Review: Superman/Batman: Public Enemies
| Lex Luthor is the beloved President of the United States. Most of the world’s superheroes, including Power Girl and Captain Atom, are agents for his government. Refusing to join up, Superman and Batman are wanted criminals in the Warner Bros. animated movie Superman/Batman: Public Enemies.Based on the graphic novel by Joseph Loeb and Ed McGuinness, this alternate-universe story creates a low barrier of entry for any fan. I didn’t have to watch all the previous DC Universe animated films or the Batman and Superman animated series to follow what was going on. An engaging opening montage sets the stage for this alternate universe, and the focus is on the most well-known characters Luthor and Superman. | |
| But as the story progresses, Superman and Batman teaming up against heroes and villains alike. There are characters in this movie I’ve not thought of since I watched Challenge of the Super Friends in the 70s, including Solomon Grundy, Captain Cold and Black Manta. For fans of the DC universe this deep roster of characters including Starfire, Bane, Metallo, Giganta, and dozens moren. Plus there were many more characters I didn’t know but the comic fans would likely will be a treat to see in full-motion animation. Power Girl, voiced by Allison Mack, gets a critical role as well in her first film appearance (boob window in full effect).The story reminds me of the video game Injustice: Gods Among Us where heroes fight heroes and villains in mortal combat. It may be base, but it’s really fun to watch Superman punch out Shazam and Batman taking on Captain Atom. The story is not what keeps me engaged–it’s the action. In the end, it’s simply a fun film. | |
| The animation is detailed, not feature film quality but better than most TV shows. More than serviceable, it has moments of beauty. With so many character designs it’s impressive that each get detailed representations.The ending is very silly (involving a robot that is literally half Superman and half Batman, split down the middle like Prince in the “Batdance” video), but getting there is fun.
I finished this movie thinking next year’s Batman v Superman: Dawn of Justice will be damn lucky if it is as good as Public Enemies. Recommend. |
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Arnie is a movie critic for Now Playing Podcast, and host of the Marvel collecting podcast Marvelicious Toys.Hear Arnie review every Marvel Comics based film, and most DC Comics films, in the Archives at NowPlayingPodcast.com
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Corn Connection: No stars, but good ‘Now Playing’ links in ‘Corn’ remake
Scanning IMDB resumes for this week’s Corn Connection entry really made me feel old. 
It wasn’t so bad during the first seven films, because I knew most of the “children” in the Corn series had aged by now, and some of them are older than I am. But I got a stark reminder of my age while looking through the credits of the 2009 Children of the Corn remake for this week’s episode of Now Playing Podcast.
But this series is not called “Gettin too old for this #&$%.” So let’s take a look at where you can find the 2009 Corn players in the Now Playing archives.
It wasn’t easy.
Kandyse McClure (Vicky Stanton) – Carrie Retrospective
The biggest “star” with any link to Now Playing Podcast is McClure, who takes over for Linda Hamilton in Corn. If anyone watching the film has that funny feeling she’s been in another poorly-received Stephen King remake, it’s because she also starred as Sue Snell in the 2002 TV movie remake of Carrie.
That film was reviewed in the second entry in Now Playing’s massive Stephen King Retrospective Series. It was only last fall, but since then the show has covered so much King, there should be something to make any fan happy in the archives.
Daniel Newman (Malachai) – Batman Retrospective
The actors in this Corn film are not stars, and they’re not mentioned by name on Now Playing Podcast. But at least the shows are still entertaining.
Newman, who plays Malachai in 2009’s Children of the Corn, played “Thug No. 2 in Basement” in Christopher Nolan’s The Dark Knight Rises. That’s a really good listen in the Now Playing archives, and will help you get ready for the upcoming Christopher Nolan Retrospective Series, which is coming as soon as Arnie, Stuart and Jakob find a way out of the cornfield.
Robert Gerdisch (Preacher Boy) – Superman Retrospective
Gerdisch played Whitney Fordham in 2013’s Man of Steel. I assume that character is similar to the character Whitney Fordman from Smallville, but you never know with Zack Snyder.
Leo Howard (Additional Voices) – G.I. Joe Retrospective
Yes, even doing “additional voices” can count as a connection. And this kid Howard has been on camera, he appeared as “Young Snake-Eyes” in 2009’s G.I. Joe: The Rise of Cobra.
So, for an unimpressive sequel with an unimpressive cast, those are some pretty impressive Now Playing links.
Did we miss anyone? If you spot an actor or actress with a connection to Now Playing Podcast leave a comment and help a fellow listener!
‘Corn Connection’ finds A-lister among ‘Harvest’ players
Every actor has to start somewhere, and somewhere is often low-budget horror.
There are plenty of examples; Leonardo DiCaprio in Critters 3, Seinfeld’s Jason Alexander in The Burning, and Jennifer Aniston in a film Now Playing Podcast donors can hear about very soon.
As for this week’s Now Playing Podcast review of Children of the Corn III: Urban Harvest, we managed to find some famous faces among the cast. Okay, make that one star, some genre actors and a couple of extras you might recognize if you watch a lot of bad flicks.
But I’m not here to reprint IMDB resumes; the Corn Connection shows you where to find the actors and actresses within the Now Playing archives. So let’s get going.
Charlize Theron (Young Woman/uncredited) – Alien Retrospective Series
Harvest was Theron’s first film, before she went on to become a superstar in movies like Mighty Joe Young, The Legend of Bagger Vance and Aeon Flux. Also Monster.
It’s crazy to think that an actress like Theron was only referenced on Now Playing Podcast once, but it’s true; back during the 2012 donation drive, when the hosts covered Prometheus as part of the Alien Retrospective Series. Unfortunately, that series is no longer available.
Michael Ensign (Father Frank Nolan) – Superman Retrospective Series
Ensign is an actor you’ll recognize, although maybe not for his role as a newscaster in 1978’s Superman. I’m sure he gets more looks from fans who loved him as the snooty hotel manager in Ghostbusters, or in his role as the evil bus driver in License to Drive.
Ed Grady (Dr. Richard Appleby) – Children of the Corn Retrospective Series
Does it count if your Now Playing moments came twice in the same retrospective series? Because that’s the case with the late Mr. Grady, who played the same character in the second installment, Children of the Corn II: The Final Sacrifice. Maybe someday the hosts will cover Grady’s role in The Notebook.
Rance Howard (Employer) – Psycho Retrospective Series
Howard, like Theron, has had roles in major blockbusters (his son is Splash director Ron Howard). Howard, like Theron, only appears once in the entire history of Now Playing Podcast (1998’s Psycho). And Howard, like Theron, appeared in a donation series that’s no longer available on the main feed (bummer).
Rif Hutton (Arnold) – Star Trek Retrospective Series
Hutton’s resume includes a long list of television and film credits, but only one of those movies was featured on Now Playing Podcast. So look for his role as a Klingon guard the next time you sit down to watch Star Trek: Generations.
Anthony Hickox (Hans, also executive producer) – Return of the Living Dead Retrospective Series
Hickox appeared as Dr. Hickox in Return of the Living Dead 3, another film that’s currently locked in the Now Playing Podcast archives. But he’s also a director, with a resume that includes Waxwork, Waxwork 2: Lost In Time and Hellraiser III: Hell on Earth.
Brian Peck (Jake Witman) – X-Men Retrospective Series, Return of the Living Dead Retrospective Series
Peck’s resume lists a number of genre films, but his role as Hot Dog Stand Patron in X-Men and News Reporter in X2: X-Men United made him part of the Now Playing universe. He also appeared in the first three Return of the Living Dead films as the characters of Scuz, Special Zombie and Ballistic Technician, respectively. Unfortunately, those Living Dead shows are locked away in the vault.
So there you have it. A few more recognizable actors than the previous Corn film, but many who only have connections to Now Playing donation series’. Wondering how you can become a donor? This way.
Did we miss anyone? If you spot an actor or actress with a connection to Now Playing Podcast leave a comment and help a fellow listener!
40 Year-Old-Critic: Raiders of the Lost Ark (1981)
In The 40-Year-Old Critic, Venganza Media creator and host Arnie Carvalho recalls a memorable film for each year of his life. This series appears daily on the Venganza Media Gazette.
I wrote at length about the summer blockbuster in the 1975 installment of this retrospective series discussing Jaws. I recalled how it seemed each year had one movie that everyone was talking about. Hollywood now gives its tentpole pictures one or two weeks to make an impact, but when I was a kid the biggest films ran for months and would remain in the public conversation for years.
In 1981 I learned what it was like to be on the outside of that conversation.
I spent a lot of time at the movies as a kid. I remember a summer program in our town that screened older, child-friendly films each week for just $1 — a small price for my mother to pay to have me sit quietly for two hours. My mother, my godmother, and my sister would coordinate schedules to take me to see those summer films and, being the completist that I am, I refused to miss a single installment.
Not content with the preprogrammed children’s fare, I started to make my own decisions about which new releases I would see. I remember begging my mother to take me to Clash of the Titans, The Great Muppet Caper, Superman II, and The Fox and the Hound. But one film that totally escaped my attention was Raiders of the Lost Ark.
By the summer of ‘81 Steven Spielberg was already a name-brand director with blockbusters Jaws and Close Encounters of the Third Kind under his belt. He’d survived a rare misstep with the ill-conceived 1979 comedy 1941 and returned to form two years later with the first installment in the Indiana Jones franchise.
This film carried more than just Spielberg’s golden name. The poster boasted “From the creators of Jaws and Star Wars.” It was Spielberg’s collaboration with the man who had made the most successful film of all time… George Lucas.
People ran to catch Indiana Jones in Raiders.
With those names on the poster it is no shock that moviegoers turned out in droves to see the film, with no misgivings about its period setting — a far cry from the filmmakers’ recent science-fiction fare. Plus Raiders wisely featured a strong supernatural bent for those who appreciated the fantastical elements of Close Encounters and Star Wars.
Raiders of the Lost Ark went on to become the top-grossing film of 1981. It was a cultural smash, a critical darling, and nominated for several Academy Awards.
I totally missed it.
The first Indiana Jones movie opened in our town on June 12 — the same day as Clash of the Titans. I didn’t just choose to see Greek gods over Indiana Jones, I have no memory of knowing Raiders of the Lost Ark was out there. Soon after, Superman II opened, and that was the movie I’d been waiting to see.
Raiders was totally lost on me.
When school resumed that fall it didn’t take long for me to realize I’d missed something huge. Now a second-grader, I returned to classrooms ready to reunite with schoolyard friends and talk about Clash of the Titans and Superman II, but the only movie on their minds starred some guy with a whip. Playground chums regaled me with tales of the swordsman who performed deft moves only to be quickly shot dead, and that magical box that made Nazi faces melt. I had nothing to add to these conversations, I could only nod and say it sounded fun.
This feeling of isolation continued for years, and I felt Raiders of the Lost Ark would taunt me forever. For Christmas in 1982 my sister Susan bought me the Raiders of the Lost Ark Atari 2600 game. She was now a college student and assumed I’d seen the film and loved it. I played that game for days, trying to use it as a surrogate for the movies I’d missed. I created a story in my mind featuring snakes and whips and anchs and black markets.
Finally, the next year, my long nightmare ended.
In late 1982 my family bought our first VCR and, a few months later, we rented Raiders of the Lost Ark on VHS. Of course, I loved the film (and was surprisingly happy to see how little it resembled its Atari counterpart). It was exciting and funny, and also a bit scary. I had nightmares for months about those melting faces. Though I would rewatch Raiders regularly on video, for the first year or more I would cover my own eyes during the bloody climax.
Then, in 1984, when Indiana Jones and the Temple of Doom was released, I ensured I didn’t make the same mistake — I saw the sequel twice on opening weekend and read the novelization.
I still watch Raiders of the Lost Ark regularly to this day (though I now laugh at the effects that made me wince as a child). Just this past summer I went on a fishing trip with friends and we gathered around the cabin’s small television to watch Harrison Ford in his second-best role. We applauded its genius, debated the importance of Indy in the movie’s plot, and lamented the franchise’s abysmal fourth installment.
Raiders of the Lost Ark was the best film of 1981, but it also taught me the importance of cinema as part of a cultural conversation. Shared experience creates a community, and in the 1980s part of our nationwide identity was defined by blockbuster films. National defense programs were named after sci-fi flicks, presidential candidates quoted hit movies, and playground friendships were made and broken by what you saw over summer vacation.
I do feel that today some of the magic is lost when there is a new “must see” movie every weekend. It waters down the experience. Now there are more fractured groups of fans, and rarely is there a film like Titanic, Star Wars, E.T., or Raiders of the Lost Ark that can transcend age, race, and gender and become a cultural phenomenon.
At 6 years old I learned how important that was, thanks to Raiders, and it’s a belief I hold today.
Next — 1982!
Arnie is a movie critic for Now Playing Podcast, a book reviewer for the Books & Nachos podcast, and co-host of the collecting podcasts Star Wars Action News and Marvelicious Toys. You can follow him on Twitter @thearniec
40 Year-Old-Critic: Superman (1978)
In The 40-Year-Old Critic, Venganza Media creator and host Arnie Carvalho recalls a memorable film for each year of his life. This series appears daily on the Venganza Media Gazette.
I look at 1978 as the middle-child of movie years. Moviegoers were still wowed by 1977’s Star Wars, which was continuing to play on many screens in’78. Lucas’ masterpiece had just set Hollywood on its own space race, but it took a couple of years for Lucas imitators and other sci-fi directors to get their films produced. As such, many of the sci-fi films I grew up with and celebrate as seminal were not released until 1979. But what about the year in-between? It had Dawn of the Dead, a smart mix of social commentary and horror, and Grease, which is a fun sing-a-long romp that I’ve watched more times than I can count. Still, neither changed my life nor my view of film. And please don’t bring up Jaws 2, Animal House, or Every Which Way But Loose. No, in 1978 there are only two films that resonated with me. The first was Halloween, an annual must-watch for me that iterated the Texas Chain Saw Massacre formula and is the father of the 80s slasher film. But its impact pales in comparison to the single 1978 movie that made me believe a man could fly — Superman: The Movie. I was 4 years old when this superhero film was released, but my parents took me to see this in theaters despite my young age. In one viewing my focus changed.
No, I don’t know why Superman is carrying Jaws
I’ve gone back and looked at family photo albums. From September ‘74 through November ‘78 all my photos were full of the usual childhood accouterments: I had PlaySkool’s wooden Sesame Street figures, clown items, Cookie Monster designs on my 4th birthday cake. You can see the changes after December ‘78. My clothes were no longer Big Bird T-Shirts, now they were superhero Underoos. Away went the baby PlaySkool toys and, in their place, was a collection of Mego Superheroes. And on my bedroom wall were two new posters: Lou Ferrigno as CBS’s The Incredible Hulk, and Christopher Reeve, arm pointing to the sky, advertising Superman: The Movie. Obviously, many films captured my imagination (and my parents’ dollars) as a child. That alone is not enough to warrant the title of Most Important Film of 1978. However, when I look at my life, and when I look at the hit movies of today, it’s impossible not to see the legacy of star Christopher Reeve and director Richard Donner. In the mid-70s superheroes were seen as campy entertainment for children. Comic books had long been stigmatized as pulp trash, and that reputation was solidified by the 1960s Batman TV series. Early drafts of Superman reflected that attitude as well (you can hear all about that in the Now Playing Podcast Superman review). But with this Superman film Donner saw an opportunity to make a more serious superhero adventure. He gave A-list stars Marlon Brando and Gene Hackman top billing, brought in state-of-the-art special effects, and allowed John Williams to create that emotional, rousing anthem for his hero. The result was a film that lived up to the promise on its poster, and as a 4-year-old I believed a man could fly. Admittedly, Superman did not completely abandon some campy scenes and performances; Ned Beatty’s Otis could have been teleported right from that 60s Batman series. Still, by taking the material as seriously as it did Donner and company created the first modern superhero film.
The less said the better
Is that a spider on the ceiling?
You can see the lineage: Superman begat 1989’s Batman, which begat The Crow five years later, which begat Blade in ‘98, which begat 2000’s X-Men (also produced by Donner), which begat 2002’s Spider-Man, which led to the creation of the Marvel Cinematic Universe, starting with Iron Man in 2008, and The Avengers four years later. And those are just the game changers. More than 100 other big-budget, major motion pictures follow Superman’s example of treating the material with respect and casting big-name stars as iconic comic characters. To this very day, almost every single superhero film is still following the mold created by Donner. As the Now Playing Podcast reviews show, the Superman series went downhill very quickly. Producers Alexander Salkind and Ilya Salkind fired Donner, and without his vision the series devolved into a Richard Pryor yuk-fest. It took Tim Burton’s Batman to remind Hollywood that audiences will turn out for a serious superhero film. Then, like Superman before it, the Batman series quickly collapsed when Burton moved on. It was finally Bryan Singer’s X-Men that ignited what has become the blockbuster movie genre of the 21st century. (Don’t get me started on what Singer did to Superman, you can hear my review of that travesty in the Now Playing Podcast archives.) As for me: seeing 1978’s Superman at such a young, impressionable age forever changed my world view. While I was never heavy into comic books, Superman turned me on to multimedia superheroes. My morning cartoons became filled with Batman and Spider-Man and Hulk, and every time there was a new comic-based television series or film I was in the audience.
Sometimes Superman gets bored of flying.
I am forever chasing the sense of wonder I felt in 1978 when Clark Kent ripped open his shirt and I saw the bright red and yellow S. Better still, this is a good movie. Unlike Texas Chain Saw Massacre, which I don’t enjoy but which fathered films I love, Superman: The Movie is always a joy to watch. While the pacing (especially in the director’s cut) may bore some people, I love the character exploration and world-building that Donner indulges. This love of superhero movies would be a direct catalyst for the creation of Now Playing Podcast, a show that’s been downloaded by hundreds of thousands of people across the globe. The idea for what would become Now Playing came to me as I was leaving a screening of the Marvel Comics movie Ghost Rider, and our first review was Sam Raimi’s Spider-Man 3. The excitement for Marvel’s The Avengers kicked off Now Playing’s longest retrospective series, and turned the podcast into a weekly show as we revisited every Marvel movie, starting with George Lucas’ Howard the Duck.
It is also Marvel’s Iron Man 2 that made me a serious collector of comic book-related merchandise. That led to the creation of the podcast Marvelicious Toys and my sizable Marvel collection, full of movie-based Hot Toys figures, quarter-scale statues, and even some one-of-a-kind production materials from Howard the Duck. And while my collecting focus has been the Marvel films, I do own one single collectible from the DC universe: a Hot Toys figure of Christopher Reeve from 1978’s Superman. I own it not as a collector, but as a fan, and I display it in my home theater as a reminder that I still believe a man can fly.
No, I don’t have the figure, let alone the figure on card
Next — 1979!
Arnie is a movie critic for Now Playing Podcast, a book reviewer for the Books & Nachos podcast, and co-host of the collecting podcasts Star Wars Action News and Marvelicious Toys. You can follow him on Twitter @thearniec
A Marvel Guy Tries The New DC Universe
Everything old is new again in the New 52. Which sounds like a slogan for Weird Al's TV station in UHF.
Have you heard about the DC Comics unvierse reboot?
Of course you have. Even if you don’t go to your comic book store every Wednesday, this story has reached beyond the geek level with coverage on CNN, MSNBC, and Entertainment Weekly. Despite The Dark Knight being one of the top grossing films of all time, and despite all the hype around this summer’s Green Lantern, comic book sales are still flagging month over month. In response DC has taken the boldest step yet to try to draw new audiences to these heroes’ original medium. By doing a “soft reboot” of the entire comic book universe, DC hopes readers will no longer be daunted by the complex histories and continuities for heroes such as Batman and Superman, and instead impulsively pick up a comic book.
And for this comic reader, it certainly worked.
While I grew up with the DC comic characters, my exposure to them was always in their mass media formats. To me, Superman was Christopher Reeve or George Reeves, Batman was a cartoon Bozo introduced in the mornings or, on a special Saturday, Adam West in an old rerun. Through the Super Friends cartoon I was introduced to B-list characters like Green Lantern and The Flash. But I never understood that the DC and Marvel universes were separate, a distinction muddled by my Mego toys including both The Incredible Hulk and Batman in the same toy line, and other than an impulse buy of Superman’s Pal Jimmy Olsen purchased in the early 80’s I never read any comic books.
When I got into comics in my teenage years though, it was Marvel that caught my eye, and I became an avid collector of Marvel comics. My one attempt at entering the DC universe was in 1992 when Batman Returns had me hyped, and I went out and bought several issues of the Robin mini-series, as well as some Batman and Superman comics. But while I did enjoy the Robin series greatly, the rest of the comics never really grabbed me, and my lack of familiarity with many of the characters and situations (Lex Luthor had cancer?) was much of the reason for that.
Later that same year, the much ballyhooed Death of Superman comic event also grabbed my attention, and I read the issue in which Superman was killed by Doomsday, and I was again left unimpressed as the death seemed unearned, the fight did not seem to me any worse than what Kal-El suffered at the hands of Zod on screen in Superman II, or by Nuclear Man in Superman IV.
And in the almost 20 years in between, despite reading thousands of comics from Marvel, as well as some issues from other publishers like Dark Horse, Image, and several other independents, I’ve not read a single other DC Comic. Until now. Once again, the media blitz DC has created around their reboot drew me to my local comic store Wednesday night where, despite having never had interest in a single Justice League comic in my life, I purchased a copy of Justice League of America #1. And I went home with an enthusiasm I’ve not had for a comic in many years, and immediate read the entire issue.
I never thought superheroes would have to "meet cute", but I guess when one was played by Ryan Reynolds I should expect no less.
And my impressions as a Marvel comics guy who’s only familiarity with DC is through it’s movies and television shows? I will get into that, and spoilers follow below.
I don’t envy writer Geoff Johns this week, having the entire burden of introducing this new universe to fans old and new, but he handles it very
well. Despite the plethora of heroes on the cover, the image that has been the trademark of DC’s New 52 since it was announced, the issue focuses specifically on two heroes meeting for the first time–Batman and Green Lantern. The comic is set “5 years ago” at a time where super-powered beings were still new to society, and super-powered beings, both good and evil, are hunted by authorities. Even non-powered costumed vigilantes like Batman are not safe from pursuit.
Despite DC telling long time readers that this reset of continuity was not a hard reboot, seeing that we are being introduced to all these heroes shortly after they were revealed to society at large it seems much, if not all, of the past histories are now washed away. It truly is a great entry point, as clear a beginning for these heroes as we need without going back and retelling each character’s origin story. I was reminded of Marvel Comics’ Ultimate Universe, where just over a decade ago they pulled the exact same stunt, and as a reader I was drawn in wanting to see how DC’s handling of superhumans among regular society differed from Marvel’s Ultimate take.
Rather than focus on introducing the universe, Johns focuses on telling a story of an intergalactic threat large enough to make several heroes come together. In the first issue we focus entirely on Batman and Green Lantern, though we get a few pages of a pre-heroic Vic Stone (soon to become Cyborg). Unfortunately, this story seems marred with the cliched story steps whenever heroes get together for the first time. We get Batman and Green Lantern posturing to see who is the toughest hero in Gotham, and when the story ends we see Superman handily take out Green Lantern before turning to fight Batman, sure to follow in Issue 2.
And that is another disappointing aspect to this comic. Despite all the hype being around Issue #1, and despite DC delivering day-and-date digital copies of these comics, the modern comic structure of telling stories in 5-issue or 6-issue arcs, easily collected in trade paperbacks to be sold at Barnes & Noble, persists. And thus this first comic gives us everything and nothing, we see the universe but such a small portion of it that we don’t really know what to make of it.
Is it me, or does the new Superman look a lot like Tom Welling from Smallville?
Given that we only have 23 pages of comic, it’s a good thing that we aren’t spending five or ten pages being introduced to all seven characters on the cover, but yet I can’t help but feel cheated that in the issue there is no sign of Aquaman, Wonder Woman, or Flash, and Superman just gets the final page in the issue. In the end, this comic is just too short to be fulfilling.
I really feel that for such an auspicious launch, DC should have expanded this issue. While profit margins on comic books are tight, with as much curiosity as surrounds this first new comic for their universe, DC should have offered offering readers 46 pages for the same $3.99 cover price, giving us more of the characters and a greater feel for the new universe. As printed, it feels like comicus interruptus.
The art in the comic is tremendous, though. Jim Lee really has some gorgeous splash pages as we see our three costumed heroes for the first time. While I actively dislike some of the art I’ve seen from the upcoming books (looking at you Wonder Woman), the art in Justice League is bright, detailed, and in some cases stunning.
But while the art may make great posters and iPhone cases, at the end of the issue I was left unfulfilled. Despite this being the “New 52”, there was nothing new here, just the tired story of superheroes meeting and in-fighting before, I presume, they will be forced to put aside their differences to fight an even greater threat. And for such a risky move as flushing 70 years of history, this seems like a story very much playing it safe.
And so I will not be picking up Justice League of America #2. The publicists at DC did their job, I bought the first one, but the writers did not live up to the hype–though I don’t see how anyone could. But after all the hype dies down, depending on internet buzz, I may someday check out the trade paperback collection while sipping a mocha at Barnes & Noble.
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