Jeff’s Movie Reviews Presents: Rise of the Comic Book Film

Jeff's Movie Reviews

Dollars, Cents, and Superpowers

by Jeff Bowles

There was a time comic book adaptations were a non-starter for the majority of moviegoers. For every generally well-liked superhero movie, like 1978’s Superman: The Movie or 1989’s Batman, there were at least a dozen examples of comic films gone wrong. For one, the Marvel Universe was bargain-basement, low-rent stuff. Old timers will tell you of an era in which Stan Lee’s greatest creations were relegated to B-movie direct-to-video time wasters, most of which were shot and funded outside the Hollywood system. Like, waaaaay outside the Hollywood system.

And DC, the former granddaddy of the genre? They tanked at least two very lucrative franchises because they forgot about pleasing fans and got cynical about their own intellectual property. Nobody, for instance, then or now, was willing to take 1997’s Batman and Robin seriously. For God’s sake, the batsuit had nipples. Holy unnecessary anatomy, Batman! You’ll poke someone’s eye out!

The 21st century, however, has seen quite the reversal in fortune for comic book adaptations. Boy, has it ever. In the year 2020, the biggest, most financially successful films in motion picture history feature superheroes, most of which are Marvel characters, because the notion of a working cinematic universe turned out to be an absolutely genius stroke. So how did this happen? What turned the silliest of nerd pastimes into a multi-billion dollar entertainment powerhouse?

In a few months, Writing to Be Read will be running some special articles in honor of national comic book month. May, by the way, is usually the time Marvel unleashes its biggest contender for the year. 2019’s Avengers: Endgame was a blockbuster of epic proportions, and over at DC, they’re cooking up a Wonder Woman sequel, a possible sequel to the Oscar nominated Joker, yet another Batman reboot, and Birds of Prey just hit theaters last week (and immediately flopped; sorry, DC).

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Two things account for the dynamic transformation comic movies have undergone in the past twenty years: the aging-up of the comic-loving, video-game-playing, anime-watching nerd population, and the success of a movie called Blade.

For those who’ve never seen it (and at this point, it’s a little bit obscure), Blade is a 1998 Marvel action-horror flick starring everyone’s favorite vampire-slaying daywalker. Wesley Snipes took the lead role and made him exceptionally cool. And since he was still a bankable star, the film overperformed. The success of Blade emboldened Marvel to take the plunge and adapt one of their most popular properties, The Uncanny X-Men. Featuring all the fan-faves like Wolverine, Cyclops, Storm, Gene Grey, and Professor X, 2000’s X-Men was not exactly faithful to the source material, but it was thrilling to finally watch a Marvel movie that didn’t suck. Again, the idea of an entire working cinematic universe was just a glint in the eye of current Marvel Studios chief, Kevin Feige. The success of X-Men paved the way for the Spider-Man series, halfway decent adaptations of Hulk, Daredevil, Punisher, and The Fantastic Four, and at last, the granddaddy of all franchise starters, Iron Man.

In truth, however, the modern comic movie owes everything to Superman and its star, Christopher Reeve. His first turn in the famous blue tights hasn’t aged exceptionally well, but it still stands out as one of finest examples of a big-screen superhero adaptation done right. Gone are the childish theatrics and abysmally small budget, the mindless plot, and for the most part, the wink-wink, nudge-nudge counter culture irreverence of something like the 1960s Batman television series. Superman: The Movie took its source material seriously. Richard Donner, the film’s director, insisted on a high level of verisimilitude, which isn’t something most Hollywood filmmakers would’ve gone for. Word has it the original screenwriter—none other than Mario Puzzo of Godfather fame—loaded his script with so many tongue-in-cheek gags the film may as well have been a super-farce. For an entire generation of fans, Christopher Reeve embodied the Man of Steel, fighting for truth and justice, making everyone believe a man could fly.

And of course, historically the franchise bombed out after four entries because, you know, DC. Same thing happened to the Batman franchise in the nineties. The folks at Warner Brothers were so shocked and sickened by Tim Burton’s Batman Returns, they snatched the option to make a third bat-sequel from his grubby, weird, Edward-scissor-like hands and passed it off to the marketing machine. Again, four movies was all that first Batman series got, but by then, the genie was out of the bottle, and it wouldn’t be long until Marvel ruled the roost. Marvel, by the way, had been in bankruptcy right until the time X-Men released in theaters. Quite a Cinderella story for the House of Ideas, one nobody could have predicted two decades ago.

In 2008, Marvel and Paramount Pictures released Iron Man, and it was off to the races. Starring the always impeccable Robert Downey Jr., Iron Man injected new life into the genre, and in so doing, completely rewrote the rules of Hollywood. Over ten years later, the Marvel Cinematic Universe is twenty-three movies strong and still growing. Two MCU movies are scheduled to hit theaters in 2020, Black Widow and The Eternals. The thing about Marvel is they’re willing to take risks, knowing that if they do their characters justice, fans will show up. And we do. In droves.

The MCU is truly a mighty thing, containing team-ups like The Avengers and Guardians of the Galaxy, more experimental and hipper entries like Thor: Ragnarok (and doubtless) the upcoming Thor: Love and Thunder, politically relevant films like Black Panther, and everything in between. Yeah, they’re still just silly comic book movies, but the entire world is in love with them, and their impact on our culture cannot be overstated. Just imagine all those kids growing up with Captain America posters on their walls. That’s a lot of money in the making, and Marvel’s parent company, Disney, knows it.

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The future of this genre is wide-open, and its not hard to imagine a time Marvel and DC have become two of the most powerful and ubiquitous entertainment companies in the world. Their most popular characters are already known everywhere, and they have been for decades. Really, this is just the cherry on top for a literary form invented for children in the first half of the 20th century. Superman wasn’t just the first superhero, he was the first super media product. The chiseled face that launched a thousand ships. And that doesn’t even begin to account for all the successful and wonderful comic book movie adaptations that don’t include a single cape or superpower. Greats of the sub-sub genre include Ghost World, American Splendor, 300, Road to Perdition, and Sin City. Check any of those out for a palate cleanser. You won’t be disappointed.

It’s funny, but the comic book industry itself has only shrunk in recent years. The good news for comic readers is the movies aren’t likely to completely replace good old paper and ink any time soon. After all, where would all those mega powerful, newly wealthy studio execs get their ideas? What, Hollywood come up with something fresh? Yeah. And Captain America is a communist.

Next month we’ll get back to the movie reviews, folks. For now though, go and have yourself a Marvel movie marathon, especially if you’ve never done one before. Yeah, it’s a lot of confusing action and universe-ending doom, but hey, saving the world has never been so fun. Or so lucrative. Am I right, Disney?


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative short stories are collected in Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, Nashville Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, God’s Body: Book One – The Fall, is available on Amazon now!

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Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!


You can keep up on what Jeff’s been watching and catch all of his great movie reviews the second Friday of each month on Writing to be Read. Subscribe to email or follow on WordPress today.


A Farewell Tribute to Tom Johnson

Tom's Back Cover Picture

Last week, we lost a dear friend of mine and a member of the Writing to be Read author family, Tom Johnson. Tom was a multi-genre writer for most of his life, mostly pulp fiction in the traditions of the classics, but in recent years, he dedicated himself to children’s fiction, with the intentions of creating stories for today’s children which reflect old fashioned values and morals in the traditions of the stories his mother read to him as a child. Tom took part in Round 2 of my “Ask the Authors” blog series, (which will become a published book by WordCrafter Press soon), and I interviewed Tom about his children’s stories back in 2018. He had some great things to say about writing for children that may be relevant here, since the Writing to be Read theme for November is young adult and children’s fiction. With that in mind, I’m reprinting that interview in part here, (you can read the full interview here), as we remember our friend and fellow author. Tom may be gone, but his wisdom lives on. This is what writing for children meant to him.


Kaye: Although in the past, you’ve written and published many different genres, you are currently writing only children’s stories. So, let’s talk about that. Tell me a little about your stories.

Tom: My children stories are about 1k and meant as bedtime tales, and to be read in classroom or library settings. They are short stories with little morals to teach children something about life.

Kaye: Are they a series or stand alone?

Tom: They are a series, and published in anthologies about once a year. There have been four anthologies so far. I was invited to participate beginning in volume #3. The anthology is called Wire Dog Storybook. Here is the background. True story. A young girl, Ellen Walters, asked her father, David Walters, if she could have a dog, and he said, “No.” So she found an old wire hanger and shaped it to resemble a dog, and called it wire dog. David Walters was fascinated by her ingenuity and created the Wire Dog storybooks. So the stories usually feature Ellen and Wire Dog, but always Wire Dog. Five of my stories have been published so far, and I’ve written three more for the 2018 yearbook when it comes out at the end of the year.

Kaye: What age group are they aimed at?

Tom: I feel that we should begin reading to our children by age one. With that in mind, my stories are aimed at the age group of 1 to 5. However, older children will enjoy the stories, as do adults.

Kaye: What differences do you see between writing for children and writing adult fiction?

Tom: Adult fiction usually means, “no holds barred”, while writing children stories you want to stay away from violence, horror, and adult themes. Keep in mind, young children absorb what they hear quickly, and some themes could have an adverse effect on young minds. When writing for children we must keep this in mind.

Kaye: What appeals to you about writing for children?

Tom: Do you remember the old radio show for kids, Let’s Pretend ? It produced shows for children that acted out fairy tales and light adventures – nothing as harsh as today’s cartoons that are aimed at our youth. Well, I have the chance to import my love for adventure in tales easily understood by young people; children who some day may also experience that same love to pass on to their children. Stories that give our children a moral to live by, not “It’s clobbering time!” Or Pow! Bang! Boom! It’s something my mother did for me when I was little, and now I have the same opportunity, and I’m not going to pass it up.

Kaye: You have wanted to write for children since you were little and your mother used to read to you.

Tom: Oh, yes. I hope that mothers are still reading to their children. They learn at such a young age, and we’re missing an opportunity if we fail them when they’re young. They will never forget what they learn as children, it’s when their minds are growing and grasping at everything. I think one of the first words they learn is, “Why?”

Kaye: What were your favorite children’s stories?

Tom: Really, I would have to look them up in the book of fairy tales on my shelf. There were so many she read to me. Knights saving young damsels come to mind. I remember one particular fairy tale where the princess was on a glass mountain, and the young knight had to save her. She watched each day as a knight riding brown horse attempts to scale the glass mountain, then a knight on a white horse, and so on, until the final day when a knight riding a great steed scales the mountain, and we find out that he was the knight on the brown horse, the white horse, etc. It wasn’t the color of the horse, but the persistence of the knight that finally achieved the goal.

Kaye: In what ways do the stories you write emulate those favorites from your childhood?

Tom: Like the fairy tale I mentioned above, my stories will also have a similar moral – it’s not the color of the horse, or the knight’s armor, but his persistence that wins the hand of the princess. Do the right thing, for the right reason. Persevere. If you don’t succeed today, try and try again.


The stories that we hear and read in childhood often stick with us into our later years. Even though Tom wrote other fiction through the years, as he grew older, it was the stories that his mother read to him as a child that inspired him. That’s what writing children’s fiction is all about.

Tom Johnson Books

Tom’s other works included pulp, crime and science fiction stories right up there with the best, and many may be familiar with his promotions for them on Facebook. His covers seem to reach out and grab your attention.  He published over eighty books during the span of his career. In that previous interview, Tom claimed that Alien Skies was born from his most unusual inspiration and the Guns of the Black Ghost was written as a homage to Walter Gibson’s The Shadow radio drama. You can read my review of Pangaea: Eden’s Planet here.

Tom Johnson and wife Ginger

Writing was a big part of Tom’s life. It was important to him. But, Tom was more than just a talented and dedicated writer. He was also a loved life partner to his lovely wife Ginger. She was supportive of his writing, and I believe she edited some, or perhaps all of his work. With Ginger at his side, Tom lived a life doing what he loved – bringing his characters to life.

Tom, farewell. You will live on through the plethora of books and stories you’ve left us with, but you will still be greatly missed.


Are you a Tom Johnson fan? If so, feel free to leave a few words in the comments telling us what Tom meant to you, or share a memory, or just tell me which of his books is your favorite.  Thank you all for joining me in saying good-bye.

 


Jeff’s Movie Reviews – Joker

Jeff's Movie Reviews

Who’s Laughing now? Anyone? Anyone?

by Jeff Bowles

At one point in time, the Joker was the super villain you loved to hate. Introduced in the very first issue of Batman, published in 1940, the Clown Prince of Crime has spent decades as an icon of the kind of humor that kills. He’s crazy, occasionally buffoonish, almost always invested in some overly complex hair-brained scheme, and what else can be said? The guy loves to laugh.

Except the Joker has evolved in the last ten years or so, predicated by Heath Ledger’s legendary turn in 2008’s The Dark Knight. His Joker was different, more menacing, quicker to kill with a gun or a knife, as opposed to laughing gas or a rubber chicken set to explode. This was not the Joker that generations of fans had grown up with, but Ledger’s performance was outstanding, and the fact that he died before the movie came out only increased his popularity. Warner Brothers and DC Comics seemed to have decided something at that point. The Joker people really wanted to see was less Cesar Romero and Jack Nicholson and more Ted Bundy and Jeffrey Dahmer. Enter Jared Leto’s performance in 2016’s Suicide Squad, which, while certainly enthusiastic, was more or less utterly ridiculous and clearly manufactured to up the ante on Ledger’s Joker on every front.

And now we finally have a Joker standalone film, starring Joaquin Phoenix in the title role. It’s R-rated, morose as a funeral, and seems to have misplaced the classic jolly clown that keeps hyenas as pets and shacks up with a blonde in a jester costume. Notably, even DC Comics has altered the Joker in their own source books, because, I suppose, they don’t understand what too much of a good thing is. This character has in recent years been a literal monster, a frightening urban legend, a crazed sadist, who in one famous 2009 story line, removed his own face and pinned it to a wall (though he still had time for a joke or two).

2019’s Joker film has done something with Batman’s arch nemesis that has never been attempted before. It’s taken the fun out of him. Phoenix’s portrayal is both woeful and terrifying, sympathetic and pityingly childlike. Batman isn’t in this movie, but if he were, you’d kind of hate the guy for beating the crap out of poor Arthur Fleck. In basic truth, we never love to hate this Joker. First we feel bad for him, then we want to run the hell away. He’s an unfortunate guy in a series of tremendously unfortunate events who learns the value of self-confidence once and only once he’s blown away three miscreants on the subway. The movie is more or a less a monotone depiction of a modern mass killer. It’s only got one speed: decay.

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More than this, it feeds into the stereotype that people with severe mental illness are dangerous and scary. I hate to break the movie reviewer fourth wall here, but as someone who suffers from schizoaffective disorder, it’s a little demoralizing. As I write this, the guns vs. mental illness debate rages here in America. Phoenix’s portrayal of an alienated, unstable, abused, and traumatized individual who one day decides to take his pain out on the world hits a bit too close to home. We live that reality. Do we also want to watch it on the big screen?

The rest of the cast includes Brett Cullen as Bruce Wayne’s father, Thomas, Robert DeNiro as a late night talk show host (completing DeNiro’s King of Comedy destiny), Francis Conroy as Arthur Fleck’s frail mother, and Zazie Beetz, a kind of romantic interest who turns into a Fight-Club-like twist that goes nowhere. A talented cast, not improperly used, but still, to quote the clown himself, why so serious?

And the truly insane thing about it is we’re talking about the Joker! Beloved cultural icon since 1940. Yes, it’s a more realistic version of the character, and yes, the guy has been shown in so many different ways, there’s almost certainly a financially viable infinite multiverse of Jokers who could range from saccharine sweet to, well, Joaquin Phoenix depressing. But for crying out loud, I laughed once and snickered once during the entire running length, and in both those instances, not a single exploding chicken!

I kid of course. Someone ought to.

Ultimately, the real sin of this movie is a cinematic one. It’s a bit of a slog. It’s the equivalent of painting a jolly portrait using only grey. There are no highs, no true delirium, nothing of the brilliance it yearns to express. Joker isn’t exactly a bad movie. It’s probably ill-timed, and it’s debatably irresponsible, but for true Batman fans, it’s gratifying to see a favorite character shown so much respect. Or is that disrespect? Mileage may vary.

If only they’d remembered to invite Batman to the party. Does it say something about 2019 that we’d rather watch a movie about the villain than the hero? Joker is a downward plunge that never comes back up. It never relents, never provides us a single ray of light or shred of hope. That would normally be, you know, Batman’s job to provide. Speaking of which, if the guy dressing up like a giant bat is saner than you are, it’s entirely possible you’re not as funny as you think you are. Which explains… everything, really.

Jeff’s Movie Reviews gives Joker a 6 out of 10.


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative short stories are collected in Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, God’s Body: Book One – The Fall, is available on Amazon now!

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Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!


You can keep up on what Jeff’s been watching and catch all of his great movie reviews the third Friday of each month on Writing to be Read. Subscribe to email or follow on WordPress today.


“God’s Body”: A post-apocalyptic tale with a new kind of hero.

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God’s Body, by Jeff Bowles has one of the most masterfully crafted openings that I have read in a long time. By the beginning of the second paragraph, he had placed me in the setting, I knew this was like no other story I had ever read, and I was hooked, which is what a great opening should do. It impressed me so, that I asked the author’s permission to reprint it here.

“The toe was an ungodly mountain of flesh. As massive as it was inexplicable. It clung to the Earth like a bulbous pink tumor. Enormous, all-encompassing, the height of a skyscraper, the breadth of Niagara Falls. Rain water washed through its thick patchwork of crevasses and cracks. Long vertical rivers lapped at skin-cell canyon walls. There were flesh creeks and tidal waves. The toenail itself was the hanging shelf of the world.

Then Harold looked higher and saw the rest. Lord God Almighty…”

FB_IMG_1561221566724 You just can’t read this and not want to know more. It’s obvious this isn’t going to be your average, everyday story, and you must read on in anticipation of what will come next. It’s clear this will be a story of epic proportions, and Bowels does not disappoint. God’s Body is an Armageddon story like no other; a post apocalyptic tale of good vs. evil in the best of pulp fantasy traditions, if such traditions existed. Bowles pulls out all the stops, using humor, irony and contemplation of the human condition to tell his tale with skill and craftsmanship. Everything about this story is of epic scale.

I’m not going to give you a rundown of this story line because the whole thing was such an entertaining read that I wouldn’t want to give out any spoilers, but what I will tell you is that in addition to the wonderful writing talent of Bowles, the artistic craftsmanship of Writer’s of the Future illustrator Pat R. Steiner accompanies this story with some truly awesome illustrations like the one seen here.

A truly original story that puts a new twist to an age-old theme. Written with skill and talent in a literary work of true craftsmanship, God’s Body is like nothing else you’ve ever read. I give it five epic quills.

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Kaye Lynne Booth does honest book reviews on Writing to be Read in exchange for ARCs. Have a book you’d like reviewed? Contact Kaye at kayebooth(at)yahoo(dot)com.

 


Jeff’s Movie Reviews – Shazam!

Jeff's Movie Reviews

Just say the word.

by Jeff Bowles

(Be sure to check out my video review of Shazam! on YouTube’s Jeff Bowles Central.)

Shazam! is the kind of movie just about anyone can get behind. Film audiences segment into a multitude of groups, but when it comes to comic flicks, you’re either on board for the ridiculousness or you aren’t. Younger audiences tend to take a movie like this more seriously, whereas more mature viewers are often left scratching their heads. When science fiction and fantasy work best, they indulge in a certain real-world approach to emotionality, family, romance, regret, passion, and they do so at high enough levels that any and all nerdy accoutrements go down a little bit smoother, in that for many people out there, they’re extraordinarily hard to swallow.

Shazam! is a big, fun, friendly superhero movie with more heart and humor than just about any other DC Comics offering made in the last twenty years. During a time in which Superman is angst-ridden and Batman is a violent rage-freak, Shazam! understands home is where the heart is. Ask any comic movie fan the difference between the two behemoth companies, Marvel and DC, and you’re likely to hear Marvel is fun and DC is morose. Such is the genius of David F. Sandberg’s new movie. It feels Marvel-fun but engages the kind of deep archetypes and mythic dynamics DC Comics has been famous for since the 1930s.

Billy Batson is an orphan looking for a place to finally call home. He thinks finding his birth mother is the answer, but the truth is, if she’d wanted to be found, he wouldn’t have to break into cop cars and hack suspect ID computers for her deets. Enter the Vazquez family, genuinely supportive parental figures Victor and Rosa, and a full house of five other kids, all of them orphans. The dynamics at play in the Vazquez household expound in wonderful ways when Billy expects disaffection and dysfunction and finds hardcore familial love. And the other kids are all great to watch onscreen, always eager with another funny quip or charming character quirk.

To wit, Billy’s roommate, Freddy (Jack Dylan Grazer), perhaps the best personification of a sympathetic sidekick you’re likely to see all year. He’s disabled, hilarious, and he’s got a keen geek obsession. Superheroes, after all, exist in this world in spades. In fact, one of Batman’s famous baterangs is a star narrative prop, and Freddy’s knowledge of said-comic-isms comes in pretty handy when Billy gets his powers and then has to figure out what the hell to do with them.

Off world or in another realm, or wherever/whenever else you prefer, the ancient god of right-makes-might, Shazam (Djimon Hounsou), searches for a suitable replacement after millennia of tireless service. Unfortunately, the forces of evil are on the hunt for a successor, too. The clock’s seriously ticking, so in a spray of CG pyrotechnics and unexpected altruism on Billy’s part, Shazam summons our would-be hero to his mysterious throne room and endows the kid with strength, speed, flight, and of course, killer lightning powers. All Billy has to do is say his name, and he’ll transform into a musclebound adult version of himself in a red suit and sparkly white cape. Zachary Levi plays the god-like, full-grown superhero with all the adolescent joy, immaturity, and zany recklessness we’d expect from a teenager stuck in a man’s body. This is the where the movie kicks into full Tom Hanks’ Big mode, and Levi is the perfect choice. You get the sense this kind of thing is a walk in the park for him. It’s almost criminal how much fun he appears to be having.

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Just as Billy begins to feel confident in his new dual identity, the evil Dr. Sivana (Mark Strong)—similarly endowed with incredible power, but by monstrous avatars of the seven deadly sins—arrives to threaten his heroic dominance, his life, and all the wonderful new people he’s come to love. The real joy of Shazam! is that it takes for granted how crucial it is to have people who care about and support you. So when Mom and Dad and all the other kids are in danger, we really feel the urgency. The filmmakers value them and what they mean to Billy, and we can’t help but do the same.

Billy Batson may not be a groundbreaking addition to the world of comic movies, but he does offer us a glimpse at a different kind of pop superhero psychology. There’s not much tragedy, horrific scarring, or trauma in his makeup, no more or less than in you or me. It’s almost a relief that the film only sparingly engages in world-ending theatrics. An interesting paradigm emerged in March and April, 2019 when Marvel Studios released Captain Marvel, and Warner Bros./DC released Shazam! As any fan will tell you, Shazam was also originally called Captain Marvel, and years ago, the two companies settled the branding dispute out of court. Apparently, Marvel was dead set on maintaining a character that carried their moniker and DC, well, maybe they realized Shazam is a better name for a boy-in-man combo that literally cannot do anything cool unless he, as the advertising declares, says the word.

But whereas Captain Marvel was a movie about finally realizing the power that always dwelt inside, Shazam! is about a sudden overwhelming change of fortune. Sometimes the thing you need most is right there in front of you. It is also admittedly the ultimate adolescent boyhood fantasy to wake up one day and find out you’ve got super powers. Shazam! won’t win any awards for exploring gender, sexuality, or race, but its heart is in the right place, and lest we forget, we could still be watching scowling Superman beating the crap out of growling Batman for no discernible reason other than MUSLCES! ANGER! KA-POW!

Billy Batson is enormously relatable, the perennial loner and outsider who has so much more to offer people than he knows. Who hasn’t felt unloved? Who’s never been lonely? Yet isn’t there always just a bit of hope in all the neglectful crap we have to put up with? Someday an amazing person will recognize me, and I’ll finally come home. It’s the emotional psychology of a movie like this that makes it so effective. Yes, the world is a terrible place sometimes, but when we take off our costumes and put away our utility belts, all we really want to do is laugh and dream.

On the surface, Shazam! is just another silly superhero movie in a sea of nearly identical offerings. But it’s also a fine example of comic book storytelling done right, supremely enjoyable, heartwarming, surprising, in fact more than enough to redeem the brooding misanthropy of other recent DC films. It rivals the very best of Marvel, and what’s more, it recognizes when a cape is just a cape. You don’t need to wipe out half of humanity or destroy the globe to bring out the hero in people. When the chips are down, all you have to do is say the word.

Shazam!

Am I … am I still here? Still just a slightly overweight yet lovable, handsome, and humble author/movie reviewer? I’ll work on that. We’ll get there, folks.

The new Shazam! movie gets 9 sparkling red tights out of 10


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The first Wednesday of every month, you can find him dispensing writerly wisdom in Jeff’s Pep Talk, right here on Writing to be Read. The best of Jeff’s outrageous and imaginative short stories are collected in Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars.

Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – Short Stories – So Much More!


You can keep up on what Jeff’s been watching and catch all of his great movie reviews the third Friday of each month. Subscribe to email or follow on WordPress today!


Jeff’s Movie Reviews – Captain Marvel

Jeff's Movie Reviews

The Marvelous Mrs. Marvel

by Jeff Bowles

(For more on Captain Marvel, be sure to check out my full video review)

As far as Marvel movies go, Captain Marvel feels refreshing, if a bit familiar. It carries with it little of the eccentric energy found in other recent Marvel flicks like Thor: Ragnarok and Guardians of the Galaxy Vol. 2, but it also requires less of audiences who have yet to drink the Marvel Kool-Aid. Much like 2018’s box office behemoth Black Panther, the hero in question is not a white male, and as the star of a major Hollywood production released in the #MeToo era, that makes all the difference.

Which isn’t to suggest Marvel Studios’ latest doesn’t give plenty of nods to what has come before, and perhaps in a more lucrative vein, to what’s still headed our way. We finally learn how Nick Fury lost his eye, for instance, but filmmakers Anna Boden and Ryan Fleck are also thrilled to butter us up for that big late-April showdown called Avengers: Endgame (check your calendars, kids. Don’t forget to pre-order all the toys, and oh yeah, maybe a movie ticket or five).

If superhero tropes and comic-isms are as indecipherable to you as Kree battle language, odds are good the scope and scale of the Marvel Cinematic Universe rings hollow. Some of us have been on board since we were kids, leafing through our favorite monthly Marvel comics like little back-issue hording zealots. But if your speed is less Captain America and more … well, any other movie ever made, really—it’s safe to take heart. Captain Marvel is a pretty good jumping on point.

Carol Danvers (Brie Larson) is an Air Force fighter pilot with super-powered amnesia. A strange event in her past wiped her memories clean and granted her incredible abilities, the sum total of which she’s dutifully employed freedom-fighting for a race of intergalactic warriors known as the Kree (best personified by her squad leader, Yon-Rogg—played by master geek-movie thespian, Jude Law). When the Kree’s deadliest enemies, a race of green shapeshifters known as the Skrulls, capture Carol and bring her back to Earth, the nascent Captain Marvel must team up with S.H.I.E.L.D. agent Nick Fury (an impressively de-aged Samuel L. Jackson) to discover the secret behind the pivotal accident. Plus, you know, she’ll get to rock out to an unquestionably righteous and eclectic 90s soundtrack.

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The fact that this movie takes place in 1995 only adds to its charm. There are era-specific nods and in-jokes aplenty, including a fun Stan Lee cameo that’ll tug at your sense of nostalgia. The film’s setting also means that most of the super-heroic hi-jinks found in the other 20 MCU movies have yet to occur. It’s a prequel more than anything else. Rounding out the cast are an unexpectedly funny Ben Mendelsohn as Skrull commander Keller, Lashana Lynch as Carol’s best friend, Maria Rambeau, and a de-aged Clark Gregg, happy to take a break from playing Agent Coulson on ABC’s Agents of S.H.I.E.L.D. to play … a younger-looking version of the exact same character.

Additional highlights include a cute but vicious orange cat named Goose, though I won’t spoil the big reveal here, and the marvelously named Air Force marvel, Mar-Vell (a somewhat spaced out and liminal Annette Bening). For the most part, Captain Marvel gets by on its charm. It’s best described as an above average superhero origin story, but unfortunately, there remains a certain amount of roughness in its narrative. Big chunks of exposition get belted out from behind scads of green creature makeup, and the grand finale carries enough logic gaps you may find yourself wondering, “She was just fighting that guy. So now who are these people?”

A lot of early buzz surrounding this movie included controversial comments made by Larson herself, but really, if a storytelling medium largely created by boys for boys can’t come to grips with a few girls getting in on the action whenever they damn well please, there’s less hope for this world than any of us could have ever imagined. Captain Marvel as a character has been blasting across the universe since the late sixties, but it was only in recent years that a woman donned the suit. And Larson does a fantastic job portraying Danvers on film. She is cocky, self-assured, funny, compassionate, caring, and once her full powers get unleashed, wonderfully formidable. A certain kinship evolves between her and Samuel Jackson’s Agent Fury, and moments spent in the Louisiana home of her best friend Maria prove that an intergalactic badass can be all about family, too.

Audiences are likely to get more out of the experience if they possess a running mental lexicon of all things Marvel, but unlike last year’s Avengers: Infinity War and the forthcoming Avengers: Endgame, Captain Marvel is likely to be a fun time no matter what prior knowledge you have going in. If you’re burned out on films featuring god-like people beating the holy Skrull out of each other, you may be better entertained elsewhere. But as Thor Odinson once famously declared to the world-eating demon Surtur, “That’s what heroes do.”

It’s a very geeky multiverse we live in, people.

Jeff’s Movie Reviews gives Captain Marvel an 8 out of 10.


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The first Wednesday of every month, you can find him dispensing writerly wisdom in Jeff’s Pep Talk, right here on Writing to be Read. The best of Jeff’s outrageous and imaginative short stories are collected in Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars.

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Artemis: From Vigilanty Diety to Superhero

Artemis

 

One town, two killers and the body count is rising.  Artemis, by Chris Snider is the tale of how freak set of circumstances turned an ordinary scientist on the brink of death into something no longer human. With superhuman powers, including the ability to command animals, Joseph Art becomes Artemis, defender of animals and the innocent or vulnerable. The police don’t know whether they should string him up as a vigilante, or pin a medal on him. After he comes face to face with the evil clown axe murderer, the stakes are raised and the hunt becomes personal, and no one knows what will happen when the two killers confront one another a final time.

The individual storylines are skillfully woven into a single plotline and action filled climax. I give Artemis four quills.

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Kaye Lynne Booth does honest book reviews on Writing to be Read in exchange for ARCs. Have a book you’d like reviewed? Contact Kaye at kayebooth(at)yahoo(dot)com.