When a longtime CIA asset is killed Arthur (Peter Gallagher) suspects a former CIA analyst (Bruce Davison) convicted of treason, and currently held in solitary confinement in a maximum security prison, may be behind it. The CIA decides to look into both of the man’s daughters to see if they are involved.
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Covert Affairs – Horse to Water Read More »
The entire team is assembled (well, almost, but we’ll get to that in a minute). Black Canary‘s worst fears are realized as Starling and Kantana are less than thrilled with the fact that Poison Ivy has joined the team. To tell the truth, I’m with them.
Because this is DC’s reboot it wouldn’t be complete without a complete character redesign for Poison Ivy. Although it is a shock that the character is one of the few female DC’s characters that got less sexualized as part of the New 52.
The issue itself, once Starling and Katana stop trying to kill their new partner, isn’t great but it works well enough to keep my interest (even if the art looks extremely rushed). The issue ends with a cliffhanger as Black Canary learns she’s a ticking timebomb set at the mercy of whoever is in charge of this legion of invisible assassins.
The real interesting tidbit is the news that Batgirl won’t just be guest-starring over the next couple of issues but will become a permanent member of the team beginning next issue. Babs inclusion could be just what this book needs. Hit-and-Miss.
[DC, $2.99]
Since the reboot all the Bat-titles have had their hiccups so I can’t fault writer Scott Snyder too much if the latest issue of Batman isn’t as good as the first two. Issue #3 showcasing Batman‘s detective skills (THANK YOU!!!) as the Dark Knight Detective uncovers a secret conspiracy hidden in the homes of Gotham City’s wealthiest families for decades.
Greg Capullo’s art feels a little rushed in some of the panels, especially Batman’s fight with the Whisper Gang in the Gotham City subway. Thankfully the fight is saved thanks to a Batman’s ingenious solution to take down the entire gang with the flip of a switch.
As to the Court of Owls, the uncovering of the mystery works well enough, but the conspiracy and super-secret organization full of people dressed up as owls hiding in the homes of Gotham’s most wealthy doesn’t come off any better than it sounds. Issue #3 isn’t a good as I’d like but it’s still the best of the Bat-titles. Worth a look.
[DC, $2.99]
It’s time to play the music. It’s time to light the lights. It’s been a long time since the The Muppets took Manhattan, had a great caper, or set their sites on an original movie. Sure there was that attempt to give Gonzo his own film, and the series of movies adapted from literature to star The Muppets over the years, but for the first time in a long time, with no small part to Jason Segel, The Muppets are back.
The story begins with brothers Walter (Peter Linz) and Gary (Segel) traveling to Los Angeles with Gary’s longtime girlfriend Mary (Amy Adams). Although the trip was initially set as an anniversary getaway for the lovers, Gary brings Walter along to let him realize one of his dreams by visiting Muppet Studios.
Walter is crushed to find the studio in disrepair and horrified to learn that an oil tycoon (Chris Cooper) is set to take ownership of the property and destroy it. The Muppets have only one chance, the contract leaves a clause that they can buy back the studio before the deadline if they can raise $10,000,000.
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For the first half-hour or so of Hugo you’re wondering to yourself why is Martin Scorcese directing a children’s story about an orphan who lives in a train station with a broken robot?
Don’t get me wrong, the characters are engaging and the look of the film (especially in 3D where the effects bring to mind a child’s pop-up book) are terrific, but the question still remains. And then this film about an orphan and his automaton becomes a story about a famous filmmaker and the celebration and preservation of old films, and you know exactly what struck the director’s fancy.
When we first meet Hugo Cabaret (Asa Butterfield) he’s living in the walls of the Paris train station. The son of clockmaker (Jude Law), Hugo was orphaned when his father died in a museum fire. Now all Hugo has to remember him is a notebook and a broken automaton his father was attempting to fix before his death.
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