Doomsday Clock (2017 – 2019)
Reprints Doomsday Clock #1-12
Written by Geoff Johns
Art by Gary Frank
In 2016, when DC Rebirth hit the stands, it became clear that DC Comics was working towards some crossover between their universe of characters and the Watchmen reality. For the next year, the event was teased in smaller stories, but the details remained obscure. What we knew was that Doctor Manhattan has some role in the New 52 reboot of the DCU, a 2011 line-wide decision to try and revitalize the characters. It appeared to be an in-universe way to explain why such drastic changes happened and why certain characters vanished.
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The Dark Tower (2017)
Written by Akiva Goldsman, Jeff Pinkner, Anders Thomas Jensen, and Nikolaj Arcel
Directed by Nikolaj Arcel
The Dark Tower is based on a series of novels by Stephen King and existed in development hell for a decade before finally being made. The three phases of development are the JJ Abrams phase, the Ron Howard phase, and the “we give up, just make the damn movie” phase. Because the script went through so many rewrites, it has ended up a continuation of the books instead of an adaptation. Thus the story is incomprehensible to someone who hasn’t read the books. This is one of the strangest decisions I’ve ever seen a studio make when adapting a book.
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Written & Directed by Lukas Feigelfeld
The first film most viewers will compare Hagazussa to is Robert Eggers’ The Witch. While both pictures do tell period stories about witches, they are very different when it comes to their tone & pacing. The Witch is a tightly structured film with clear character development and themes about family. Hagasuzza is more akin to the work of Panos Cosmatos (Beyond the Black Rainbow, Mandy) with its creeping crawl and slow psychedelic horror burn. Ultimately, I found myself often frustrated with Hagazussa because its narrative is so fluid and ill-defined. It’s all mood without a compelling main character with a clear arc.
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The Meyerowitz Stories (New and Selected) (2017)
Written & Directed by Noah Baumbach
In the same way, Woody Allen made his career focused on movies about intellectual types in New York, Noah Baumbach has taken that motif and added a genuine examination of family. Allen’s characters were always nebbish & neurotic but always seemed to be swinging singles. Baumbach’s characters are caught up in familial dysfunction. The Meyerowitz Stories delivers its narrative at a fast pace and will remind viewers of one of Baumbach’s contemporaries and sometimes collaborator, Wes Anderson. The picture is a more grounded take on the near fairytale-like world of The Royal Tenenbaums, complete with Ben Stiller as one of the siblings. Though this may sound incredibly derivative, the film has a familiar & seemingly forgotten tone you don’t find in movies these days.
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There are a LOT of bad Stephen King movies out there. The Tommyknockers. Dreamcatcher. Maximum Overdrive. Sleepwalkers. Thinner. I’d argue there are more lousy King adaptations than good ones. But his work resonates with audiences so profoundly that I suspect the films will keep coming for far beyond his and our lifetimes. Here are my personal favorites of movies made based on his work with some thoughts about them.
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The Wild Storm Volume 1
Reprints The Wild Storm #1-6
Written by Warren Ellis
Illustrated by Jon Davis-Hunt
In 1992, comics were at one of their financial peaks with superstar artists at the forefront of what was driving the buying frenzy. This allowed several Marvel artists to strike out on their own and created Image Comics, a creator-focused publishing house where they could feel free to play and know they had ultimate ownership of their properties. Jim Lee was one of those artists, having made a name for himself illustrating X-Men, the highest-selling comic of the day. Lee and fellow artist Brandon Choi co-founded Wildstorm, their branch of Image and it was home to the most consistently produced titles at the company. Some of these titles were WildCATs, Deathblow, Stormwatch, and Gen13, all existing in an original shared universe with very complex back history. In 1999, as the market cooled down, Lee sold Wildstorm to DC Comics and took on a more significant leadership role with his new company. Today, Jim Lee is the Co-Publisher and Chief Creative Officer at DC Comics.
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Written & Directed by Coralie Fargeat
Everything is in that title. A young American socialite, Jen, travels to Richard, her lover’s secluded desert chalet for a weekend tryst. He’s a married man, of which Jen is aware, and the relationship is very shallow. Their fun gets interrupted by Richard’s hunting buddies, Stan and Dmitri. They have come a day earlier than planned, and now Richard’s cheating is out on the table. Being his “buds,” they are cool with it and openly lust after Jen, who tries to keep things playful.
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