Sunday, July 20, 2014

Rocky & Bullwinkle Volume 1


Written by Mark Evanier
Art by Roger Langridge

     IDW has done some fantastic revivals of licenses, and with the recent Mr. Peabody and Sherman movie, now's a great time to bring back the Jay Ward cartoons in comic form, right? Sadly, Rocky & Bullwinkle stumbles far too quickly and never recovers.
     The four issues here are all standalone stories, with the moose & squirrel going against Boris & Natasha's various evil plans. The elements from the cartoon are here in essence. There's the omnipresent narrator and the dual “Next time” cliffhanger titles, and just a feeling like these could've been actual stories on the show. But then the comic ends up relying too much on references rather than actual humor. It's funny when Bullwinkle asks a magician “How did you do that?” after he pulls a rabbit out of his hat, it's painful when Bullwinkle starts explaining what normally happens. It gets worse when modern-day references start getting put in. They just don't work in context. You've got a 60s, Cold War style plot of Americans vs. Russian expies, and then suddenly Bullwinkle starts talking about the Kardashians and reality shows. And finally, there's a lack of the self-deprecation that made the series great. Hell, even the movie got that one right. Instead, the comic almost seems to put the show on a pedestal, and that's just not a good place for a licensed comic to be.
     There are a few good points here. The idea of cutting from the main story for a Dudley Do-Right “short” is perfectly in the style of the show, and the shorts tend to be better than the main feature. Sadly, it's nothing BUT Dudley Do-Right. No Aesop's Fables, no Fractured Fairy Tales, just Dudley Do-Right. But I'll take what I can get. Bullwinkle's awful puns throughout are perfectly in style, and they're so bad that they at least put a smile on my face. The final issue here is also fairly good, the closest to what I was hoping for when I started reading, but it was a serious case of too little, too late. And Langridge's art is in top form, a simplified style that works for a similarity to the show. My main question is why he didn't also write the comic. He did an excellent job on the Muppet Show comic, and with how stylistically similar they are, this would seem like the perfect fit for him.

     Overall, Rocky & Bullwinkle is just disappointing. IDW has done plenty of quality licensed work, so to see something that uses the license so poorly just seems out of place for them.

Tuesday, July 1, 2014

12 Years a Slave


Directed by Steve McQueen
Written by John Ridley
Based on the book by Solomon Northup

     Some movies take the easy way out on hard topics, implying the harder parts or making soft messages like “slavery was bad”. 12 Years a Slave does not go easy. 12 Years a Slave lets you know from the opening that there is going to be nothing held back.
     Solomon Northup (Academy Award-nominated Chiwetel Ejiofor) is a free man living a decent life in New York. When two men give him a job offer and take him out drinking afterwards, he wakes up in slavery, with nobody willing to listen to him. And over his 12 years in slavery, he has to do what he can both to survive and to become free again.
     This is undoubtedly a brutal and intense movie. The fact that there's violence as soon as Solmon gets put in slavery sets the tone for how things will go. And things get worse from there. The shock factor is there in a sense, seeing what Solomon had to be put through, but it goes beyond simple shock to show the kinds of cruel people that were involved. The early slavers seem cruel for having slaves, beating them, and simply treating them as property. This is not a movie that gives a pass to white people or tries to say “But that's what happened back then”, it shows in full that there was simply nobody who cared. But they just barely qualify as generous compared to the eventual slavers of Solomon for the movie's latter half. The Epps (Academy Award-nominated Michael Fassbender and Sarah Paulson) aren't just cruel, they're vicious. Edwin is an alcoholic who will whip his slaves for no reason, while Mistress Epps verbally abuses Patsey (Academy Award-winning Lupita N'yongo). While Patsey only has a handful of scenes, the Oscar for N'yongo becomes obvious in a heartbreaking scene where Patsey begs Solomon to mercy-kill her.
     Everything gets held together by the incredible cinematography. The lush green of Louisiana is directly contrasted with the horrors that happen on-screen. And several silent long takes throughout show more than dialogue ever could. When Solomon barely survives being hanged at one point, it would have been easy to have the aftermath scene last a few seconds. Instead, it's a full minute as Solomon simply stands on his tiptoes while behind him, all the other slaves continue on with their work. And when McQueen does nothing but focus on Ejiofor, his acting ability shines through. A scene of him simply running through emotions at the mere chance of being free is one of the most powerful scenes in the movie.

     Visually striking and incredibly acted, 12 Years a Slave takes the issue and the story on in full and doesn't falter for a second in showing what happened.