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Tag Archive: DC Comics


Review by C.J. Bunce

Comparable in every way to the team-up with Green Lantern and Black Canary in the famed Dennis O’Neill and Neal Adams run on Green Lantern in the early 1970s beginning with Issue #76, Mike Grell would take over the artwork on the O’Neill/Adams run sporadically for the next ten issues and create more than 80 issues about the bow-wielding superhero for the next two decades.  A four-issue series featuring Green Arrow would prove relatively unnoticed in 1983 (without Grell onboard), but in 1987 everything in comic books would change as Grell returned to Green Arrow with his three-issue series The Longbow Hunters Hot on the heels of the previous year’s groundbreaking, prestige format series The Dark Knight Returns, The Longbow Hunters was the perfect dark and gritty follow-up story only this time it presented the superhero lead inside the ongoing narrative of the DC series at the time.  It was Oliver Queen and Dinah Lance, relocating from Star City to Seattle, and the DC Universe became more grounded in reality.  The success of The Longbow Hunters gave Grell the opportunity to take Oliver Queen (referred to in-story as Green Arrow only once in his stories) to the next level in the late 1980s, cementing the superhero as a title character in his own right.  DC Comics has reprinted The Longbow Hunters, and in recent years it has been peppering the market with reprints of Grell’s fantastic storytelling and sometimes artwork for 80 issues from 1988 to 1993.  DC Comics has now released the last of Grell’s incredible run on the Green Arrow monthly in its ninth collection from the series, Green Arrow: Old Tricks.

Green Arrow: Old Tricks is an even greater DC release because it also bundles in Grell’s last work of the era on Green Arrow in the 1993 four-part mini-series Green Arrow: The Wonder Year.  Unlike the past few years of the monthly series, which was illustrated primarily by Rick Hoberg and inker John Nyberg, Grell both wrote and illustrated the official Post-Crisis on Infinite Earths origin story in this mini-series along with inker Gray Morrow.  Along with the origin story that would stand until writer Andy Diggle and artist Jock’s mini-series Green Arrow: Year One in 2007, we see a flashback of Oliver Queen in the heyday of his 1970s “man of the people” political activism.  As for the story at the end of Grell’s run on the monthly comic and the mini-series, Grell went out with a bang.  The stories both hone in on the women in Queen’s life, primarily Dinah, but also Shado and a fling with a local woman half his age, all while Queen is out battling bad guys inside and outside of the city.   Grell’s story is great and the artwork by Hoberg and Grell equally vivid and compelling.

In the section of Green Arrow: Old Tricks reprinting the monthly ongoing series are four stories: the two-part “Trigger,” the single-issue “Auld Acquaintance,” the three-part “Killing Camp,” and the two-part “New Dogs Old Tricks.”  The most memorable to readers of the series will be the New Year’s Eve story “Auld Acquaintance.”  After 80+ issues of Oliver Queen messing up his romance with Dinah Lance, she finally says “goodbye” for good in the series pretty 75th anniversary issue.  Oliver then gets away from it all thanks to a story that calls back to Grell’s own real-life intelligence work, as Queen teams up with Eddie Fyres in a good ol’ James Bond-inspired adventure.

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Review by C.J. Bunce

At first blush it’s hard to wrap your head around, after decades of seeing (and buying) variant comic book covers, learning that the first goes back only so far as 1986, with DC Comics releasing two covers for the first issue of The Man of Steel.  Variant covers–those alternate editions of a comic book where the only difference is one or more optional covers are made available for that issue, the economics behind them, and a high-quality look at many of the often rare artistic works that DC Comics has published since it created the idea, is the subject of a giant, over-sized, coffee table book coming your way this month.  DC Comics Variant Covers–The Complete Visual History offers up many full images of the artwork that became variant covers over the past 30 years, printed on the type of thick paper with vibrant ink reproductions that may prompt some to (carefully) pull out pages and frame them.  It’s like a book full of frame-worthy art prints.

Comic book and film writer Daniel Wallace has tackled the task of selecting highlights from DC Comics’ long run of variant covers–the “Complete” in the title is about the scope and range of variant projects that the publisher has taken on.  He opts to show large images, often full-sized and even double-page spreads of many pieces of cover art, instead of an edition with hundreds of thumbnails of every DC Comics variant that’s seen print.  Compiled in a single book, it will make many a variant collector shudder at the thought of just how many variants exist from all the comic book publishers.  But the images, many familiar, some rare and sought after in comic book form, and some not-so-rare, get their own showcase here, most reflecting the artwork without the title, logos, and other text and branding.  As readers will learn, variant cover collecting has become its own niche for collectors–some books have been bought and sold for thousands of dollars.  Readers will also learn the types of releases that determine rarity and why DC Comics has evolved its strategy for variant covers over time.

The best sections of DC Comics Variant Covers–The Complete Visual History spotlight the covers of Darwyn Cooke (it’s incredible to marvel at six of his images over-sized in the late artist’s bright color palette), Ant Lucia’s DC Bombshells, homage series featuring Mad Magazine, movie posters, Looney Tunes team-ups, convention and store exclusives, and many variant covers from Alex Ross, Frank Cho, and Frank Miller.  Some of the most eye-popping images reprinted include cover art for JSA Classified #1 featuring Power Girl, by Adam Hughes, Batman (Vol. 2) #51, and Superman, #33, by John Romita, Jr. and Klaus Janson, Wonder Woman (Vol. 5) #1 by Frank Cho, and Batman ’66 Meets Steed and Mrs. Peele #1, by Cat Staggs.

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We knew from early trailers and buzz going back literally years now that Syfy’s new series Krypton was going to cover Superman’s family’s distant past.  Even back here at borg.com in 2014 we previewed the first plans for Syfy’s series, wondering how close the DC writers would stick to the known backstory from the comic book pages, asking “Will they keep the character’s original name Seyg-El?”  Answer: Yes, with a slight change in spelling to “Seg”.  And “Will they bring in an Eddie Haskell neighbor as a young Zod?”  Answer:  Not quite, but the Zod family is going to be well represented in the series, which premiered this week with a pilot that should far surpass fan expectations.  In fact Krypton’s production values, writing, and actors are so well put together the show has the potential to equal the DC Comics adaptations on the CW network, and ten minutes into the pilot it already seemed more grounded in the comic books than any of the DC movie adaptations going back to Superman II.

The previews for Krypton failed to convey the actual scope and solid space fantasy framework the series is built on (and the epic scope that goes beyond Superman lore, but more on that below).  It looked like it was going to be like Marvel’s Inhumans–another odd, fringe fantasy show.  So don’t let the trailers mislead you.  The acting ranks are excellently cast–the show’s lead, British actor Cameron Cuffe, plays Seg-El.  The actor is a bright, knowledgeable fan of Superman in his own right, as conveyed as the host of the after-show.  Seg-El’s family grounds the series instantly with genre gravitas: first, Sherlock’s Rupert Graves plays his father, then Paula Malcomson–who portrayed moms in both The Hunger Games and Caprica–plays Seg’s mother, and General Dodonna himself, Rogue One: A Star Wars Story, Horatio Hornblower, and Game of Thrones actor Ian McElhinney, plays Seg’s own grandfather.  From the beginning the women take on a fierce role in the show, with the house of Zod represented in warrior Lyta Zod, played by show co-star Georgina Campbell (Black Mirror, Philip K. Dick’s Electric Dreams, Broadchurch).  Ann Ogbomo, who portrayed an Amazon warrior in the big screen’s Wonder Woman and Justice League plays her mother, Jayna Zod.  While fans are still on a fantasy superhero high from this year’s Black Panther movie, the military guild with the fierce Amazon-inspired Zod warrior-in-charge is well-timed.

The surprise from the pilot is how much Krypton seems to have the potential to be the next big Syfy series, like Battlestar Galactica came out of nowhere to reinvigorate science fiction television 15 years ago in 2003.  The show pulls from several science fiction and space fantasy realms, but the space fantasy potential is most interesting, with Stargate, John Carter, Valerian, Riddick and more as possible inspiration.  Pinar Toprak’s musical score, with appropriate John Williams Superman movie theme cues, has a pulsating Daft Punk Tron: Legacy vibe, with brightly neon-lit ships also borrowing some of that film’s more familiar visual elements.  Add in the visuals you can find late artist Michael Turner’s Krypton and great costume styles from designers Varvara Avdyushko (Abraham Lincoln: Vampire Hunter) and Bojana Nikitovic (Underworld: Blood Wars, Ghost Rider: Spirit of Vengeance).  Story elements can be found in Logan’s Run, Flash Gordon, THX-1138.  Even parallels to scenes from Batman’s backstory come into play.  The story in the first episode plays like one of the better episodes of Star Trek’s Enterprise series, the J.J. Abrams Star Trek reboot, incorporating the beginnings of political tangles like those in The Dead Zone.  Krypton is also cool and cocky in its sets, style, writing, and acting, much like one of Syfy’s best recent series, Killjoys.  As fulfilling as the CW Network’s worldview of the DC Universe has become with the Arrowverse, Krypton is different, with none of the pop culture reference-heavy chatter, or that soap opera vibe of Smallville.  It’s a promising pilot–this looks like a most welcome Syfy channel space show.

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DC Entertainment and Marvel Studios offered superhero genre fans live-action adaptations of some of the comic book world’s best-loved superheroes last year.  The concept artwork behind each of DC’s Justice League and Marvel’s Thor: Ragnarok are the subject of two new books for fans wanting to dig deeper into the development of these films: Justice League: The Art of the Film, by Abbie Bernstein, and The Art of Thor: Ragnarok, by Eleni Roussos.  Both share the feature of being primarily photographic essays, visual guides illustrating the phases of characters and environments leading to the final art design used in the films.  So both will make good souvenir or coffee table books in addition to showcasing the artists’ visions for film aficionados and comic book fans.

Justice League: The Art of the Film is a 206-page, full-color, hardcover book similar to last year’s Wonder Woman: The Art and Making of the Film.  This volume gives much attention to the variety of costumes created for the film, particularly the looks of the new characters to the film series, Aquaman, The Flash, and Cyborg.  Cyborg’s cybernetics were added in post-production via CGI.  This is not so much a behind-the-scenes, detailed account with interviews about the production as we’ve seen in other volumes, but it does include statements from each of the key actors and production members peppered throughout the photographs  The layout of pages and overall design is stylized keeping with the themes of the story.

An excerpt from Justice League: The Art of the Film.

Well-designed with gorgeous concept art, The Art of Thor: Ragnarok is a hefty 320 pages in a slipcase holder, featuring classic Jack Kirby art on the book cover inside the dust jacket.  Kirby’s designs can be found as inspiration throughout the film, and are reflected in the concept art and design work, particularly that found in the fantastical world of Sakaar.  Each of the key characters you’d expect get plenty of coverage.  Readers will find hundreds of images of Mayes C. Rubeo’s costume designs for Thor, Hulk, Hela, Loki, Odin, Skurge, and the Grandmaster, as well as supporting characters.  The fiery Surtur has a surprisingly thorough section, showing the various stages that resulted in the finished look seen in the film.

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Our borg.com Best of 2017 list continues today with the Best in Print.  If you missed them, check out our review of the Best Movies of 2017 here, the Kick-Ass Heroines of 2017 here, and the Best in Television here.

So let’s get going.  Here are our selections for this year’s Best in Print:

Best New Edition of Previous Published WorkThe Wind in the Willows, Kenneth Grahame, David Petersen (IDW Publishing).  David Petersen’s artwork was the perfect excuse to get Kenneth Grahame’s wonderful classic The Wind in the Willows into the hands of new readers.  The new edition from IDW Publishing was the perfect storybook, and Petersen, known best for his Mouse Guard series, showed his understanding of these characters and their natural world full of wonder through his fantasy images.

Best Read, Best Retro Read – Forever and a Death, Donald E. Westlake (Hard Case Crime).  Not every good idea comes to fruition.  Not every excellent project gets off the ground.  Not every great book gets published.  The Hard Case Crime imprint of Titan Books came through again, seizing the opportunity to take a lost, never before published work of Donald E. Westlake--Forever and a Death--and brought it to life.  And what a great adventure!  Originally the story commissioned to be the James Bond film Tomorrow Never Dies, the projected was shelved, and only now do we get fantastic characters (like environmental activist and diver Kim Baldur) in a very Bondian situation–destroying Hong Kong as payback for China taking it back from Great Britain.  Honorable mention for Best Retro Read: Turn on the Heat, Erle Stanley Gardner, and Dragon Teeth, Michael Crichton.

Best Sci-Fi Read – Slaves of the Switchboard of Doom: A Novel of Retropolis, Bradley W. Schenck (Tor Books).  Imaginative, new, and fun, Schenck took us into a timeless world full of nostalgia and classic science fiction.  Great tech, and a sprawling story.  Interesting characters and great world-building, this novel will be a great surprise for sci-fi readers.  Honorable mention: War for the Planet of the Apes: Revelations, Greg Keyes.

Best Fantasy Read – An Alchemy of Masques and Mirrors, Curtis Craddock (Tor Books).  The plot of this debut novel is labyrinthine and action-packed, full of assassination attempts from all quarters, courtly intrigue galore, grandiose philosophies, and a cast of characters anchored by the strong, smart, resourceful, and eminently likeable heroes.  Supporting everything is Craddock’s strong, confident, often-funny, and sharply observant writing that goes from heart-wrenching to hilarious on a single page without missing a beat.  A dazzling debut.

Best Genre Non-fiction – Middle-Earth: From Script to Screen, Daniel Falconer (Harper Design).  We wish every genre franchise had such a magnificent, thorough, monumental guide.  Falconer’s guide to Peter Jackson’s The Lord of the Rings and The Hobbit trilogies is full of interviews at all levels of the creative process, and supported by concept art, photographs, maps, and so much more.  Worthy of the six films it covers, it’s the ultimate fan book and a model for any franchise attempting to put everything fans could want into a single volume.

There’s much more of our selections for 2017’s Best in Print and more, after the jump…

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Review by C.J. Bunce

It’s just what fans of DC Comics have been begging for.  Finally, a Batman portrayal worthy of Adam West and Michael Keaton.  The complete membership of the classic Justice League as fun as we all remember them from the comic books.  Homages to famous artists adapted to the big screen from the best of DC Comics, like cover artist Jock, plus throwbacks to the campy series of the 1960s.  And more homages to the musical scores from the best of the DC Comics cinematic adaptations of the past, including callbacks to Danny Elfman’s score to the 1989 Batman movie and John Williams’ Superman theme.

What was your favorite DC Comics adaptation before 2017?  How far back do you go?  Most superhero movie fans seem to agree upon the original Superman starring Christopher Reeve as the modern rebirth of the superhero film, and count Reeve among the best embodiments of a superhero on film.  But after Reeve, fans begin to disagree as movies based on DC Comics are concerned, and usually turn to the CW Network television series for the next best DC iterations of comic book adaptations.

So when all of it finally comes together, it finally comes together in 2017, after the likes of misfires including Man of Steel, Batman v. Superman: Dawn of Justice, and Suicide Squad, we finally have an exciting and worthy DC Comics outing that is fun for the entire family, and best of all, it is all heart.

And as a bonus, it features villains worthy of a movie from the DCU.  Sure, you might expect a pantheon of villains like The Joker, Riddler, Penguin, Catwoman, Harley Quinn, Two-Face, Mr. Freeze, Egghead, Scarecrow, Bane, Clayface, Killer Croc, Poison Ivy, Man-Bat, Captain Boomerang, Crazy Quilt, Eraser, Polka Dot Man, Mime, Tarantula, King Tut, Orca, Dr. Phosphorus, Killer Moth, Magpie, March Hare, Frank Miller’s Mutant Leader, Dr. Hugo Strange, Zodiac Master, Gentleman Ghost, Clock King, Red Hood, The Kabuki Twins, Calendar Man, Kite Man, Catman, Calculator, Zebra-Man, and Condiment King.  But all in one movie?  And battling some of fiction’s other greatest supervillains, like Dracula and the other Universal Monsters, The Daleks, Lord Voldemort, Jaws, King Kong, Gremlins, velociraptors, the Wicked Witch of the West, Agent Smith from The Matrix, and Sauron?  Wait–was Darth Vader tied up in some other project?

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Kansas City Comic Con 2017 has been an event full of fun for both visitors and the creative guests the attendees came to meet.  One of the show highlights was a Green Arrow Quiver/Sounds of Violence reunion of writer Kevin Smith and artists Phil Hester and Ande Parks.  The trio delved into the impetus for bringing Oliver Queen/Green Arrow back from the dead back in early 2001 after the character had been killed off and replaced with Connor Hawke as the Green Arrow for a generation of readers.  “I was a big fan of the character going back to the day.  I loved Grell’s Longbow Hunters and I loved the book that followed Longbow Hunters.  It was like a Vertigo book, but wasn’t technically a Vertigo book, but it was very grown-up.”  When Smith was visiting the DC Comics offices discussing a Superman screenplay back around 1996, Smith said he popped his head into Green Arrow editor Darren Vincenzo’s office and said, “Hey, man, if you ever want to put Green Arrow in the Top 10, let me write the book.  I think I got a story.”  A year later when Smith was working on Daredevil, Vincenzo recalled the conversation and asked if Smith was serious about Green Arrow. 

Smith, Hester, and Parks had each worked with editor Bob Schreck, who had just moved to DC from Oni Press, where Schreck had been co-founder.  Schreck wanted Smith for the Green Arrow project idea and asked who he’d like for his artistic team, and Smith suggested Hester and Parks in part because of their work on Swamp Thing.  “I fell in love with it deeply,” Smith said.  The team was solidified and they moved forward with the project.  “Having these two dudes enabled me to go where I wanted to go,” Smith added.  Already established artists at the time with a catalog of works, Hester and Parks expressed gratitude to Smith for selecting them for the project and Smith said the collaboration with Hester and Parks on the project helped cement his position in the comic book industry as a creator who is now regularly tapped for insight into the comics industry in documentaries on comics, among other things.  “The only reason I get to be in that stuff is because I have credibility in the comic book community because of stuff like Quiver.  Quiver was the one particularly,” Smith said, further noting the book won national awards.

And speaking of Mike Grell, Grell was also a guest at KCCC this year. Always great for a conversation, Grell was busy working on sketch commissions for attendees this weekend.

Smith also discussed working with Dynamite Comics to bring together later projects with Phil Hester and artist Jonathan Lau on Green Hornet and The Bionic Man.  Hester said there was much back and forth communication in creating the story, and Smith emphasized the collaborative effort, “I used to be a guy that was like ‘oh, I just want to write it myself–I don’t want any input.  And then one day you work with people who add something, and then it’s ‘God, that’s incredible!'”  He used as examples contributions from Chris Rock in his film Dogma and Will Ferrell in Jay and Silent Bob Strike Back–both actors who made contributions to the script but didn’t ask for or want any writing creditsand creator David Mandel in the animated Clerks.  When fans reference great lines that Smith didn’t write he said he makes sure to credit the writer.  “It’s important for collaborators to cite those people who are your collaborators.”  The panel was hosted by the Worst Comics Podcast Ever’s Jerry McMullen (shown above after the panel with Hester, Parks, and Smith).

Lee Meriwether and Doug Jones at KCCC 2017.

In the celebrity autograph area at KCCC 2017, a reunion and momentous meet-up involved actress Lee Meriwether and actor Doug Jones.  Both Meriwether and Jones worked together on the film The Ultimate Legacy, which also starred Raquel Welch and Brian Dennehy.  Meriwether and Jones are unique in that they represent contemporaries in acting but also represent bookends of a sort for the 51-year Star Trek franchise.  In addition to her many famous roles in series like Barnaby Jones, All My Children, and Batman, Meriwether played the character Losira in the original Star Trek series episode, “That Which Survives.”  Jones, an actor who has performed both as creature characters where he is often unrecognizable–a Lon Chaney of today as one fan referred to him–as well as more standard roles, has performed in more than 150 films and TV series (from one of the creepy Gentlemen in the Buffy the Vampire Slayer episode “Hush” to the creature in next month’s new Guillermo del Toro release The Shape of Water).  Plus Jones has appeared in 100 commercials, including as the classic McDonald’s moon-shaped mascot “Mac Tonight.”  And Jones currently plays the alien leading character Lieutenant Saru on this year’s latest Star Trek incarnation, Star Trek Discovery.

Gary Fisher and his family meet attendees at KCCC 2017.

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The Silent Seven–a mysterious crime organization from the 1920s-30s, from the time of Miss Fury and… The Shadow?  Batman and Robin encounter Professor Pyg and his transforming “Dollotron” masks as the villain crashes a New Year’s Eve party.  This is the Robin named Damian, Bruce Wayne’s son, a 13-year-old raised by assassins.  Batman must forge a relationship with his son as The Shadow appears out of the past and looking for answers.

DC Comics and Dynamite Comics have partnered for a blend of the past and the present as Batman and The Shadow collide in a new crossover series, arriving at comic book shops today with The Shadow/Batman Issue #1.  The Shadow: The World’s Greatest Mystery.  The Batman: The World’s Greatest Detective.  What if they encounter The World’s Greatest Evil?  As they protect New York, and ancient evil surfaces.  Can they work together to save their city?

Writer Steve Orlando (Batman/The Shadow, Justice League of America), artist by Giovanni Timpano (The Shadow, Transformers), and colorist Flavio Dispenza (Eclipse), come together to craft an action-filled noir story and a crossover of worlds and characters forged in comics’ Golden Age.  DC Comics’ key hero and Dynamite’s classic pulp character are an obvious team-up opportunity.

  

Check out a preview of Batman/The Shadow, Issue #1, below courtesy of the publishers, as well as a look at another giant release of variant covers–a showcase of comic art talent–from Issues #1 through #3:

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Named after the late beloved comic book creator Mike Wieringo, the first ever ‘Ringo! Awards were presented during an irreverent and humor-filled ceremony Saturday night at the end of the second day of Baltimore Comic-Con 2017.  This year the annual Harvey Awards were renamed in Wieringo’s honor.  Wieringo was an artist best known for his work on DC Comics’ The Flash, Marvel Comics’ Fantastic Four, and his co-creation Tellos (discussed earlier this year here at borg.com).

Voters from more than 100 countries selected the nominees and winners were picked from a final ballot by members of the comic book industry creative community.  Presenters last night included Mark Waid, Darryl “DMC” McDaniels, Amy Chu, Tom Brevoort, Walter and Louise Simonson, Terry and Robyn Moore, Kazu Kibuishi, Charlie Kochman, Lora Innes, Thom Zahler, Todd Dezago, and Craig Rousseau, with a keynote speech provided by multiple Eisner Award winner and Mouse Guard creator and David Petersen.

The ceremony provided two Hero Initiative awards, the Dick Giordano Humanitarian Award to Joshua Dysart, and the Lifetime Achievement Award to Marv WolfmanMultiple winners included John Lewis, Andrew Aydin, Nate Powell for their civil rights story March: Book III, winning for Best Original Graphic Novel and Best Non-Fiction Comic Work, and Skottie Young, recognized as Best Cartoonist and for his I Hate Fairyland as Best Humor Comic.

Darryl (DMC/Darryl Makes Comics) McDaniels awards Best Cover Artist ‘Ringo! Award to Frank Cho.

Here is the list of winners selected from the final ballot:

Best Cover Artist–Frank Cho (who accepted the award singing the “Thank You Very Much” song from Oliver)

Best Series–Vision (Marvel Comics)

Best Letterer–Todd Klein

Best Colorist–Laura Martin

Best Humor Comic–I Hate Fairyland, Skottie Young, Jean-Francois Beaulieu (Image Comics)

Best Original Graphic Novel–March: Book III, John Lewis, Andrew Aydin, Nate Powell (Top Shelf Productions)

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Although it still has that same look and feel of the recent Man of Steel and Batman v. Superman: Dawn of Justice–it actually looks more like last year’s Suicide Squad–Warner Bros. revealed the latest team-up trailer for Justice League today at Hall H at San Diego Comic-Con at the San Diego Convention Center.  This time the studio is smartly leaning on the success of Wonder Woman to reveal the inclusion of Themiscyra in the movie.  We’ve seen Ben Affleck’s Batman, with his best work probably his cameos in Suicide Squad, and we’ve seen Gal Gadot’s Wonder Woman this year in the first solo Wonder Woman title film.  Jason Momoa’s Aquaman and Ezra Miller’s Flash have had some screen time in various images from Warner Bros. promoting this film, and the last trailer (here) highlighted Ray Fisher’s Cyborg.  Now, in this nearly four-minute long trailer, they all get to be seen.

Justice League, another Zack Snyder creation handed off for last-minute clean-up work to Joss Whedon, arrives in theaters later this year along with Wonder Woman, Logan, Guardians of the Galaxy, Vol. 2, and Spider-man: Homecoming.  Will Justice League deliver enough punch to equal The Avengers?  Can Warner Bros. and DC Entertainment ever stand a chance at catching up to the Marvel Cinematic Universe?

This is the best look at the League in trailers for the film so far.  This looks more like the work of Whedon than Snyder, or are we just hopeful?  Check it out for yourself–here’s the latest trailer for Justice League:

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