Thursday, 6 March 2025

Secret Six #1 - Comic Review

 


Writer: Nicole Maines, Artist: Stephen Segovia, 
Colourist: Rain Beredo, Letterer: Steve Wands

The original run of Secret Six is a comic that I've not read in a long time, but one that I'd very quickly name as one of my all time favourite series. It was so good that even after more than a decade of not having read it I'm still remembering it fondly (which reminds me I should pick up the swanky omnibus at some point); as such, and book that's going to carry that title on is going to have some big shoes to fill. When this new volume was announced the line-up was pretty interesting, featuring some characters who's been on the team before, Black Alice, Catman, and Deadshot, alongside three newbies, Superman (Jon Kent), Dreamer, and Gossamer. The returning characters are some great picks, and I think both Deadshot and Catman feel like must haves for the Secret Six, and the new trio are bringing some interesting baggage with them following the events of Absolute Power.

And Absolute Power is a big influence on this new series, and out of all of the titles launched since that event this one feels like one of the most direct follow-on's. At the end of Absolute Power Amanda Waller was put into Belle Reve prison, her memories of all of the super heroes secrets wiped from her mind thanks to Dreamer. It's here that our story begins, with Jon Kent helping to detain Waller's formerly mind controlled Bizarro II, who's in the process of escaping the prison. It shows that despite the sense of victory that came in Absolute Power there's still a lot to be cleaned up, and a lot of problems remaining. 

This is only highlighted when Jon goes to see his boyfriend Jay, who perhaps lost the most during Absolute Power. Thanks to Waller's machinations Jay's nation was destroyed, and his mother was murdered. As such it's not hard to see why he still holds a lot of trauma, and why he's especially angry for those responsible. Unfortunately, one of those people is Nia, the hero Dreamer, a good friend of Jon's who was blackmailed into working with Waller. Despite saving Jon more than once during the event, and even giving up her life, Jay blames her as much as Waller; which leads to some uncomfortable moments when she appears on their doorstep to tell them that Waller has gone missing. Thus begins their mission to get into Belle Reve to get some answers; a mission that will lead to them being forced to work alongside a trio of criminals.

If you haven't read Absolute Power the first issue of Secret Six is throwing a lot of new information at you, however, Nicole Maines manages to deliver it in very concise, easy to understand pieces throughout the book. We're slowly given what we need as it becomes needed, such as starting with Jon and learning about Waller's actions, before moving on to learn about what happened to Jay. A lot of this is delivered through some handy narration boxes, delivered by Jon, but a lot of it comes up quite naturally in the dialogue; especially when Jon, Nia, and Jay are together. It would have been very easy to bog these moments down in exposition, or to have them become angsty screaming matches, but Maines manages to walk the line between expository and realistic well, and I actually really like the interpersonal moments, even if I think Jay is being too much of a dick to Nia.



This trip relationship is definitely the heart of the book, and it's been interesting to see how it's evolved from the comics leading up to Absolute Power to now. If you've read all of those you can't help but feel bad for Nia, who was forced into an impossible situation and did everything she could to set it right. But, you can absolutely understand why Jay resents her. Poor Jon is the one stuck in the middle, trying to make it work, wanting to support his boyfriend and friend both, which can't be easy for him when he clearly sees Jay's anger as misplaced. I'd seen people talking about this trio several months ago, talking about how it seemed to them that they were being set up to become a polyamorous relationship, and whilst I didn't see that myself it's certainly an interesting dynamic that this could be building towards. I'd be very interested to see this kind of relationship explored more in comics (previous Secret Six titles did this too), and one that starts off more antagonistic would be a neat twist on that. 

The art on the book is really well done, and it was one of the first things that jumped out at me when it was announced alongside Stephen Segovia's cover. I love the designs for the characters, especially Jon and Catman. Jon has gone through a lot of different looks over recent years, which feels in part a response to DC editorial not really knowing what to do with the character. His look here is very different, darker in colour, slightly armoured looking without it being some kind of mech suit, and it just kind of works for me, especially with the darker tone this title's going for. Catman I big for his new cape, particularly the big collar he has. It gives him some bulk, and changes up his shape a little so that he doesn't just look like 'Batman but a cat'. He's got his own thing going on here and I really like it. Rain Beredo's colours also go a long way towards making me really click with the art style too, as I like the moody edge it has, and the shades that have been chosen for the colours.

This series was going to have to be really good for me to consider it worthy of using the title Secret Six, and whilst this is only the first issue I was more than just pleased with what we got, I was massively impressed. I ended the issue ready to jump into the next one, it hooked me in just the right way. I think Nicole Maines has done a terrific job here, and anyone who might try to claim that she's working in comics purely because she played Dreamer on television is going to have to shut up after this issue, as it showcases that she's a superb up and coming comic book writer who's sure to have a fantastic career.



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Running on Karma - Blu-ray Review

 


Whilst I'm no expert on East Asian cinema I've certainly seen a lot more than the average person, and some of my favourite films are ones a lot of people wouldn't have even heard of. As such, when I received a copy of Running on Karma I was surprised to learn that I'd never actually watched a Johnnie To film before, and that this would be my first. In fact, I'd not seen any films produced by the Milkyway Image production company, and was eager to correct that.

Made in 2003, Running on Karma tells the story of Big (Andy Lau), a former Buddhist monk turned bodybuilder and stripper who we meet in the middle of a police raid in Hong Kong, where he's arrested for indecent exposure and being an illegal immigrant. What makes Big even more unusual (if he wasn't unique enough already) is the fact that he has the ability to look at people and see visions of their past lives, granting him the ability to know what's going to happen to them in this life based upon their karma. Big attempts to escape the police raid, literally fleeing through the streets naked, pursued by undercover cop Lee Fung-yee (Cecilia Cheung).

Whilst the raid is happening homicide police are responding to a brutal murder nearby, and discover a killer able to contort himself into tiny spaces. The killer escapes, and the two police chances literally run into each other in the street. As Big is caught and arrested he sees a vision of Lee Fung-yee as a Japanese solider in a former life and understands that it means she may soon die. Despite the authorities trying to deport him, Big sticks around to try and help Lee and prevent her death after seeing her innate kindness.



Running on Karma is something of an odd film, one that I struggled to come to a decision on. On the one hand it's presented as somewhat comedic. Andy Lau is in a muscle suit that makes him look odd and out of proportion half the time, though the suit looks incredibly good at times too. There's also silly scenes, such as when Big has to follow the cops on a bike, but because he's never driven one before he's crashing and trashing the bike constantly. The film also has some supernatural elements, such as Big being able to see karma, but also there's a killer who can get through impossible holes and bends like he's Tooms from The X-Files, and a burglar who crawls on walls like an insect. This gives the film a somewhat ridiculous tone, but it crashes up against moments like police brutality, people being brutally killed, mutilation, and trauma. These tones often change from scene to scene, giving the viewer tonal whiplash more than once across the runtime. 

A film that's trying to mix together Buddhist beliefs, super hero action, comedy, crime thriller, romance, and martial arts might seem so unwieldy that you might think that there's little to keep you engaged, but the central relationship between its two stars was engaging enough that it stopped things from being so boring or silly that I stayed engaged until the end. The two actors have decent chemistry, and it's easy to see how Andy Lau became such a big star of Hong Kong cinema. Even when in a big muscle suit and playing the fool he has charisma that comes through and showcases why he's a leading me. He's charming and you can't help but come to care for Big, despite how silly things may feel.

Despite the silliness, the film takes a pretty sharp turn towards the end, and becomes a very dark affair. Whilst it still can't play things 'normal' and adds some elements that make the ending feel weird and otherworldly, it still manages to have an emotionally impactful conclusion that makes this odd journey feel worthwhile. That being said, the ending is odd, and I can absolutely see it leaving a lot of folks unsatisfied. I think that Running on Karma is a film that people will like certain aspects of, but that most people will come away disliking certain elements as it's a film that seems to be trying the 'throw everything in and see what works' approach.



The new Blu-ray from Eureka Entertainment comes with a 1080p HD presentation of the movie that looks very crisp and sharp. There are a lot of films that when they make the leap to HD don't quite hold up as much as you can see the seams as it were, and I half expected that with Running on Karma, especially when it came to the muscle suit. I thought that it would look overly fake in HD, but it actually looks really good in high quality, and doesn't prove as distracting as I was expecting. There's also two audio commentaries for the film that goes into the behind the scenes, the careers of the people both in front and behind the camera, and the way the movie was received and impacted Hong Kong cinema. They're both very informative, and even if you didn't quite gel with the movie itself the commentaries are definitely worth a watch to learn a bit more about the movie.

Alongside the film and the commentary tracks the disc includes a theatrical trailer, and an archive behind the scenes featurette that includes interviews with cast and crew. There's also a new featurette interview with Gary Bettinson, the editor-in-chief of Asia Cinema journal that does into more depth on the film, its stars, and even some of the history of the Milkyway Production company and the people involved with it. Overall, the extras provide a really nice history and background on the film, and those that enjoy learning about cinema will certainly enjoy what's on offer here. 

Running on Karma might be a bit of a weird film, and it's probably not going to be to everyone's tastes, but it makes for some interesting viewing, and the new Masters of Cinema version not only offers a really great quality version of the film, but some cool extra's for film fans, and so is definitely worth looking at for fans of Hong Kong cinema.


Running on Karma is available no Blu-ray now from Eureka Entertainment,



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Wednesday, 5 March 2025

Die Alone - Film Review

 


The end of the world has always been a ripe premise for fiction, whether that's ancient fairy tales like Ragnarök or the Rapture, or modern stories like The Last of Us or the George A. Romero zombie films, people have always wanted to imagine a scenario of what could come after civilisation as we know it falls. Die Alone is the latest entry in this genre, and whilst you can look at all of it's individual parts and see similar ideas in other places, as a whole it's one of the more interesting and engaging post-apocalypse pieces I've seen in many years.

The film begins with our lead character, Ethan (Douglas Smith) standing on a hilltop, watching the sunset, before putting a gun to his head and pulling the trigger. From here we're thrown backwards in time to see what led him to this point, entering the story as Ethan wakes up in a crashed car, him memory addled, and his girlfriend Emma (Kimberly-Sue Murray) missing. Ethan can remember Emma, can remember that a strange virus was been sweeping across the world, but has little memory of what led him to this moment, presumably thanks to the car crash he's been through.

Searching for Emma, Ethan comes across the hardened survivor Mae (Carrie-Anne Moss), a woman more than capable of defending herself and others in the new world that Ethan finds himself in. Able to take down hostile people, and with her own isolated home that has its own food garden, fresh water, and the ability to generate electricity, she takes Ethan in and agrees to help him try to find Emma. Unfortunately, it's not just hostile humans that Ethan and Mae have to contend with, as the virus has turned the infected into plant-like zombies.



I'm sure you've just read the words plant-like zombies and your mind has likely gone to make comparisons to The Last of Us, which had a similar concept of people being infected with a variation of the cordyceps fungus; Die Alone isn't just copying that, however, as it's zombies look and feel a lot different. The effects work on the infected in this film has to be one of the first things I talk about as I need to heap praise on it. Whilst we don't see huge numbers of these creatures, those we do see have some of the more interesting and creative designs I've seen on the cinema screen. Some of the infected are covered in moss, some have grass and leaves growing out of them, others seem to almost be transforming into trees, with literal branches coming out of them. It's such a fun and unique feeling design that I always wanted to see more of them, and my main criticism of the movie is that it didn't include more of these monsters; though I'm not going to tell the creators how they should have made their movie.

Die Alone isn't all about zombies, and most of the film doesn't even feature them to be honest. The heart of Die Alone is Ethan's story and his quest to find the woman that he loves. Douglas Smith does a good job at portraying the desperation that Ethan feels in this situation, of wanting desperately to be with Emma in a world that's gone to hell. You get the sense that he's suffering more from not being with her than from his memory loss or broken arm, and it humanises him nicely. Anyone who has a partner they love will be able to connect with Ethan, and can understand how it would drive you crazy to be separated from them, especially in a situation like this.

Carrie-Anne Moss's Mae is a perfect counterpoint to Ethan, and absolutely shines as the joint lead. Initially somewhat intimidating, Mae is clearly well equipped to survive in a world where you've always got to be on guard, and there are moments where she's quite frightening. However, it's also clear that there's a lot of vulnerability to her that shines through in some of the more intimate moments of the film. The two of them fit together nicely as Ethan seems like the sort of person who needs someone to take care of him, and Mae seems so starved of companionship that despite her stony exterior appears to quickly fall into that protector role for the benefit of companionship and company that she's been without.



The film poster also features Frank Grillo quite prominently, and his name is up there with Carrie-Anne Moss and Douglas Smith, but if you come to Die Alone expecting to see a lot of him you might be a bit disappointed, as Grillo is in relatively little of the film. By the time he appeared on screen I'd honestly forgot he was supposed to be in the movie. That being said, whilst his screentime is short he has a big presence and makes the most of his time, and gets to be in some of the more memorable moments of the story.

There's more I'd like to say about Die Alone, but if I did it would likely spoil the viewing experience in some small and significant ways, so all I will say is that the film's story does some stuff that I really loved, and by the time it comes to a close I honestly wanted to go back and watch the whole thing again to see how I'd feel seeing it a second time. And with the film sitting at a very well paced 90 minutes it's not something I'd be against doing as it's not a long film, but does use it's time really well. 

Die Alone might not get much attention thanks to big budget post-apocalypse film and TV, but it's a film that definitely deserves your attention. Whether it's the brilliant performance of Carrie-Anne Moss (who definitely needs to be cast in roles like this again), the intriguing story, or the fantastic effects work on the infected, Die Alone has a ton of positives going for it. Fans of the horror and post-apocalypse genres should definitely give it a watch.


Die Alone will be available on home entertainment from 10th March 2025.



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Tuesday, 4 March 2025

Green Lantern #20 - Comic Review

 



Writer: Jeremy Adams, Artist: Jack Herbert, 
Colourist: Romulo Fajardo Jr., Letterer: Dave Sharpe

With the launch of Green Lantern Corps things have changed for the main Green Lantern title as Hal's adventures now not only tie into what's happening in the other book, but he's sharing page space with Kyle Rayner as the entire Corps become embroiled in a galaxy spanning adventure. As a long time Green Lantern fan I like this kind of set-up more, and I think we've reached the point where having a singular GL headline a lone book just feels somewhat too small for the universe that has been built up around them. 

Following on from the events of the Fractured Spectrum special, this issue sees Hal dealing with an alien whose connected to the powers of the Red Lanterns, whilst Kyle and his team search for a piece of Source Energy in order to stop the Sorrow Lantern building his own Central Power Battery. Each of these stories takes up a fairly evenly divided portion of the book, though Hal isn't around for a good portion of his events as we spend several pages following Erastus, an alien blacksmith who eventually taps into the power of Rage. Erastus is a decent man, one who works hard, who takes great pride in his skill, but whose work is stolen by the local boss, who refuses to pay Erastus as he agreed to. We also see that Erastus's life partner cares little for him, going out partying when he comes home from work, putting him down, and even going off to sleep with other men. 

After spending this time with Erastus we not only understand why he's driven to anger, but I think that most people would sympathise with him. It would have been easy to have started with Hal coming to Alteon-X to respond to the carnage that Erastus causes, being introduced to him at the same time Hal is, but that would have presented Erastus as little more than an angry monster; a faceless foe for Hal to overcome. By spending this time with him we see the person under the anger, we understand how he came to this point, and it makes you want to see him have a decent outcome rather than him just being stomped by the hero. It's one of the things that I think the original introduction of the Red Lanterns lacked. We would eventually find out more about them and would learn to see them as victims in need of help rather than monsters, such as Bleez being a victim of torture and rape, or the frankly heart breaking origin story for Dex-starr, but these latter provided origin stories always struck me as the writers going back and justifying why you should care for these characters. Here, Adams gives us that reason up front and it makes it much better. 



When Hal enters the story we know Erastus, and as such I wanted Hal to be able to help him the same way that Sinestro was able to help the woman who'd tapped into the emotional spectrum in the first issue of Green Lantern Corps. But Erastus proves to be a quite formidable opponent, and this situation remains unsolved by the end of the issue, meaning that it's likely going to be carried across into the next one. What we do get is entertaining though, and the fight between him and Hal is decent, with Erastus using energy construct versions of his blacksmith hammers, whilst Hal does what he can to wear him down. It's pretty decent, and it's nice to see Hal in a situation where he has to think a little tactically, and where brute force isn't going to be the way out for him.

Whilst all of this is going on Kyle is continuing his mission to find Source Energy, a task that has seen him recruit Conner Kent, and the time travelling thief Odyssey onto a team with him. Their mission has brought them to the Source Wall, where they discover that one of the giant bodies that's part of the wall is actually a carefully hidden temple filled with traps that guard their prize. The fact that Kyle immediately makes the comparison to Indiana Jones (even giving himself the hat and whip) actually made it a bit more enjoyable to me as the book was able to lean into the tropes a little more, and the characters had some fun with the situation. 

This was a decent issue, one that I enjoyed a lot more than the earlier issues of the run where Hal was stuck on Earth. Having the main book be part of a larger story that includes the other GL's is definitely more my thing. I'm still not completely sure about the new villain, the Sorrow Lantern, but I'm definitely interested in learning more and coming to a definitive decision on if I like it or not. I am still quite amused that Hal Jordan cuckolded a man so hard he became a super powered space villain though, it's a hell of an origin story.



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Monday, 3 March 2025

Hellhunters #3 - Comic Review

 


Writer: Phillip Kennedy Johnson, Artist: Adam Gorham, 
Colourist: Frank Martin, Letterer: Travis Lanham

The first two issues of Hellhunters have been a very different kind of read than a lot of other current Marvel work. At a time where it feels like the main line is either pushing for MCU synergy, or moving from one big crossover event to the next it's nice to get a book that draws upon existing Marvel lore but is able to do it's own thing in it's own little corner. The fact that it's also a horror book set during World War Two also sets it aside as something a little special. However, the first two issues kind of didn't give readers much more than this, keeping a lot of details back and giving readers cool vibes and awesome set pieces to draw you in. 

Issue three, by contrast, puts a lot of its cards on the table and gives readers some big revelations. For example, this issue we finally get a name for the monsters that our mishmash group of heroes are up against; the Unhallowed. We find out where these creatures came from, and what their plan is, as well as getting another named monster in the form of the new foe Baraphiel, a huge kaiju-sized monster that can swallow people whole. The issue balances lore drops, action, and character development well; particularly with the new team member, Bucky Barnes.

It was revealed that Bucky would be part of Hellhunters when the series was teased, but after the first two issues it was almost easy to forget that he was going to be there. The book felt like the kind of thing that could be going on during the time, sure, but it was different enough from the existing Captain America and Bucky WWII stuff that it was hard to see where the two could mesh together. This issue brings the Hellhunters to a US camp, where they try to give the commander a report that will convince him to lend them more support. They're after Captain America if they can have him, but convincing a military general that monsters from myth are taking over the war isn't easy even in the Marvel universe. The team are on their own, and may even lose Nick Fury and Peggy Carter in a week or two too, meaning that they've got little time to finish their mission.



Whilst the people in charge talk strategy, Romero runs across Bucky Barnes, the young teen 'sidekick' of Captain America. Romero, having thought that Bucky was just a publicity stunt, is shocked to learn that he's an actual soldier. I appreciate how the issue really hammers home how messed up it was that Bucky was at war, how he was literally a child soldier, and how it really messed him up even before he became the Winter Soldier. When we first see Bucky here he's crying because Dum Dum Dugan took away his collection of ear trophies he'd taken from dead Nazis. It's incredibly jarring to see this teen crying over his kill trophies having been taken off him that it makes Bucky being there so uncomfortable, to the point where you even have to question what the hell Cap was thinking having Bucky along at all.

That being said, Bucky actually brings some great energy to the team when he finally convinces them to bring him along. He's full of personality, cracking jokes, and trying to bum smokes off Fury, it marks him as very different from the older, more world weary members of the team. Plus, the full page splash of Ghost Rider Romero jumping his Harley whilst Bucky rides on the back, singing, and shooting his gun with a huge smile on his face is such a weird but wonderful moment that it makes you put your objections to Bucky being there aside so that you can just enjoy the silliness. 

Gorham and Martin do a great job with the art this issue, and the just mentioned splash page is one of the best looking parts of the book, and makes for such a striking image that if Marvel don't make it into a poster they're missing a trick. But, this isn't the only good thing about the book, as the art team fill it with amazing moments. The opening page, showing us the Unhallowed, is both beautiful, and evokes the spirit of the supernatural winter that they bring in their wake thanks to the blues and purples that fill the page with ghostly light. The violence and gore are also incredibly well done, with most of the more disgusting moments being implied through clever visuals, rather than turning the book into an off putting splatter-fest. 

Hellhunters has reached its halfway point, and it's a bittersweet thing as it feels like the series has really found it's feet here with the introduction of Bucky. It's sad that there's only going to be a couple more issues, but I can easily see this series being held up as one of the best pieces of both Marvel horror, and it's World War 2 catalogue. 



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Saturday, 1 March 2025

Justice League Unlimited #4 - Comic Review

 


Writer: Mark Waid, Artist: Dan Mora, 
Colourist: Tamara Bonvillain, Letterer: Ariana Maher

The best thing about Justice League Unlimited is the huge roster, where Waid is able to use pretty much any hero in the DC Universe; but this issue goes one step further and shows us that no one is safe of being drawn into the action as even a civilian has to step up and help save the world.

In the last issue the terrorist group Inferno lived up to their name by setting the Amazon rainforest on fire, an action that spells doom to the entire world with the global ramifications that its destruction would bring. It also appeared to kill Swamp Thing, taking a powerful force away from our heroes. To help them combat this threat Mr Terrific has to try and find someone else who can do what Swamp Thing can do, and so reaches out to Tefé Holland, the daughter of the first Swamp Thing, Alec Holland, to help bring the rainforest back to life.

It's a pretty action packed issue, one that focuses a lot on the conflict in the amazon, and as such much of what we see has our heroes surrounded by thick smoke and flames, and so whilst there's nothing inherently bad looking about the issue (it is Dan Mora after all) it's not the most engaging looking issue of the series for me. This was only compounded for me with the use of The Green, the psychedelic plant realm that gives Tefé her powers. Things get a bit weird in places, and whilst I didn't hate it it wasn't stuff that I found particularly exciting. 

Outside of the main story, however, was a subplot that was much more my thing. In previous issues we saw that Martian Manhunter left the League after losing control of himself on a mission, something that happened because a number of his psychic powers have been lost since the events of Absolute Power. This issue has Batman find J'onn, in the desert of Egypt. Those expecting Bruce to give J'onn a stern talking to, or to order him to come back to the League will be disappointed, as instead he connects with J'onn on a personal level, understanding that the loss of his powers would be like the loss of a sense, and even says out loud something that I've held as my personal opinion for years, that J'onn is the heart and soul of the League. 



It's a beautiful moment, one that's nicely placed in the middle of the issue to break up the chaos that's going on on the other side of the globe, and helps to give the reader a small break from the frenetic energy that that other story has. When the series started I was unsure how Waid was going to juggle so many different characters and large casts like this, but this issue was a great example of how he does that. Even when things are chaotic, with dozens of heroes, the whole world on the line, and bits that weren't quite my taste, he can still inject these wonderful, small character focused scenes to balance it out and make it a great book.

As mentioned earlier, I wasn't keen on all of the art in the issue, but that's not due to the quality of it. Mora and Bonvillain do an amazing job at bringing everything to life, it's just that I found the scenes in the fire to be a little oppressive (which is probably what they were going for), and I've never been too keen on stuff set in The Green. It's personal taste rather than a critique of the art itself, which is absolutely beautiful.

The slowly unfolding story of Inferno feels like it's reached a key moment here, and whilst not a huge amount happens with them it feels like the League has proven to them that they can stop Inferno, and that this is going to have some repercussions to come. The issue also ends with another reminder of their spy within the League, which we've known about for a while now, and it seems like Waid has a plan for the characters that's yet to be revealed.



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