Ahoy-hoy. Surely by now every man and his dog's given DEADPOOL a good old eyeball? Wait, you haven't? What is wrong with you! Are you as crazy in the coconut as our eponymous anti-hero? Or maybe you look like 'two avocados had violent sex' so don't like to go out in public? In any case, there is something seriously wrong with you.
From the frankly brilliant marketing campaign it was apparent everyone involved knew what they were doing. Deadpool the film and Deadpool the character know exactly what they are and run with it until their legs drop off (but then grow back). The trailers and word-of-mouth may have convinced you this is a film by and for 13 year old boys, but I say to you, don't listen to that easy and cheap insult/compliment! True, there're plenty of boobs, guns and swears but it's important to note that there is also an actual story here.
After mercenary Wade Wilson finds out he's riddled with cancer, he decides the most heroic thing to do would be to save his fiancée from all the grief and pain of dealing with it, by leaving her. Cue a trip to an experimental "superhero camp" and a few revelations about the place, and before you know it Wade Wilson's reborn as the fourth-wall breaking anti-hero who just won't shut up.
To say too much more
would spoil things, not because there are any particular plot twists
but rather, this is a film whose exuberance you're best experiencing
for yourself. Everything is delivered with exceptional style and wit,
so much so that you might be too busy admiring how nuts a particular
fight scene is you miss a few one-liners—I recently watched it for
the second time and caught a few jokes and visual gags I missed the
first time.
It's true that the
copious trailers and excellent marketing have given a fair bit of the
film away, and part of me wishes I could go back in time and pay very
little attention to these, so if you can avoid them I'd recommend it.
Save as many of the jokes as possible for your first viewing. If
you're not keen on bum and willy jokes, maybe this film's not for
you, but there's undeniably a sense of demented charm in immersing
yourself in a world populated by a foul-mouthed and excessively
violent anti-hero. There are insults and deaths in this film I
guarantee you've never heard or seen before. Probably. I don't know what
you've watched, do I? Give me a break.
Are the villains a bit boring? Yes. Do some jokes miss the mark? A few. Does it get as irritating as people tend to find Deadpool himself? Absolutely not.
I think the best recommendation I could give is that my mum really enjoyed it. The second-best recommendation I could give is that DEADPOOL is smart at playing dumb. It also has the BEST superhero rap song I've heard in a long time.
THREE THUMBS UP!
And to end, here's the second-best superhero rap song I've ever heard:
I like to read words. Lots and lots of them, one after the other. It's tremendous fun and I can't recommend it highly enough. However, sometimes words just don't cut it, and what I really like to do is look at pictures as well as words. Especially, comics. I like superhero comics, but they don't always offer anything more than a popcorn fill ie a tasty but ultimately empty experience. I like horror comics, of course, but sometimes - as with books - I like to read something that offers more. More horror, more themes, more intelligence.
I like a lot of things, clearly. One thing I truly admire, though, is literature (whether it's a book or comic) that has the power to actually affect me. Ladies and gentleman, I present to you UZUMAKI:
Written and illustrated by Junji Ito and first published in 1998, UZUMAKI tells the story of a small Japanese coastal town that gets slowly consumed by spirals. Things start insidiously, as Kirie (she's the girl in the foreground, and is ostensibly the main character) stumbles across her boyfriend's dad staring intently at a snail shell. It then soon becomes apparent the man is obsessed with spirals, and ultimately seeks to become one.
This is the just the start of the horrors that affect the town, though. UZUMAKI is spread over twenty chapters, all of which flow chronologically from one another and offer references and callbacks to previous events. The above image, of a boy turning into a snail, is perhaps the most overtly grotesque occurrence, yet offers the best example of how Ito approaches the story.
Kirie, or her boyfriend Shuichi, typically uncover or notice something peculiar (although occasionally someone else will) and then investigate or at least follow events. They are often as active in the weirdness as they are passive (or rather, helpless) observers. For instance, the boy who turns into the snail can't be helped. It appears from the off he's doomed, as he only comes to school when it's raining, and is really slow. When a spiral is discovered on his back that then starts to grow into a shell, Kirie can't help him. No one can. All that's left to do is watch as the inevitable takes form. But perhaps the true horror is what happens to those around him, and how the snail curse spreads...
This happens again and again to people in the town, with something horrific and spiral-centric deforming and twisting their bodies and minds. Some become snail people, others turn into deformed fleshy 'corkscrews', or merge with other people in twisted knots. Hair comes alive and a dead boy springs to life. Mosquitoes lead to a horrific murder spree. It's almost passé to say "Oh, well it's Japanese so of course it's mental" but honestly, nothing can prepare you for the places Ito takes his story. It's utterly, utterly deranged but shot through with really warped black humour, even slapstick.
There's a Lynchian vibe coursing through the story, too, as everyone in the town becomes aware of the horrors and reacts accordingly, yet often seem to just...ignore them. I'd also compare it to the work of Bentley Little, as the mundane is given a subtle but increasingly bizarre spin. It would have been interesting to see Ito explore characters taking a more active role for a longer amount of time; Kirie and Shuichi effectively give up a little too often, and other characters who show initiative either give up too, or in some way succumb to the spiral.
However, the plus side (if you can call it that) to Ito doing this is that it adds to the general helplessness of the town. Believe me, UZUMAKI is bleak. It becomes cloying, restrictive almost. A shroud of despair that rarely lifts. It isn't an easy read at times, but I think this adds to the power of the story. It's genuinely horrific, the artwork is frequently disturbing and the events become more and more unhinged as things build (or rather swirl) towards a climax that hints at cosmic horror as much as chaos theory and the infinite pattern of nature. It reminds me in some ways of Darren Aronofsky's debut film Pi (coincidentally also from 1998), as that follows a man who uncovers the secret number/pattern behind the the world, and the effect of this knowledge on his sanity.
In fact, the more UZUMAKI progresses, the more you start to suspect that you're either not going to get a straight answer to what's happening, or you will but it can't ever hope to adequately match up to everything that's come before. I feel that we get exactly the ending we deserve, with any other logical (as far as logic works in the universe of UZUMAKI) ending risking frustration.
UZUMAKI was turned into a film in 2000, which I haven't had the chance to watch. I understand it's more concerned with the surreal images and events of the story, rather than the psychological aspects, which is fine but it made me wonder. The more I read of UZUMAKI, the more I became convinced this would work remarkably well as a TV series. Recurring characters could be fleshed out and the effects of the spiral upon the town could be explored through the machinations of the town's elders/council. Is someone covering things up or putting a spin on events to convince the population that the weirdness has a "rational" explanation? How does the outside world react to the events in the town, particularly towards the end when the horrors become irrefutable...?
UZUMAKI profoundly affected me, there's no doubt about that. It's the first thing I've read in ages that actually unnerved me. I think a great deal of the unease comes from the fact Ito isn't afraid to kill or harm apparently important characters. No one is safe. There's often a sense of danger missing from mainstream horror, which is probably why I prefer to read (and write) so-called 'pulp' fiction. The gloves are off in those stories, more often than typical literature. Maybe a bit of blanket statement, but there you go.
So in closing, I highly recommend UZUMAKI. It can be found and read online, if you so desire. But be warned: it's less 'going down the rabbit hole' and more 'circling the drain'.
Which is better? For me, that's like choosing between butter and margarine. Both are good on bread and do, essentially, the same thing. At times, sometimes they even taste the same. I like to collect Justice League of America comics, but my favourite comic character is Ghost Rider. So, apples and bananas.
However, I am in confusion [I am in confusion?! Isn't English your first language?--Ed] as to who I think makes better films: MARVEL. If we're talking live action. Those guys have got their shit together behind the scenes, as evidenced by the run-up to AVENGERS. And AVENGERS itself, of course. Plus, MAN-THING remains one of my favourite comic book films. Seriously. Let all those who know fear burn at the touch of the supposed Swamp Thing rip-off. Up yours; he's a THING who lives in a SWAMP. There the similarities end. [Stop digressing!--Ed] ANYWAY...
DC, however...I just don't think their live action films are very good. I like The Dark Knight, but don't like Batman Begins, and wasn't too taken on The Dark Knight Rises. The early Superman films were good, but very much a product of their time. The Tim Burton Batman films were good (although the first one is also something of a product of its time - thanks, Prince) but the other Batman films...we don't need to go there. Why don't I like them? I don't think they do the source material justice. I don't think they're disrespectful to the characters (except for YOU, New Version of Bane) but, compared to Marvel's [recent] output, they're somewhat...lacking. Can the new MAN OF STEEL rectify this? We'll see.
HOWEVER. DC always pull it out of the bag when they do animated films. I have not seen a shit one yet. Some are better than others, but they're all respectful of the source material, if not quite faithful adaptions. Recently, I was flixing through Netflix when I stumbled across SUPERMAN/SHAZAM: THE RETURN OF BLACK ADAM. I've always been intrigued by the character of Captain Marvel--a kid who turns into a superpowered man when he says 'Shazam!'--so thought I'd give it a whirl. Turns out, it was actually the 'first part' of a 'DC SHOWCASE', which I have never heard of before.
SUPERMAN/SHAZAM is a lot of fun, being as it is an extended fight scene between these two and Black Adam/the origin of Captain Marvel. 13 year old Billy Batson is a sweet, good-natured kid who believes "Good will be followed by good" ie be nice to people, and they'll be nice to you. Black Adam is some sort of pointed-eared Communist wizard who wants to murder him, before Billy can gain the power of Shazam. Superman has a pop at Black Adam, but because Supes is allergic to magic, he doesn't fare too well. Billy is rescued by a magic train (really) and becomes Captain Marvel. He fights Black Adam. The good guys win (but not in a way I quite expected). This segment, at around 20/25 minutes, feels rushed to some extent, but enjoyable.
Next is THE SPECTRE, which I did not expect at all; weirdly fitting since, in the comics, he always seems to appear from nowhere to dispense vengeance. This 'Showcase' is written by horror scribe Steve Niles, and is a suitably violent/horrific introduction to The Spectre (and his human alter ego of cop Jim Corrigan) as The Spectre dispenses vengeance upon murderers via animatronic monsters, a brilliant CHRISTINE homage, and a mini-whirlwind of money that rips someone to shreds. For some reason, this segment has a 'grindhouse' filter on it and a wakka-wakka 70s style soundtrack. This bit's as dark as the Superman one is light, and ultimately as vacuous. That's maybe a little harsh. It's fast food for the eyeballs.
Hello, GREEN ARROW! Boy, DC really want you to stand on your own two feet, don't they? The version of GA in SMALLVILLE was an enjoyable take on the character, though the JUSTICE LEAGUE cartoon version has always been closer to the comic character. I enjoy the new ARROW tv show, even though the creators of that have basically turned GA into Batman [I said, stop digressing!--Ed]. This animated short falls between SUPERMAN and SPECTRE in terms of tone - Green Arrow is full of quips and heroics, but there's a fair bit of violence (people getting shot, mainly). This is the 'Showcase' that I think actually showcases the titular character the best - we find out he's a member of the JLA, that he is willing to put his life before that of a young girl's, that he has some interesting villains to face, and that he's in love (small cameo from Black Canary at the end!). More please.
JONAH HEX finishes the Showcase off with a snappy ten minute piece of poetic justice. Penned by noted genre writer Joe R. Lansdale, this is a suitably violent/quip-leaden slice of pulp Western goodness. Jonah is on the hunt for an outlaw, and his travels bring him to a saloon populated by that hotsy totsy above. She's running a murder racket, and it's up to Jonah to stop her and her goons. This is the shortest segment, but it gets the job done. I think I preferred the tone of this piece the most, as it was dark without being excessively violent, and had some decent one-liners in it. Would it work as a self-contained show? I don't think so, unless Hex was put up against a really interesting nemesis and/or a lot of it was penned by Lansdale (and he was allowed to go balls-out).
So: MARVEL VS DC. What would be the outcome? Why, the AMALGAM COMICS, of course!
I'm doing some hardcore spring cleaning, so I'm selling off over 70 comics (!!!!!). I have a life, so I shan't be listing them all at once, so for now if you fancy some graphic novel horror, check out:
That's all I drink nowdays. I think been (as in, used to be) the manager of a café instilled a secret addicition to a lovely cup o' joe, in me. I don't think it helps that I have a little ritual in which I always have a coffee on the go when I'm writing. But, they do say coffee stops cancer. But ruins everything else in your body. Like your teeth. I remember watching Wife Swap, and these nutters drank coffee through a straw. Absolutely mental.
Recently read The Killing Joke, the 80's Batman graphic novel in which The Joker famously cripples Barbara Gordon (don't worry, that's not a spoiler; it happens pretty quickly). It's not exactly the mind-blowing masterpiece everyone seems to think it is, although that might only be because there have been better Batman/Joker stories since. Taken within context, at the time it was released, I can see it have been a shocking idea.
I like Alan Moore's writing, although he tends to overegg the pudding a bit, especially with dialogue. The Joker is presented incredibly well, but Batman's a bit too "grrr, you'll get yours, you scumbag!". Oh, and the origin of Joker is a bit....hhmmmmm. But it might not be real. Ahhhh! Clever bastard.
SO there I was last week, checking out my local bargain basement bookstore, looking for cool STUFF, when all-of-a-sudden I spotted a comic bin. 2 packs for 99p! it said. I had a good old rummage and lookee here:
I've never, ever heard of Continuity Comics, but this cover suckered me in. It features their Superman rip-off, Megalith, battling tentacled horrors. Unfortunately, the actual story seems to be a confusing mess, involving Megalith battling his own mind to gain understanding of his powers. Or something.
I suspect CC struggled in the marketplace, given the slightly desperate tone of their advertisements. What on Earth do you mean by that, Rev Austin? Allow me to show you:
And given the other characters on offer, I'm not surprised. I mean, how could anyone have thought a hideously 90's cyborg rock star called CYBER RAD would be a good idea?!
Answer: business people living in the 90's! "Cyborgs are cool. Rock music is cool. Let's combine them, into yet another hopelessly confusing comic, and call it CYBER RAD!"
And if these adverts for their other characters are anything to go by, 'Confusing Comics' really would have been a more appropriate moniker:
Oooo, hello soldier!
I also don't think growing up reading Marshall Law really helped me (and others, I suspect) to take these kinds of characters seriously. But then I discovered this in one of the packs. Yep, he goes where no ordinary rabbit would dare:
And since the comic came before the cartoon, CC evidently hoped for a repeat performance from some of their other characters. Never happened.
But now's it time for the MEAT. Back in the mid-90's, Marvel and DC had the completely insane brainwave of combining their characters. Quite literally. Amalgam Comics was the result, with a variety of 'one-shot' issues featuring these 'new' heroes and villains. Amalgam also did a rather clever thing of mentioning, in the comics, backstories and other characters that were never actually printed, thereby giving the illusion of a whole seperate comic universe. In one pack of comics I picked up, I had THESE:
Dr. StrangeFate is rubbish, as a character, but the story he's involved with is really ace. There's a superhero called Access, and he and the Doc are the only people who know that the Amalagam universe was created by merging two other ones. The doc sends a posse of heroes after Access to sto him, and that's pretty much it. Dark Claw is much cooler, and not just because it mixes Batman with Wolverine. Oh alright, that's exactly why it's so cool. Dark Claw fights The Hyena (a mix of The Joker and Sabretooth) and...that's pretty much it as well. At the back of both comics there's an ad for all the other one-shots.
Unfortunately, despite being "first issues", these aren't really worth a lot. As mentioned, they never made any other follow-on issues (hence them being 'one-shots') so these were all readily available, in large numbers, diminishing their worth as collector's items. Amalgam DID produce a couple of 'collected' graphic novels, however, featuring stories and characters not mentioned above. I own the one with the Man-Bat/Man-Thing creature, Bat-Thing, in it. It also features Lobo The Duck and a different Dark Claw adventure. Cool beans.
