MEPHISTO IN HADES // TRIUMPH & TORMENT

iPAD // PROCREATE

Digital painting study from MARVEL / Mike Mignola’s TRIUMPH & TORMENT graphic novel, wherein Drs Doom and Strange voyage into Hades to reclaim the soul of Doom’s mother from Mephisto.

This also marks my 100th post here over years and several iterations of the page. Thanks to everyone who’s stuck around and welcome to those who’ve just found me now, noodling away in my quiet little corner of the internet :)

BIRDS OF PREY (2020)

A movie with an identity crisis: trying at once to step away from the pre-existing DCU while at the same time still allowing itself to be shaped by it in all the wrong ways.

I don’t really care a whole lot for the sort of post-production face-tattoo neon-edgelord style that SUICIDE SQUAD had going on, and I really feel like this was a pretense deserving of a few more polish and tighten passes on the script and some snappier direction more akin to a SCOTT PILGRIM or a DEADPOOL than the fairly middling thing that’s happening here.

The titular “Birds of Prey” don’t even really enter into it until the last part of the final act for some fairly stagey action sequences and it never really coheres into the sort of character piece it wants to be. Everyone except Harley (Robbie, who looks like she’s having a blast) is just sort of “in the movie” for the most part.

There’s some good stunts and the performances hit all the notes but it’s cut together in a way that feels like an afterthought rather than an intention.

Low mid-tier DCU, not the worst, but felt (like Harley herself) to be too defined by the shadow it’s trying to escape from under.

JOKER (2019)

I took a while getting around to this largely because the hyperbole was exhausting, and look, having literally just watched it, I still don’t really see the need for an origin story for a fundamentally enigmatic character, even if this is the best version of that story we were ever going to get.

It’s incredibly well shot and put together, Joaquin Phoenix’s performance is fantastic and there are real moments of greatness… but it didn’t really elevate into some magical realm of reverence for me like so much of the conversation about it was trying to convince me that it was.

It’s good, worth a watch, especially if you’re a fan of TAXI DRIVER. It’s a film that people are bound to take the wrong messages away from – every generation has a FIGHT CLUB except this is not quite as dark or brilliant as it wants to be.

SIDE NOTE: I’m interested to see if Matt Reeves/Robert Pattinson’s THE BATMAN is going to pick up in the continuity given this box office success.