I’m currently on a documentary kick and Netflix does have a few streaming that focus on comics or comic book culture. I figured this would be good for a laugh. Or at least a way to waste a few hours.

Comic Book Confidential
Even though this documentary was made in 1988, it still feels very relevant now. The primary focus is on alternative comics — works and creators outside the superhero genre, although those are definitely acknowledged — and I think that’s a side of comics that rarely gets enough attention historically. Yes, we all know about the rise of DC and Marvel, the stories of superheroes, all of that, but these underground creators contributed more than I think most people realize to the look and feel of comics today.

I was delighted to see how many of them are still working today — creators like Lynda Barry and Charles Burns are featured here, along with Jaime Hernandez and Art Spielgman. I also think the sight of an awesomely long-haired Frank Miller at the end being all self-important is quite incredible.

But really, if you want to know the history of comics and side of that history that doesn’t get nearly enough attention, this is a good place to start. I have no idea why more people haven’t told me to watch this documentary before. Nor do I have any idea why I haven’t watched it until now.

Starz Inside: Comic Books Unbound
This is from 2008, and already seems a bit dated (in contrast to Comic Book Confidential, which doesn’t), especially since it was made before the economy tanked and Spider-Man got rebooted and the manga market took a downturn. And it definitely shies away from any criticism of the movies covered here, even when it’s probably deserved.

But it’s actually a pretty decent overview of the history of comic book movies. While there’s plenty of typical studio talking heads, it does feature interesting creators like Paul Pope and Mike Mignola as well as director Richard Donner. The overall tone here is completely flattering, even when they touch on some of the goofy live-action projects Marvel did in the ’80s and ’90s (but no mention of the TV movies for Nick Fury or Generation X, even though the Spider-Man and The Hulk series got passing mentions. I think some things are better off forgotten). But case in point: There was no acknowledgment that Marvel is still making bad movies (Daredevil? Elektra? I somewhat like Elektra, but I’m not going to tell you it’s good).

Still, I like that they do pay some attention to non-superhero comic book movies like The Road to Perdition and A History of Violence as well as American Splendor. And although the “looking into the future” predictions aren’t quite accurate now, I still think it’s clear that comic book movies are big business. I was surprised by this. I wasn’t expecting too much from it, but underneath the breathless tone of “these movies are awesome!” there is something of substance here.

Confessions of a Superhero
This 2007 documentary isn’t so much about comic books, except in the most abstract of ways. Rather, it’s about four people who dress up as superheros (Superman, Batman, Wonder Woman and The Hulk) and let tourists take photos of them for tips.

Christopher Dennis loves Superman a little too much — he has an overcrowded apartment full of merchandise and memorabilia and rarely takes the costume off. Maxwell Allen has inflated claims of his past as a supposed mob enforcer (as well as his resemblance to George Clooney) and seems to take being Batman a little too personally.

On the other hand, Jennifer Wenger, who dresses as Wonder Woman, and Joe McQueen, who dresses as The Hulk, both seem to understand this is just a way to make money in between acting jobs.

Wenger comes across the best of all four — she’s the most down-to-earth and genuinely sweet. McQueen also seems to understand his limitations and has overcome hardship (he was homeless for a while).

The other two? They both have obvious problems. Dennis claims to be the son of Sandy Dennis, but her family says he’s not. His obsession with Superman comes across as a compulsion (and his apartment is nearly something out of Hoarders). Allen is charming enough, until his outlandish stories begin to pile up (he claims to be great at various martial arts, but one scene in a martial arts studio would say otherwise. Perhaps not surprisingly, both seem to think dressing up as superheroes will provide them with their big breaks.

It’s a little painful in parts and it’s more about these four lives than any deeper message. But there’s still something sad and fascinating about how people are delighted and happy to pay money to get their photos taken with someone — anyone — dressed as their favorite heroes. There’s some power there.

Maybe this time next year, I’ll have the Comic-Con documentary that Joss Whedon, Harry Knowles and Morgan Spurlock are making this year. I suppose we’ll see how that turns out.

“God, just think — we’ll never see Dennis again. No, really, think about that. It’s actually totally depressing.”
–Enid, Ghost World

That’s right. It’s back after a very long absence (and yes, I know this is going up early Sunday, but I got started watching the movies late). Tonight, we have a pair from 2001 that both deal with what it was like to be a young woman right at the turn of the century. Or something. It does make sense.

I graduated from high school in the very late ’90s, which put me in college just as the new pop revolution was occurring. Even when we made fun of them, Britney Spears, Christina Aguilera, the Backstreet Boys and *NSYNC were omnipresent. We watched TRL even if it was just to mock it. We may have acted like we were so much cooler than this music, but we all knew it.

Josie and the Pussycats (2001) really wants to be subversive. It really wants to criticize the pop culture of the time — the blatant consumerism, the Millennials’ tendency to buy first, think later (see also, The Merchants of Cool, an episode of Frontline from the same year). I wanted to like it and I definitely liked things about it, but I don’t think it quite worked.

I am operating under the assumption that other than the key characters, this bears very little resemblance to the comic that shares its name. Our three leads are likable — Josie is played by Rachael Leigh Cook, who I don’t think we get to see enough of; Rosario Dawson is her awesome self as Valerie; and Tara Reid plays the ditzy Melody (cue sarcastic comments about how Reid is basically playing herself).

The Pussycats make it big, after a chance meeting with a sleezy record producer Wyatt (is there any other type in movies?) played by the always game Alan Cumming. His employer is the hilarious Parker Posey. In case you haven’t noticed so far, it’s really the quality of the casting that carries this movie. With others in these roles, it would be far less interesting.

And as it is, it’s not particularly interesting, honestly. Once you get the joke — Pop music has subliminal messages! That tells teenagers to buy stuff they don’t need! — it’s pretty easy to get bored. And considering you’ll get the joke about 20 minutes into it (if not sooner), that’s kind of a long time to be bored.

Then there’s the product placement. Look, I’m pretty much a fan of blatant product placement (I personally think Lady Gaga’s use of it in the “Telephone” video is hilarious) but this beats you over the head with it. There’s a fine line between “Ha ha, we know how goofy it is to have products in movies!” and “This is a commercial.” And this movie kind of crossed that line for me.Yes, a plane with a Target-branded interior is initially funny, but once there are hotel rooms covered in Revlon logos and a McDonald’s-themed bathroom, the joke becomes less and less funny. No matter how knowingly it’s done, it begins to feel like it’s just trying to sell you things, which is the very concept this movie claims it’s against.

It’s kind of cute and kind of funny (and I think the beer I drank while watching it helped on those accounts) but in the end, it’s not much better than disposable culture it’s mocking (and I couldn’t help but notice that Revlon’s Street Wear brand, which was featured prominently in a couple of scenes, is no more, as is MTV’s TRL. And what happened to Carson Daly anyway?

On the opposite end of the spectrum, but also from the same year, is Ghost World. Based on Daniel Clowes’ comic, the movie’s teenage girls are untouched by current pop culture and basically go as far to outright reject it.

We first meet Enid (Thora Birch) as she’s graduating from high school (well, almost — she’s told she still needs to take an art class). She’s the sort that’s too smart for her own good. To me, it’s not so much that she believes no one is worth her time as much as it is she just sees through all the pretense everyone else has. She doesn’t much care what anyone else thinks, or at least that’s what she wants everyone to believe. But Enid, undoubtedly, loves being herself.

As the summer progresses, she finds conflict with her best friend Becky (played Scarlett Johansson, before she was getting all sexed-up to be Black Widow), who wants to move on with her life and grow into adulthood, and friendship with an older, music-obsessed loner named Seymour.

I like this movie. But then that should come as a shock to absolutely no one (in fact, several coworkers have said to me “You’ve seen Ghost World” as if it’s a statement of fact rather than a question when they had no way of knowing otherwise). It’s the sort of story about teenage girls that doesn’t get told. Enid never got any sort of makeover or “taming.” Nor did she end up with a boy. She just got to be herself. She captured the sort of listlessness that comes with not quite being sure who you need to be, and director Terry Zwigoff lets her shine, and lets this be her story.

I do feel like the movie didn’t quite know what to do with Seymour in the end. His fate maybe isn’t cruel, but it does feel a little undeserved.

Still, that’s a pretty small complaint about the movie overall. I like the comic too (although it’s been a good while since I’ve read it) but in some ways, I think I prefer the movie more.

(I’ve never really watched Lost before, which is because I have an awesome tendency to start watching shows right before they end. I blame Netflix’s “watch now” feature for this. I will likely be caught up for the new season, if I can manage to see all of Season 5 before then.)

I am delighted to see all sorts of comic book people in the credits, beyond J.J. Abrams (who is more just a fan/sympathizer at this point). Maybe that’s a post for another time, though. Something about how TV and comics are very much related, at least more so than movies (I think comic books and theater are more related, but well, that’s completely a post for another time).

Basically, this is saying if you don’t hear from me for a while, you know what I’m doing. I’m keeping a Lost diary at my LiveJournal, if you’re interested.

Tick: The Complete Edlund

The Tick was my first indie comic.

Back in the early ’90s, I had a couple of letters published in a couple of issues of a title I will not name, and this being the era when they would actually include your home address (it was before the Internet reached saturation, OK?), some people wrote me back. One became a very good friend. And he, among other things, sent me The Tick Omnibus and a few issues (I think I had at least through issue #9, if not through issue #12).

All of this was before the cartoon, before the live-action TV show, before creator Ben Edlund was writing and producing alongside Joss Whedon (all of which I’ll get to in a bit).

Edlund’s broad parody of superheroes, following an insane asylum escapee in a blue suit calling himself the Tick, still works pretty well. The Clark Oppenheimer bits in the earlier issues are a little obvious (who hasn’t made fun of Superman’s secret identity? Before or since?) but The Tick’s utter cluelessness is still fun.

Some of the references are a little dated — Oedipus serving as a stand-in for Frank Miller-era Elektra, the obsession with ninjas — but it’s still self-consciously delightful (and probably no more dated than Watchmen is now and people still love that). This was what comics were like in the 1980s and early ’90s. There was a lot to laugh at.

I was honestly surprised to see how well-paced this was. It’s not a gag-a-minute but it actually does tell a story (what it is, of course) and The Tick is fun to watch. Oedipus, even as a broad parody, is a likable heroine, and the ninjas are so goofy that they’re not much of a threat. The final issue in this volume, “Villians, Inc.” where superheroes hire bad guys to fight to create a reputation for themselves, does point to the preposterous nature of most comics and lets Edlund play with some bigger ideas.

It may not necessarily be the most relevant comic now, but it still works. It’s still fun. I was greatly entertained.

So back to all the other things.

Yes, in 1994, The Tick became a Saturday morning cartoon on Fox. At the time, I thought this was really cool but I don’t think it quite registered how bizarre it was to have this happen. I’d known about The Tick for a couple of years, after all, and it felt pretty much like common knowledge to me, even if it wasn’t.

In some ways, I think the cartoon worked better than the comic series. It was pretty faithful to the spirit of the series but it removed some of the darkness and just allowed the goofiness to shine through. It still had characters like Chairface Chippendale (and the Man-Eating Cow. I never got my Man-Eating Cow action figure, though, and I am still sad about that) but took away characters like the Chainsaw Vigilante, who always felt a little out of place to me. It gave us such villains like The Evil Midnight Bomber and awesome Galactus parody Omnipotus. The Tick cartoon was good stuff.

Here’s the opening:

The Tick live-action series started in November 2001 and ran for 8 episodes. People didn’t watch it because I don’t think too many people were in the mood to laugh then. I was one of the 10 people who liked it. Patrick Warburton was born to be The Tick and I liked that the series focused more on the mundane issues of every day life than the whole fighting crime aspect (because, after all, part of the point of The Tick was that none of the characters was really that good at being a superhero). It’s available on DVD or you can watch the entire series on Hulu.

This is my favorite episode, mostly because of the always-awesome Ron Perlman, but because of the hilarious gracefulness they handle the innuendo of superheroes and their sidekicks:

Like I mentioned, Ben Edlund went on to produce a few episodes of Firefly (and wrote one of my favorite episodes of the series, “Jaynestown”). He also co-wrote and directed the “Smile Time” episode of “Angel,” where our title character turns into a puppet. Sadly, neither are online. But I love that Edlund was able to take his sense of humor and translate it into these shows. He’s also worked on some episodes of The Venture Bros., which is highly appropriate.

I suppose none of that has much to do with The Tick as a comic, though, but I’ve loved following Edlund as a creator over the years. I still enjoy The Tick in all of its incarnations, sure, but I think it’s cool the diversity of projects Edlund is doing now.

X-Men Trilogy
3-DVD Box Set

I’m feeling a little too tired to attempt a double feature tonight. And since X-Men Origins: Wolverine is out next Friday, I figured this was as good of a time as any to re-watch the first X-Men movie.

This came out nine years ago. I find that incredible. I think a lot of comic book fans never thought it would happen, too. I don’t think I did. And I don’t think anyone thought it was going to be this good. X-Men definitely opened the door to superhero movies of quality and Bryan Singer made other “serious” directors think there was something to this whole thing.

In a bit of dream casting, we got Patrick Stewart as Professor X. We have have a knight as Oscar winners (even if one of them is in a bad wig). Of course, on the flip side, we have a couple of actors who aren’t really of note and, well, a supermodel and professional wrestler. But still, as far as the cast goes, this was pretty amazing.

After starting in an expected place — a concentration camp in Poland in 1944, the rest of the plot is probably too set-up as the X-Men assembles, but a lot of things are done right here. Wolverine’s relationship with Rogue is evocative of his relationships with characters like Kitty Pryde and Jubilee in the comic. He’s a troubled, somewhat unstable character, but he could also serve as the right sort of father-figure for Rogue. Wolverine’s sparring with Cyclops over Jean Grey is also fun stuff.

The friendship/rivalry between Professor X and Magneto is also gracefully handled. Their desires for mutants aren’t too far apart, but there are crucial differences that separate them. I like that this kept Magneto from being one-dimensionally evil. He was a villain to sympathize with.

The Senator Kelly stuff doesn’t quite work. Or at least, it doesn’t work as well as it could. Storm is also pretty useless. The effects look a little dated at this point, although still not terrible.

Nearly 10 years later, X-Men remains one of the more effective comic book superhero movies made. It’s true to the spirit of the comics and it’s still satisfying (the other two are … less so. The second one is still good. The third … well …). Watching it, I do feel excited for Wolverine. I think that’s a pretty cool thing, personally.

(Yes, I know the Amazon link is to the box set of all three, but I figured it was cheap enough. You can still find the first one and it seems to be under $10 at this point.)

Death Note DVD Buy at Amazon

Prior to watching this, I knew exactly one thing about Death Note: The kids like it.

The live-action version of the manga and anime series is sharp and saturated. The movie feels very stylized. As main character Light Yagami, actor Tatsuya Fujiwara looks a lot like a pop star — he’s too attractive for his own good. He doesn’t look like any college law student I know of.

Light finds a notebook in which he can write the names of anyone and lead to their deaths. The plot is overall a little misanthropic but at the same time, I can understand why the idea resonates with teenagers. It’s not nearly as disturbing as I thought it would be — the deaths are pretty bloodless, overall. Light is pretty unlikeable as the movie progresses, which is part of the point. Obviously, there’s some idea of what “justice” means — is it the law, or is it vigilantism?

I think the death god, Ryuk, could’ve been better. He’s rendered in CGI and looks like a World of Warcraft avatar that’s a cross between David Bowie and the Crow. I would’ve rather seen someone dressed up in a costume and makeup, personally.

Death Note was a little long as a movie. I think the bits with “L” (who looked, intentionally, a lot like Ryuk) were too drawn out and some plot points were obvious (of course Light’s dad was on the police force and involved with the investigation). Still, it was stylish and entertaining. I can see why teenagers like this story, and I certainly don’t mean that as a bad thing.

20th Century Boys Region 3 DVD Buy at YesAsia

Based on Naoki Urasawa’s manga series, 20th Century Boys centers on former rock musician Kenji and a story he and his friends came up with in his childhood. In 1997, where a bulk of the story takes place, a cult led by a mysterious man known only as Friend is tied to “prophecies” Kenji made up nearly 20 years ago. Charged with taking care of his sister’s little girl, Kenji becomes a reluctant hero as he unravels the mystery from his past and how it will affect his future — if he, or anyone else — has one. Kenji ends up gathering his childhood friends to fight Friend and his plans as the clock begins to tick toward the new century.

It’s something of a cop-out to say “Oh, I don’t want to give too much away” but part of the joy of this movie is how it unfolds and how the stakes are constantly being raised. It’s maybe a bit too long (it’s about two hours and 20 minutes) and could probably be tightened up, but it covers a lot of ground during that time, jumping from the past to the future to the present. It’s a great piece of science fiction, and while there are a lot of questions left unanswered at the end (as well as a “to be continued” and there are two more planned), there is something beautifully satisfying about this movie. I really hope this gets a release on DVD in the U.S. If you have a region-free DVD player, it’s worth seeking out.

Here is the T.Rex song, “20th Century Boy,” that the manga series sort of centers around.

Director Stian Hafstad wrote that he wanted to make a script people would related to and that in terms of the desire for superpowers, it’s the “slightest possibility that it could happen to anyone makes it worth dreaming about.” He also said he wanted to explore male friendships and that maybe for some “finding an archenemy is easier.”

I really liked this — it’s a surprising meditation on what makes a hero and also what makes a friend. Watch it embedded below or click through to see it in HD.

This is an amazingly strong project for these students. I wish them the best of luck in what they do next.

Wonder Woman

Reviews of the animated Wonder Woman movie are all over. Wired.com liked it, saying it tackles the issue of sex (in all its forms) well. A.V. Club gives it a B and concludes “Too bad it isn’t a series pilot.”

Jezebel.com writer Dodai, however, wonders “Or do we ignore the film in protest of a strong woman being shoved in an animated, straight-to-DVD ghetto?”

I don’t agree with that. Certainly, it’s a straight-to-DVD movie, which sometimes means bad things, but in this case, I think it’s irrelevant. This wasn’t ever intended to be a theatrical release. As for the animation thing … well, why does that matter? I think animation is much more suited to telling comic book stories effectively than live action. I think we need to get away from the whole “animation” means “children” (look, it worked with comics! Sort of!). I’d much rather have an awesome animated Wonder Woman movie than a mediocre live-action one.

I was never really a Wonder Woman fan, but she’s a fun character with a colorful history. I’m looking forward to seeing this.

I am not going to be running out to see Watchmen. I enjoyed seeing the trailer and I think it’s kind of cool it got made, but I just can’t find the energy to care about it right now. And anyway, I think I pretty much spent my movie-going budget for the year seeing Coraline twice.

I really liked this from Franklin’s review:

More admirable than engaging, this is a dense work filled with so many layers both historical and intellectual that its deeper meanings are almost impossible to truly capture on a single viewing (making reviewing it under such conditions a daunting prospect). Yet like its most colorful character Rorschach, the no compromise mentality which fuses comic book pulp with existential overtones will ostracize it from reaching beyond a limited but hardcore set who will exalt it as the new standard.

Because that’s basically how I feel about Alan Moore’s work overall. So at least the movie is faithful in that respect.

NANA

I, much like everyone else, totally love the manga series NANA. Honestly: How could you not love it? It’s beautiful girls, pretty boys, life, love and rock ‘n’ roll. I bought the first volume, read it, promptly bought the next two, and continued along that path until I caught up. Now, I am doomed to the fate of waiting for each new volume out every two months from Viz.

Movie adaptations of comics are usually uneven, no matter what the comic is. While they may have things in common, they are still two different mediums of storytelling. Still, I wanted to see the adaptation of NANA.

It did not disappoint.

I don’t know how they did it, but the casting is nearly perfect. Mika Nakashima brings a sweet toughness to Nana O. and Aoi Miyazaki is perpetually cheerful as Nana K. They are the characters from the comic. Hiroki Narimiya is a little bit more of a goof than the Nobu in the manga, but Tomoki Maruyama inhabits the ultra-cool Yasu in an almost impossible way.

The details that went into this adaptation are also amazing — the 707 apartment and stairwell are pulled straight from the manga and the awesomely cool wardrobe is dead-on to the the often preposteous clothes the characters wear in the comic.

So the movie gets all of those things right. But how it is?

I liked it quite a bit.

Both the lead actresses capture this vulnerability of being a young twentysomething. They are women who are just figuring out who they are. While boys come and go in their lives, it’s most definitely about our two Nanas finding themselves and growing in their friendship with each other. Nana O. is aloof and Nana K. is constantly sunny. They find what the other lacks in each other.

The music is also delightful. Nana O.’s band, the Black Stones, plays a poppy form of rock. It’s catchy and definitely something I can understand people falling in love with. Rival band Trapnest is halfway between speed metal and J-pop, which is pretty much how I imagined they sounded from reading the manga. I’m glad the music works well since this is a story about music. It may not be something I want to listen to all the time, but in the context of the movie, it works well.

The movie seems to go through about midway of volume 5 (at least in the Viz releases) but it’s a good place to end this story. I know there’s a second movie, but I liked where it left these characters, even though I know there’s heartbreak to come.

This is probably one of the better movie adaptations of a comic I’ve ever seen. It managed to touch the same emotions the manga does. I think it would work on its own, without knowledge of the comic itself.

(I know that Viz is planning on releasing the anime of NANA this year, and I can’t wait. I really can’t get enough of it.)