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Adventures of Captain Marvel (1941) ch03 – Time Bomb

A couple things in Time Bomb stand out. First, there’s how no one seems to care about how the opening cliffhanger resolves. Not for Captain Marvel (Tom Tyler), but for the expedition member being held hostage. It’s not clear anyone even knows about it after its happened. So, not a good thing, a lazy thing.

Second is about how no one has any reaction to Captain Marvel yet. The thugs apparently don’t tell their boss, The Scorpion, about it and Frank Coghlan Jr. goes out of his way to make sure Louise Currie not see his alter ego. So Captain Marvel is still an unknown to the principals.

Luckily, Coghlan’s pretty much just as good. When the bad guys get the combination to a safe they shouldn’t have, it’s not Captain Marvel who goes to stop them, it’s Coghlan. Turns out he owns his own plane and can just fly to stop them.

Why he didn’t just say the magic word and fly there himself is unclear.

Time Bomb has three action sequences. The cliffhanger resolution, Tyler saving Currie–which involves him flying to catch up with a runaway truck–and the finale. The finale’s more suspense.

Again, it’s perfectly solid but doesn’t have much to it. There are no new clues to the bad guy’s identity, Currie’s sort of okay but not good, the plot doesn’t develop much either.

It’s early days for Adventures of Captain Marvel but it’d be nice if the serial could distinguish itself. Even if it’s just a little bit. Unless there’s nothing more to it than the special effects.

Adventures of Captain Marvel (1941, William Witney and John English), Chapter 3: Time Bomb

A couple things in Time Bomb stand out. First, there’s how no one seems to care about how the opening cliffhanger resolves. Not for Captain Marvel (Tom Tyler), but for the expedition member being held hostage. It’s not clear anyone even knows about it after its happened. So, not a good thing, a lazy thing.

Second is about how no one has any reaction to Captain Marvel yet. The thugs apparently don’t tell their boss, The Scorpion, about it and Frank Coghlan Jr. goes out of his way to make sure Louise Currie not see his alter ego. So Captain Marvel is still an unknown to the principals.

Luckily, Coghlan’s pretty much just as good. When the bad guys get the combination to a safe they shouldn’t have, it’s not Captain Marvel who goes to stop them, it’s Coghlan. Turns out he owns his own plane and can just fly to stop them.

Why he didn’t just say the magic word and fly there himself is unclear.

Time Bomb has three action sequences. The cliffhanger resolution, Tyler saving Currie–which involves him flying to catch up with a runaway truck–and the finale. The finale’s more suspense.

Again, it’s perfectly solid but doesn’t have much to it. There are no new clues to the bad guy’s identity, Currie’s sort of okay but not good, the plot doesn’t develop much either.

It’s early days for Adventures of Captain Marvel but it’d be nice if the serial could distinguish itself. Even if it’s just a little bit. Unless there’s nothing more to it than the special effects.

Adventures of Captain Marvel (1941) ch02 – The Guillotine

The Guillotine does not open with a satisfying cliffhanger resolution. It’s only Captain Marvel’s second chapter, which probably ought to have a satisfying cliffhanger resolution; it’s mildly concerning it does not.

After that lackluster resolution, the story moves back to the United States. Turns out the evil Scorpion has followed the team because, yes, he’s a member of the team. He tells his chief henchman (Kenne Duncan) all about being on the team.

The henchmen kidnap one of the other team members and hold him hostage to get his piece of the gold-making Scorpion device. Louise Currie is supposed to deliver it by herself, but intrepid Frank Coghlan Jr. convinces her to let he and William ‘Billy’ Benedict tag along to take on the bad guys.

Neither Coghlan nor Benedict are rugged fellows and it’s cool to see them try to save the day. When the going gets tough, however, Coghlan says the magic word and becomes Tom Tyler. Bullet-proof, flying Tyler easily takes on the bad guys before a chase sequence leading to the cliffhanger.

No one seems surprised by Tyler, who’s in an outlandish outfit, is bulletproof, and can fly. Maybe because they somehow know he’ll crumple when it’s time for the cliffhanger.

Coghlan’s affable, Duncan’s a solid villain, Tyler’s effective. Even if he doesn’t get any lines.

Good stunt work and special effects, even on the lacking opener.

Adventures of Captain Marvel (1941, William Witney and John English), Chapter 2: The Guillotine

The Guillotine does not open with a satisfying cliffhanger resolution. It’s only Captain Marvel’s second chapter, which probably ought to have a satisfying cliffhanger resolution; it’s mildly concerning it does not.

After that lackluster resolution, the story moves back to the United States. Turns out the evil Scorpion has followed the team because, yes, he’s a member of the team. He tells his chief henchman (Kenne Duncan) all about being on the team.

The henchmen kidnap one of the other team members and hold him hostage to get his piece of the gold-making Scorpion device. Louise Currie is supposed to deliver it by herself, but intrepid Frank Coghlan Jr. convinces her to let he and William ‘Billy’ Benedict tag along to take on the bad guys.

Neither Coghlan nor Benedict are rugged fellows and it’s cool to see them try to save the day. When the going gets tough, however, Coghlan says the magic word and becomes Tom Tyler. Bullet-proof, flying Tyler easily takes on the bad guys before a chase sequence leading to the cliffhanger.

No one seems surprised by Tyler, who’s in an outlandish outfit, is bulletproof, and can fly. Maybe because they somehow know he’ll crumple when it’s time for the cliffhanger.

Coghlan’s affable, Duncan’s a solid villain, Tyler’s effective. Even if he doesn’t get any lines.

Good stunt work and special effects, even on the lacking opener.

Adventures of Captain Marvel (1941, William Witney and John English), Chapter 1: Curse of the Scorpion

Adventures of Captain Marvel has a lot of action in its first chapter. Setting up the ground situation is even action. There’s an expedition to Thailand and, although they have permits with the occupying British forces, the native people aren’t thrilled with the expedition coming in to tomb rob. So it’s up to native guide, John Davidson (no, he’s not Thai), to talk down the angry natives. He does, setting up not just the goals of the expedition, but the local superstitions and so on. Excellent exposition.

It all comes after a fairly exciting and well-executed siege sequence, with the natives attacking the expedition’s fortified camp.

Directors English and Witney shoot all the action well. Sometimes the stunt people are a tad obvious, but the action’s still good. And William Nobles’s day for night photography is solid too.

Anyway, the expedition rushes to grave rob, with only young (twenty-five year-old young) Frank Coghlan Jr. deciding he wants no part in breaking into tombs. He’ll just collect the ancient pottery. When the rest of the expedition sets off a trap and gets locked in the tomb, it’s eventually up to Coghlan to save them.

Luckily by then an ancient wizard (Nigel De Brulier) has bestowed the powers of Captain Marvel on Coghlan. He just says the magic word and he turns into Tom Tyler, who can fly, is impervious to bullets, is super strong, and who has a flashy outfit. Coghlan’s appealing. It’s not clear yet if Tyler’s going to be appealing. He’s effective, but appealing is something else.

Then there’s more with the native forces returning to attack in the middle of the night and grab the expedition’s findings. There’s this ancient device to turn any substance into gold. Each member of the expedition gets a piece–setting up the mystery of whoever is going to be the traitor. Coghlan (and Tyler) have to make sure everyone gets out of the camp and to safety.

Lots of action in the finale. The cliffhanger’s a great model but dramatically questionable so far.

Curse of the Scorpion sets up the serial incredibly well. It just doesn’t give any indication of how the serial’s going to play out chapter-to-chapter.

Adventures of Captain Marvel (1941) ch01 – Curse of the Scorpion

Adventures of Captain Marvel has a lot of action in its first chapter. Setting up the ground situation is even action. There’s an expedition to Thailand and, although they have permits with the occupying British forces, the native people aren’t thrilled with the expedition coming in to tomb rob. So it’s up to native guide, John Davidson (no, he’s not Thai), to talk down the angry natives. He does, setting up not just the goals of the expedition, but the local superstitions and so on. Excellent exposition.

It all comes after a fairly exciting and well-executed siege sequence, with the natives attacking the expedition’s fortified camp.

Directors English and Witney shoot all the action well. Sometimes the stunt people are a tad obvious, but the action’s still good. And William Nobles’s day for night photography is solid too.

Anyway, the expedition rushes to grave rob, with only young (twenty-five year-old young) Frank Coghlan Jr. deciding he wants no part in breaking into tombs. He’ll just collect the ancient pottery. When the rest of the expedition sets off a trap and gets locked in the tomb, it’s eventually up to Coghlan to save them.

Luckily by then an ancient wizard (Nigel De Brulier) has bestowed the powers of Captain Marvel on Coghlan. He just says the magic word and he turns into Tom Tyler, who can fly, is impervious to bullets, is super strong, and who has a flashy outfit. Coghlan’s appealing. It’s not clear yet if Tyler’s going to be appealing. He’s effective, but appealing is something else.

Then there’s more with the native forces returning to attack in the middle of the night and grab the expedition’s findings. There’s this ancient device to turn any substance into gold. Each member of the expedition gets a piece–setting up the mystery of whoever is going to be the traitor. Coghlan (and Tyler) have to make sure everyone gets out of the camp and to safety.

Lots of action in the finale. The cliffhanger’s a great model but dramatically questionable so far.

Curse of the Scorpion sets up the serial incredibly well. It just doesn’t give any indication of how the serial’s going to play out chapter-to-chapter.

The Adventures of Rocky & Bullwinkle (2000, Des McAnuff)

As a musical, The Adventures of Rocky and Bullwinkle might have worked. When there’s the big Pottsylvanian national anthem scene, director McAnuff finally seems comfortable. He needs a stage; Rocky and Bullwinkle is a road movie. There aren’t any stages. The occasional set piece hints at potential for the format–CGI animated moose and squirrel opposite life action–but McAnuff never knows how to direct them. And there’s something off about the CGI.

Rocky and Bullwinkle’s “real world” is drab and generic. But not drab and generic in the right way to match the “Rocky and Bullwinkle” animation style, which the film opens with. The story has “The Rocky and Bullwinkle Show” forgotten in reruns, but then have to be brought over to the real world to help the FBI. Specifically, FBI agent Piper Perabo, who’s supposed to be the perky, adorable female lead.

She’s terrible. McAnuff doesn’t direct his actors at all, so it’s not like she got any help, but she’s all wrong. Her performance, whatever direction McAnuff gives, all of it; she can’t act well off the CGI moose and squirrel. Sometimes they get close, like Rocky’s flying sequence, but it’s never for long.

And since she’s the one with Rocky and Bullwinkle most of the time, it gets to be a problem. At least she’s better than cameoing Kenan Thompson and Kel Mitchell. They manage to be the worst of the cameos, save John Goodman. Goodman can’t even pretend in his bit.

If any part of Rocky and Bullwinkle worked–be it Perabo, Rocky and Bullwinkle, Robert De Niro, Rene Russo, and Jason Alexander as the live action idiot spies, the endless cameos–the film would be immensely better. It would be a failed ambition. But it’s not ambitious in any way. McAnuff’s direction is catatonic, Kenneth Lonergan’s script isn’t any better–the occasional laughs are all thanks to Rocky and Bullwinkle voice performers June Forey and Keith Scott. The actors look deranged or miserable. The film sets itself up to fail, betting a lot on the successful introduction of the cartoon characters into reality. When it doesn’t come off, the film stalls.

So it’s stalled for acts two and three. It stalls real early.

Thomas E. Ackerman’s photography is flat and muted. While reality is supposed to be, visually, reality, Lonergan’s script is frequently absurdist. He tries for “Rocky and Bullwinkle” type sight gags and puns for the regular residents of reality. It’d work as a musical.

Everything would work if it were a musical. Maybe even Jason Alexander, who’s lifeless and miserable. Rene Russo tries. She almost has a good scene. But there are no hidden gems in Rocky and Bullwinkle. It’s bad.

Moose and squirrel deserve better.

Wednesday Comics 12 (23 September 2009

Skitched 20130301 152034One should never hope for too much from finales. Especially not from an extremely uneven anthology series like Wednesday Comics.

Batman’s bad. Kamadi flops. Superman apparently only remembered after twelve installments he had a wife at home.

Deadman is okay. One of the better mediocre strips. Green Lantern is bad. Metamorpho is lacking; Gaiman tries too hard for nostalgia.

Teen Titans is awful, Adam Strange is great. Supergirl is cute again, but Metal Men goes out too dreary. I still have no idea what story Caldwell told with Wonder Woman.

Sgt. Rock’s lame again, but in a syrupy way now. Good Flash comic, though confusing, and an almost okay finish to The Demon and Catwoman. Hawkman is severely lacking too.

The winner of Wednesday Comics is easily Paul Pope for Adam Strange. The losers are just as easy–the inept team of Eddie Berganza and Sean Galloway for Teen Titans.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 11 (16 September 2009)

632695Azzarello writes Batman as a rube while Risso tries to ape Sin City as a Batman. Gibbons once again summarizes the action too much on Kamandi. Sook’s barely got anything to do.

Superman is bad. As usual.

Deadman’s okay, Green Lantern’s awful. Ditto, respectively, for Metamorpho and Teen Titans. Hope respectively, in that sense, means Titans is the awful one.

Good (not great) Adam Strange. Poor (not terrible) Supergirl.

For the first time, Garcia-Lopez is too busy on Metal Men. All the large scale action hurts it. And Caldwell breaks out of his little panels for Wonder Woman. It’s a mistake.

Sgt. Rock is okay, The Flash is great. Demon and Catwoman sucks–it’s Simonson’s fault. Stelfreeze just doesn’t have anything good to draw.

Awesome Hawkman–the art’s astounding. Baker really outdoes himself.

Wednesday Comics is wrapping up. Shame most of the creators have no idea how to close.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 10 (9 September 2009)

632694Batman versus dogs, Azzarello’s inspired and Risso can’t even draw a cool Batmobile. Kamandi comes back a little; there’s a big battle scene, lots of panels. Arcudi misses a great Superman: The Movie homage on his dumb Superman strip.

Deadman’s okay, though all the action seems inappropriate. Green Lantern is lame; Busiek doesn’t understand weekly one page pacing. Metamorpho is competent but lame. Teen Titans is awful. Galloway’s a terrible writer.

Pope’s Adam Strange rocks. He’s clearly wrapping it up. Supergirl’s weak again. Too much plot, not enough cute. The Metal Men has some great art and a touching final couple panels. The Wonder Woman is once again confusing but still good. Maybe Caldwell just needs more space to tell the story.

The Sgt. Rock is okay. Far better than the strip’s worst. Decent Flash; very sci-fi.

Predictably lousy Demon/Catwoman and great Hawkman.

Comics is almost over.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.