a great deal by the fact that the actor is in Blackface the entire time. This was a different era, sure, but it still feels like it shouldn't have been impossible for the filmmakers to find a young actress who could play the part without the need to putting on makeup. Eureka do include a small warning about this before the film, which is appreciated, and whilst it may be distasteful to many viewers it is also a piece of film history, and should be noted at least for how the portrayal of Black people was handled in Japanese cinema at the time. 

Each of the films gets its own audio commentary, with different contributors to each; Tom Mes handles the first film, Chris Poggiali covered the second, and Mike Leeder and Arne Venema come together to talk about the third. Each of the commentaries offers additional insight into their respective movies, as well as the series as a whole, Japanese cinema at the time, and the careers of those involved. As with every Eureka commentary track, they end up being hugely informative, and gets you interested in the small details of the movies. There are also some trailers, and a couple of features, including an interview with critic and Asian film expert Tony Rayns, and a video appreciation with Jasper Sharp and Mark Schilling; both of these last around thirty minutes and goes into the making of the movies and other behind the scenes info. All in all, the special features end up being a great addition to the films, and showcases a ton of expert knowledge. 

Whilst sequel fatigue is a phrase that some throw out about films (usually either those who dislike films made to be fun, or those that are just grouches) cinema will always embrace certain stories and characters and will return to tell stories of them time and time again. It's easy to see why this series became popular in Japan, and with the first three films here showcasing different tones and styles, and making some decent swings in terms of story, it's fascinating to think about the other fifteen films in the series and what they might have done. Hopefully this set will prove to be a success, and Eureka will release the other sequels in the future.

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Sorry, Charlie - Film Review

 

There's often a fine line between horror and thriller, and you'll often see thriller movies popping up on lists of great horror films (Silence of the Lambs does this a lot), and as such it can sometimes be hard to know which category a film falls best into. Sorry, Charlie is one of these films, one that straddles the line so well because it feels like the kind of scenario that can happen in real life, and that makes it so much more frightening.

The film starts with a chilling telephone call to 911, where a woman tells the operator that she can hear a baby crying outside and questions if she should investigate or not. Despite the urges from the operator to not go out, the woman does, and we hear her attacked. From here we meet Charlie (Kathleen Kenny), a young woman who has just moved into a house that she has inherited from her grandmother and is in the process of renovating. When she hears the sound of a baby crying she heads outside to check it out, and falls victim to The Gentleman, an attacker who lures women outside with the sound of a crying baby in order to rape them. 

We jump forward in time nine months, catching up with Charlie, who's become a shut in, staying inside her home, working as a helpline call operator. She has no interaction with people other than over the phone, choosing to keep herself safe from the outside world. We also learn that The Gentleman's rape left Charlie pregnant. In the time between the attack and now a man has been arrested for the assaults and murders, but Charlie is convinced that they have the wrong man, and believes The Gentleman is still out there. As the night progresses, Charlie's fears that her attacker is watching begin to be proved right as strange events start to happen. 

Sorry, Charlie is perhaps one of the best examples of a low budget movie that I can think of off the top of my head. The film is short, around and hour and fifteen minutes long, shot on one location, with only two cast members on screen in the form of Charlie and The Gentleman, with other characters appearing only as voices over the phone. It's a small, contained story set in a small, contained environment, but it never feels like it's lacking. There's no sense that the filmmakers have been constrained by a lack of funding, that they had to keep the cast small for behind the scenes reasons. Perhaps there were some limitations that dictated aspects of the film, but it doesn't come across that way, and instead Sorry, Charlie feels like a film with a clear vision of what it wants to achieve.

With the film being so focused, much of it rides on the back of lead actor Kathleen Kenny, who dominates every scene she's in. The film is with her constantly, told through her eyes, and for the majority of the runtime she's acting to no one, either on her own or speaking on the phone. This feels like a tough situation to be in, but Kenny absolutely shines here, keeping the viewer engaged at every turn. She brings such life to the character. You get drawn into her situation, her isolation, and become invested in her incredibly quickly. Kenny does fantastically throughout that you almost forget that there's going to be another character on the screen with her at some point, and you just get lost in following her everyday life.

But, it's not just a film about Charlie, as her attacker makes his presence known. The Gentleman is an interesting creation. There are absolutely shades of Scream here, especially as he talks to Charlie over the phone a lot, and does the Scream killer thing of pretending to be someone else when first talking to her. And whilst he has a very real physical presence in the film, acted by Travis William Harris, it's the voice that brings the character to life and fills him with personality. Voiced by Connor Brannigan, The Gentleman has a ton of presence. Brannigan has a voice that's both smooth and charismatic, yet also comes across as sinister. It feels like the perfect kind of voice for a character like this, and there are times when he's speaking where he absolutely steals the spotlight from Charlie and becomes the star of the show. Looking at Brannigan's IMDB credits, it's absolutely criminal he's not done more voiceover work as this is a voice that needs to be in animation and games.

There's a lot to enjoy about Sorry, Charlie, and the acting and interesting script will make the run time absolutely fly by. There are some great twists and turns along the way that keep things from being dull, and even if there are points during the film you start to gripe at Charlie for making typical horror film mistakes it all comes together wonderfully at the end. Kathleen Kenny really makes a great case here for why she should be playing final girls in movies, and if we don't see more of her in horror after this it's going to be a huge shame.

If you're looking for something short but sweet that will entertain you from beginning till end Sorry, Charlie is a fantastic choice. It might be looked down upon as a b movie because of the relatively unknown cast and the small scope of the story, but it's better than a lot of big budget films that get the spotlight.

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Weekly Comics Review - 22nd May 2024

 

I take a look at a selection of this weeks comic releases. This week I read and review Blood Hunt, Nightwing, Green Lantern: War Journal, Ultimate Black Panther, and more!

Fall of the House of X #5

Writer: Gerry Duggan, Artist: Lucas Werneck, Stefano Caselli, 
Colourist: Bryan Valenza, Letterer: Travis Lanham

The war against Orchis is fast moving to it's conclusion, and this issue pretty much wraps everything up in a nice neat package. Without wasting any time this issue opens in the middle of the action, with the X-Men fighting Nimrod and his multiple duplicates across the world and on the crashing Orchis space station. Nimrod being able to split himself across different avatars at the same time allows multiple heroes to have the chance to tangle with the villain this issue, and we get some great moments, such as Magento and Polaris teaming up, and Cyclops continuing to prove why he's a leader as he holds the monster off long enough for the big gun to arrive; Storm.

Not only does the issue deal with Nimrod, finally putting the machine down for good (hopefully), but we get a conclusion to Omega Sentinel's turn as a villain. Having had her body inhabited by a version of herself from a dark future, Karima has turned on her former allies and has been fighting for their extinction. Thanks to Psylocke, however, her true psyche gets freed, and the injured and traumatised Karima is saved. I know fans of the character haven't been completely happy with her villain turn, so this issue addressing it, and setting her up to have a decent story come out of this with her journey to forgiveness, should hopefully keep fans satisfied. 

The art team on the issue do a hell of a job, and deliver some fantastic action sequences and it feels like most of the key players in the issue get a moment where you just have to stop and take in what they're doing because it's incredibly cool. The issue really hammers home how great the X-Men can look when they're backed into a corner, fighting to save the world, never giving in. There are some great moments here that really reinforce why people love these characters so much. With the AI's put to bed, things are still not finished though, with Xavier still working his schemes, and the danger of Enigma still looming, the final two issues of the Krakoa Era look set to be just as pack as this one. ⭐⭐⭐⭐

The Spectacular Spider-Men #3

Writer: Greg Weisman, Artist: Humberto Ramos, Victor Olazaba,
Colourist: Edgar Delgado, Letterer: Joe Caramagna

One of the best parts of The Spectacular Spider-Men has been the slowly unfolding mystery. In the first issue we got brief interludes that felt almost unconnected, and in the second we began to understand them more are we realised people were being given the chance to live the life of their dreams, and this issue we finally learn who's behind the bizarre scheme as Peter and Miles fall victim to it too. Split across different time periods, we see Miles and Peter further searching for the missing people around campus in the sewers, with a little help from the Vermin clones and Shift, as well as the dream lives that the two heroes get trapped in.

As with most 'dream' scenarios that Peter has been in in the past (think House of M) his dream life is him living in a post-Spider-Man retirement with his loving wife Gwen Stacy, and their two kids. Having seen this kind of scenario before it does feel a little bit like a rehash, especially as Ultimate Spider-Man also has a happily married father Peter Parker going on; however, it's Weisman's writing that keeps it from feeling stale, and makes these parts of the issue enjoyable to read. Whilst Peter is stuck in that reality, Miles is going on his first date with Kamala. Building upon seeds planted in past interactions, we get to see a little bit of what the two of them becoming a couple would be like; and it's pretty adorable.

The art on the issue, with pencils by Humberto Ramos and inks by Victor Olazaba, looks great. The art on this series has been a genuine joy so far, with even the more mundane and realistic scenes being packed full of energy and tiny details that will bring a smile to your face. However, this issue it's perhaps the splash pages that are the best looking, with the second page in the book being a great reveal of some sneaky trickery going on with the first page. Overall, this has been a really enjoyable title so far, and those feeling disappointed in the flagship Spider-Man book should definitely be checking this out. ⭐⭐⭐⭐

Titans #11

Writer: Tom Taylor, Artist: Lucas Meyer, Colourist: Adriano Lucas,
Letterer: Wes Abbott

One of the things that I find with Tom Taylor's writing is that it always feels like a fast read. Taylor likes to get to the point quick, and moves the plot forward so that by the time you get to the end of the issue it feels like you've only just begun. This issue of Titans definitely had that feel to it, likely enhanced by having the first half of the book giving us a history to this arcs new villain, Vanadia. A little girl who watches the Teen Titans save the world, she grows up wanting to be a member of the team. Spending years building herself up, getting stronger and faster, she eventually joins a programme designed to give her enhanced powers. Unfortunately, those kinds of things never go as planned, and readers won't be surprised to find out that she's far from what she set out to be. Now being lied to and manipulated by other forces, she's sent to fight her heroes.

Mixed into this we also get a little furthering of the evil Raven arc, with Dick having been onto her for a while now and investigating her. But how do you investigate someone who can read your mind? Well, this brings us to the part of the issue that I honestly didn't really like too much. Dick having set up a mental safe room to hide his thoughts, fine, I can go with that. But the word that activates it was a little too much for me. Batman is currently driving Zur-en-arrh into the ground for me, and this issue taking some inspiration from that just lost me if I'm honest. Hopefully Circ-en-arrh will never come up again; I've already seen it relentlessly mocked dozens of times online, so I don't think I'm the only one who isn't down for that particular one.

Outside of the story that has some ups and downs the art on the issue is great, and Lucas Meyer does some great work at bringing Vanadia to life. She's got a pretty decent design, reminiscent of Amazo, yet also retaining a lot of elements of her human form, and she's utilised well in the action scenes she's in. Hopefully we'll get to see her do some more stuff next issue, and hopefully away from Titans Tower too, as we yet again have another story where a lot of stuff seems to be happening around the building. I'd like to see the Titans get out of the house a bit more as this arc goes on. ⭐⭐⭐

Predator: The Last Hunt #4

Writer: Ed Brisson, Artist: Francesco Manna, Colourist: Erick
Arciniega, Letterer: Clayton Cowles

Having grown up reading the Dark Horse Predator comics, I've long held the belief that comics are definitely a medium in which the movie monster can not only thrive, but excel. There have been some amazing comics featuring the Predator, and the entire concept of them crossing over with the Alien franchise (something that just seems to be a universally accepted part of the lore) began in the comics. But since the Marvel take-over of the book I've struggled to really enjoy them. They're all decent, there's nothing really wrong with the books, but they've just not wowed me (with the exception of the cross-over with Wolverine).

As this volume of the series comes to a close (and I wish they didn't start a new volume each story arc) it's the third or fourth story arc of the series and as with the others it kind of just limps towards it's end goal. The issue opens with Theta having been healed by the Nightmare Predator, and taken to a new hunting ground. Finding her armour waiting for her, she engages in a fight with the hunter with her allies Paolo and John being the prize. One of the biggest problems with the Marvel Predator titles for me has been that there's little memorable about them. This time round we've got John Schaefer popping up, and a cool looking new foe, but John doesn't do much and of course Theta beats the Predator at the end. There's no big wow moments, it just moves from one story to another without any sense of big resolution or pay off. Perhaps stopping the ongoing adventures of Theta and doing self contained mini's like Dark Horse would be the better way to go.

Whilst the story is fairly middle of the road, the art at least is good, and the pages of Theta fighting the Nightmare Predator are absolutely packed. There are a couple of pages that cram in as many panels as possible, showing the length and brutality of the fight, and how over powered Theta is by her new foe. And, the new Predator itself is a great design. Perhaps one of the more interesting looking Predators in this entire ongoing saga, it's a shame he's dispatched at the end and couldn't be used as an ongoing threat. With this story at a close we'll have to wait to see what comes next; but at least while we wait for news on the Predator series we know there's another cross-over coming in the near future. ⭐⭐⭐

Black Widow & Hawkeye #3

Writer: Stephanie Phillips, Artist: Paolo Villanelli, Colourist: Mattia
Iacono, Letterer: Joe Sabino

Perhaps it's something of a hot take, but I'm pretty sick of symbiotes. Everyone seems to have a symbiote now; every character in the Venom series, Black Widow, Deadpool, Spider-Gwen, Spider-Man 2099, and now Hawkeye gets to have a little play around with the alien goo too. The popularity of Venom seems to have become something of a curse as symbiotes are getting a constant push, worming their way into series and characters that just don't really need it. But, Black Widow having a symbiote is just her current status quo, and as such we have to deal with it in this issue as it was used to help burn poison out of Hawkeye's system.

That's the main thrust of this issue, Clint dealing with the comedown of the experience, of feeling just as sick from the alien creature as he did the poison. Natasha tells him about how it heightens negative feelings, and how this is something that he's going to have to deal with for a short while as a result, and it's interesting to see how just a brief exposure to the symbiote has such a dramatic effect on him. It definitely raises questions as to how much it might be affecting Natasha too, and if this series is going to be using the history between the two characters to help her through this and make her see she needs to get rid of the symbiote I'm definitely going to be interested in that. Kind of like a story of an old friend confronting you about an addiction.

Interspersed into this are flashbacks to the early days of the two leads, and we get to see some great scenes of them in their classic costumes, with a little cameo appearance by an old Avenger. The big, colourful costumes and the trick arrows definitely feel like a stark contrast to the more realistic and dour modern day parts of the book, and it's interesting to see how comic sensibilities have changed over the decades, where the silliness of old has been replaced. The flashbacks are definitely where the art excels too, and whilst it's fine seeing Clint recovering in a dark room watching him in bright purple breaking his way into the Russian embassy is just way more fun. ⭐⭐⭐

Superman #14

Writer: Joshua Williamson, Artist: Rafa Sandoval, Miguel Mendonca,
Colourist: Alejandro Sánchez, Letterer: Ariana Maher

The fourth chapter of House of Brainiac continues to deliver shocks and thrills as our scattered heroes begin to come together; but as Brainiac's plan unfolds the stakes shoot up when a deadly new foe enters the battle. Opening just where we left off before, Superman is having to deal with his ally, Lobo, turning against him. It's not clear yet whether this is a true double cross, or if Lobo and Superman have planned for this and it's part of their scheme to get to Brainiac, but frankly, at this point it doesn't really matter. What matters is that we've got an excuse to see the two of them fight, and it makes for a great moment in the story for sure as the two of them battle their way across the page. The fight gets some fantastic double page layouts that showcase why the art team on the book are a great choice to bring this particular story to life.

Joshua Williamson isn't just content to let the fight take centre stage and take it easy for the rest of the issue though, as the plot moves forward in some important ways. The other members of the Superman Family get some stuff to do, we discover more back story, and one of my favourite characters from L.E.G.I.O.N. makes his appearance, and I'd totally forgotten he was a part of the story so it was nice to see him pop up again. The issue ends with the introduction of the Brainiac Queen, the new thing that has been teased for a while now, and those expecting a female version of Brainiac and that's all will be pleasantly surprised, as the Queen very quickly becomes a scary new threat in relatively short time on the page. With the story moving forward at this pace, and still managing to get some great character moments into things too I can't wait to see what the rest of the upcoming chapters do. The Warworld Saga was definitely a high point for Superman fans in recent times, and this story definitely feels like it's going to be standing alongside it as a modern classic. ⭐⭐⭐⭐⭐

Spider-Gwen: The Ghost Spider #1

Writer: Stephanie Phillips, Artist: Federica Mancin, Colourist:
Nolan Woodard, Matt Milla, Letterer: Ariana Maher

One of the appeals of the Spider-Gwen/Spider Woman/Ghost Spider comics has been that her world has made for an interesting new place to set stories in. She has her own villains, some of which are new twists on those that we know, she has unique relationships, and an interesting supporting cast of characters. Unfortunately, with her having become a more popular character people have been calling for her to interact with the 616 characters more and more. As such, she's come into that universe multiple times for team ups and events, but now she's getting the Miles Morales treatment as this new series brings her to 616, 'permanently'.

The reason for her coming into the main Marvel universe is a major plot point in this new series it seems, but the first issue shrouds it in a lot of secrecy, with OB from the TVA popping up to tell her it's important that she be there, but that she can't do anything super heroic or talk to any other heroes. The why's aren't brought up, yet the situation is spoken with with such weight that I couldn't help but feel like I'd missed something important. The issue tries it's best to draw you in, but it does feel like you've accidentally picked up issue eight of a series rather than the opening chapter. This, coupled with the loss of the world and characters that readers have come to like (including the beginning of a much anticipated queer relationship for the hero) makes the issue feel very flat.

The art is decent, and it's always nice to see Gwen doing her hero thing, no matter the setting, as she's got a fantastic design. But there are some moments where things feel a little off in places, with the shape and look of faces not always matching even on the same page. Spider-Gwen is a great character, with a huge fanbase, but I can't help but feel that bringing her into the 616 universe is only going to harm her in the long run; and this lacklustre first issue doesn't dissuade from that feeling. ⭐⭐⭐

Nightwing #114

Writer: Tom Taylor, Artist: Bruno Redondo, Colourist: Adriano
Lucas, Letterer: Wes Abbott

Tom Taylor has been laying the groundwork for the final story in his run for a while, with the villain Heartless having been around, quietly plotting and building his strength, since the very beginning. Now, finally, it seems like he's ready to make his move and destroy everything that Dick Grayson holds dear. We open with a scene of a bearded Dick in the mountains, trekking through the snow, accompanied by Haley. Jumping back in time, we pick up with Dick as he travels to his old home of Gotham. Having helped to change Bludhaven for the better with Alfred's inheritance, Dick has decided that Gotham needs the same. We get a scene that shows how imperfect vigilantes can sometimes be, with Dick assaulting a man stealing food, something that only reinforces the idea that perhaps the best way he can help people is by working within the light as Dick, rather than being Nightwing.

This brings us nicely to a benefit being thrown by Bruce, who's trying to get his rich Gotham friends to invest in the Alfred Pennyworth Foundation to bring its good work to Gotham. Unfortunately, this is where Heartless' plan comes into motion. Having seen him earlier in the issue, forcing a group of high level bosses and mobsters to work for him, it seems that the first step of his plan is to try and publicly smear Dick, making it look like the Foundation is taking dirty money from criminals. And that's about it, the issue ends somewhat abruptly as the fire alarm goes off. It definitely feels like the first part of an arc, and has no sense of resolution within itself as part of the issue.

Taylor's run has felt very interconnected throughout, and even the odd issue here and there that initially felt standalone, such as the entirely first person issue, is all part of the bigger whole that's coming into play here. Whilst this issue failed to grab me as much as pervious ones have I get the feeling that it'll read much better when collected in a trade. The art on the book is, as always for Nightwing, decent, with Redondo doing some pretty fun and interesting panel layouts. My only criticism with the art on this issue is in the depiction of Damian. Despite being up to Bruce's shoulders in other books here he's a couple foot shorter, and looks more like a mini-Bruce than himself. The pale skin tone doesn't help either, and is yet another instance of DC whitewashing the character in certain titles. ⭐⭐⭐

Union Jack The Ripper: Blood Hunt #1

Writer: Cavan Scott, Artist: Kev Walker, Belardino Brabo, Craig Yeung,
Colourist: Javier Tartaglia, Dee Cunniffe, Letterer: Travis Lanham

Union Jack The Ripper: Blood Hunt is easily one of the most British feeling Marvel books that I think I've ever read. Set in Manchester as the world falls into the darkness and chaos of the vampire assault on the world, the issue opens with a group of survivors just trying to find a way out of the monster filled city. Straight away I knew that British people were working on the book, as the backgrounds were filled with the kind of tiny details that made the place instantly look like a British location, even down to the type of paving slabs you find beside pelican crossings. This was later confirmed when a character casually mentions a Greggs. Not the kind of thing that I expect from a Marvel book, but a delightful surprise.

The book sees our small group of survivors about to be killed when Union Jack arrives on the scene. Less concerned with saving people than he is with killing any vampire that he can find, Jack is a bit of a dick here, and it creates a fun dynamic between him and the others. Where the other tie in's feel more like a super hero book that's trying its hand at horror, this title feels like an actual horror book. It has that look and feel of indie horror series, from both the writing and the art, and because of that it's maybe meeting the assignment better than the other titles in the Blood Hunt event.

The art is particularly good, and definitely helps with the grim and gritty feel of the book. Things are a little less clean than you expect from a Marvel book, and again it feels closer to an indie horror series than it does a big two event book. The vampire designs are much more monstrous than in other titles, and the art sells the idea that this could be the end of the world. With the big name heroes in New York fighting to save the world this series instead gives readers a fight for survival, making it a hidden gem of the event for sure. ⭐⭐⭐⭐

Catwoman #65

Writer: Tini Howard, Artist: Ivan Shavrin, Colourist: Ivan Shavrin,
Letterer: Lucas Gattoni

After crashing to earth in the experimental space plane at the end of the last issue it looks like Catwoman may have used up all of her nine lives, and the fact that we open with the villains discussing not being able to find her body in the wreckage seems to hint that perhaps this time there was nothing left of the thief to come back to life. Selina, still dead, finds herself in Bast's realm, where the goddess gives our thieving anti-hero a bit of a talking down to, complaining about her having used up her extra lives in selfish, reckless ways. Giving her one last chance, the goddess sends Selina back, with her waking up in a freezer in a weird facility. Now she will have to figure out where she is, and find a way of escaping. However, the facility is a lot more than it first appears to be.

One of the things that I noticed straight away about this issue is the change in artist, with Ivan Shavrin coming on board to both draw and colour the issue. I couldn't be happier with the change. Whilst there was nothing wrong with the previous art teams on this arc, they were all fairly standard looking, with nothing that really made them stand out. Shavrin, on the other hand, has a style that makes this issue instantly different. It's much more cartoonish and stylised, and it made the issue much more fun to read for me. There have been ups and downs with this current arc, and some of the issues have definitely dragged in places, but this kind of art style makes even some of the more dull moments have a sense of life and fun to them. Plus, the panel of the giant angry cat god holding Selina up and yelling at her might be my favourite panel of any comic this week; I absolutely loved it. Catwoman is doing a lot of weirder things with this story, and this issue seems to have embraced that weirdness a little bit more, and it feels like we're moving away from telling the same kinds of stories over and over again to do something a little bit more fun. ⭐⭐⭐⭐

Ultimate Black Panther #4

Writer: Bryan Hill, Artist: Stefano Caselli, Colourist: David Curiel,
Letterer: Cory Petit

Perhaps it's because the 616 Black Panther has such a different status quo at the moment, but the Ultimate version of the character feels like the least unusual series in the Ultimate line. The smaller details are different, such as who T'Challa is married to, his nation being at war, and interpersonal relationships being set up differently, but he's still king of Wakanda, and he's still Black Panther, and compared to other titles in the 6160 universe he's much more recognisable. And that brings a certain level of comfort to the book. It definitely feels like reading a Black Panther book, with the same focus on the politics and culture of Wakanda that readers have come to expect.

This issue opens with Queen Okoye having to reassure the citizens of Wakanda that their king is safe and well, despite him having vanished weeks before. We get to see some of the strain between Okoye and Shuri as they discuss T'Challa's absence, and Ra and Konshu start to plot their next moves, even sending an assassin to try to kill the queen. Thankfully, T'Challa returns and is able to help stop the assassin, alongside Shuri. He's also brought with him his new, trusted allies, Storm and Killmonger, who he calls his most trusted friends; forming an inner circle of trust along with his wife and sister.

Things definitely feel like they've started moving now, and it seems like we're getting to understand a little more about this conflict, the places where the enemy have infiltrated, and some much needed characterisation for the main villains. There's a part of me that can't help by question if T'Challa has been duped, and if Killmonger is going to turn out to be a villain or not, but that's my experience with the character in other universes colouring my experience, as there's nothing here to really hint at that. As it is, we're set for a series that feels like it's combining super heroics with an espionage thriller, and it's a great combo. ⭐⭐⭐

Blood Hunt #2

Writer: Jed MacKay, Artist: Pepe Larraz, Colourist: Marte Gracia,
Letterer: Cory Petit

Following on from the devastating first strike from the vampires, our heroes are struggling to survive and must come together with unlikely allies in their mission to save the world from destruction. The first issue of Blood Hunt very much felt like it was designed for shock value, especially with the red band version (which must be out of canon as no other comic has shown Doctor Strange cut in half) throwing more gore and destruction onto the page. This issue, however seems to roll back on the big shocking moments, apart from a final page reveal that was kind of obvious if you were paying attention to the first issue.

The issue mainly follows Jed MacKay's favourite characters, having Tigra, Miles Morales Spidey, and Hunters Moon being the main focus of the issue as the three of them try to make their way through a vampire infested city to Doctor Strange, who they assume is going to be working on a solution. Whilst they're right, he's in a pretty poor condition after the last issue and the previous issue of Doctor Strange. Meanwhile, the Blood Coven are sent after Blade's main targets, Dracula and Brielle, who come under attack from the gang of super vamps. Thankfully, the surviving Avengers find them, and for a brief moment are able to drive the Coven off with the return of a small piece of the sun. This group also heads to Strange, where Brielle's presence seems to activate Miles, who's a sleeper vampire. This final page reveal doesn't really come as too much of a surprise as Blade and Miles had a scene together in the first issue, and Miles still being alive clearly means that something untoward has happened. Despite it not being that big of a shock, the way in which his transformation happens is drawn well enough that it still feels like a big moment.

The art on the book is great, but that's what you come to expect from Pepe Larraz. The characters look great, and you can feel the tiredness and desperation on them, you can see them getting worn down by how terrible things have become. Yet there are also some moments of triumph too, and the Avengers coming back and managing to come out on top is a great high after the first issue events. Blood Hunt still feels like it's just getting started, and if it carries on with this quality it's going to end up being a rather enjoyable, if violent little event. ⭐⭐⭐⭐

Green Lantern: War Journal #9

Writer: Phillip Kennedy Johnson, Artist: Montos, Colourist: Adriano
Lucas, Letterer: Dave Sharpe

When this series and the main Green Lantern title began I wasn't sure what to expect. I'd not really found much to like in recent runs, and the status quo for GL with the United Planets didn't excite me at all. However, I really love where things are at the moment. As Hal and the other Earth Lanterns deal with fixing the Corp, John is dealing with ancient eldritch powers tied to the origins of the Corps and the Guardians; giving readers two vastly different series that work wonderfully well together. After the last issue saw John taken away by the Radiant Dead, Lantern Shepherd uses the Book of Oa (kept in the back of Guy Gardner's closet) to try and find information that can help him save John.

This allows us to dive deep into the history of the Radiant Dead, and the Dark Star, revealing another hidden chapter of the Guardian's history. The Guardians having multiple shady secret things in their past that come back to bite the Lanterns is something that has become a bit of a joke, but I do kind of love it. It's a part of the series, it fits with who the Guardians are, and it does feel like it enriches the lore every time it's done. I'd love to see DC release a Book of Oa which is just a breakdown of every shitty thing the Guardians have ever done, but the cost would be quite high as it'd be a big book.

Whilst we dive into the history, John and the others stuck in the Dark Star dimension are having to fight against the evil forces there, and the Ellie construct is still protecting John's mother from her illness, and the Radiant Dead trying to get to her. The story is definitely a big draw for this series, and this is a great series that I expect that people will talk about whenever John Stewart gets brought up as one of his best, but another thing that makes this title a must read is the art by Montos. The issues have looked fantastic, particularly the way the Radiant Dead are drawn. This does not look like your average Green Lantern book, and its uniqueness is fantastic. ⭐⭐⭐⭐

Batman/Superman: World's Finest #27

Writer: Mark Waid, Artist: Dan Mora, Travis Mercer, Colourist:
Tamra Bonvillain, Letterer: Steve Wands

Batman/Superman: World's Finest is easily one of the best, if not the best, comic being produced by DC at the moment. It's consistently fantastic in terms of both writing and art, and the way in which Mark Waid twists the story in new and interesting directions, just doing things because they're fun and make a good story, is a genuine delight. And this issue really encapsulates that. With the various villain imps having crossed over into the real world to team up with the villains they idolise, the world is on the brink. The villains are overpowering the heroes, and Batman, Superman, and Robin are trapped in a wall, unable to help. The only people who stand a chance at turning the tide of Bat Mite and Mr Mxyzptlk, who come up with a rather unique plan.

The plan might just be my favourite thing this series has done to date, as Mxyzptlk makes use of all of the weird Golden Age crap that Jimmy Olsen went through, by drawing out all of his transformations, monster forms, and super hero identities, and making them into separate beings that form the Olsen Squad. The way in which Waid pays tribute to these classic comics, creates something new, adds to the history of the DC Universe, and makes a truly, wonderfully enjoyable comic is nothing short of phenomenal and makes him one of the best comic writers around.

It also helps that he'd backed up by an incredibly art team. The issue looks fantastic, with Mora delivering jaw dropping moments and blending modern art with classic designs in ways that make things from the 40's and 50's feel old and silly, yet manages to make them work in this setting. The issue is also joined by Travis Mercer, who draws some unique moments in the issue that evoke the look and feel of the Super Friends television series. But again, I'm not sure if anything in this issue looks as good as the Olsen Squad. With a final page that had me laughing out loud, and super excited for the next issue, I can't help but give this top marks and name it my comic of the week. ⭐⭐⭐⭐⭐

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