Marvel Universe presents Spider-man with his famous foes like :

• Electro
  
• Green Goblin
• Hobgoblin

Kat Dennings

From AceShowBiz.com

Spilling the news is the depicter of Thor’s first love Jane Foster, Natalie Portman, when expressing her excitement to work with Kat Dennings in the upcoming action fantasy movie.

Following several actors who have been previously confirmed to join “Thor”, Kat Dennings also has a part in the film. The news was first spilled by the film’s star Natalie Portman when she was interviewed by MTV Splash Page. “Well I’m really excited. Kat Dennings is going to be in it with me and she’s a good friend and an amazing actress, so I’m looking forward to that,” the depicter of Thor’s first love Jane Foster said.

Dennings’ inclusion in the cast ensemble for the film was later confirmed by The Hollywood Reporter. However, there has been no word on what character that will be played by the 23-year-old beauty as the site claimed Marvel Studio keeps a closed lid on her role.

Dennings is perhaps best known for her role as Norah Silverberg in “Nick and Norah’s Infinite Playlist”, which aided her to receive nomination as Breakthrough Performance Female at 2009 MTV Movie Awards. She previously also appeared in 2006 film “Big Momma’s House 2″ starring Martin Lawrence. She can next be seen in superhero film “Defendor”, which is slated for a 2009 release.

Tadanobu Asano, Ray Stevenson and Stuart Townsend

Prior to Kat Dennings, “Queen of the Damned” star Stuart Townsend, “King Arthur” star Ray Stevenson, and Japanese actor Tadanobu Asano have been tapped to be The Warriors Three, which is made up of Fandral, Hogun, and Volstagg. Joining the trio is “The Office” actor Idris Elba, who is set to portray Heimdell, the Guardian of Asgard in the upcoming adventure film.

Adapted from Marvel comics, “Thor” is an epic adventure that spans the Marvel Universe from present day Earth to the realm of Asgard. The story centers on Chris Hemsworth’s Thor, a powerful but arrogant warrior, who is cast down to Earth and forced to live among humans after his reckless actions reignite an ancient war. He later learns what it takes to be a true hero when the most dangerous villain of his world sends the darkest forces of Asgard to invade Earth. Paramount Pictures eyes a May 20, 2011 release date for the film.

Amazon Specials!

MU Hulk Diorama Piece

Hulk in all his smashy glory!

I went into Toys R Us yesterday and the manager, who – I’m ashamed to admit - knows me really well, told me that they just received some new merchandise that hasn’t even hit the floor yet – that I might be interested in.  He ripped open a box and pulled this guy out!  I almost squealed – but I played it cool and just snatched it out of his hands and began to drool.  I said “When did these come out?” with a crack in my voice that would make Peter Brady laugh.  He informed me that they got them in last week – and another collector had come in looking for them – but he forgot about them until he saw me.  Lucky me because Hulk is one of the short-packed figures in this line.

Hulk standing on the R - that means he's the center piece!

So, there are 6 figures that make up this diorama – Spiderman (of course), Venom, Iron Man (of course – nowadays), Dr. Doom, Hulk and Wolverine.  Each character stands on a letter and when displayed properly spells out MARVEL – or… LAME RV – which is the movie that Robin Williams starred in, which was, coincidentally, lame!  So it works out.  The Hulk is pretty heavy – and I hate to admit it but I think my favorite in the whole line was the Doom.  He looks really cool!  Priced at $12.99 each – getting the whole diorama might be a bit pricey – but thankfully, I’m just into the Hulk!

Back of Package

Want You to Want Me Part Three: The Revolution Will Be Televised

Writer: Daniel Way
Penciller: Paco Medina
Inker: Juan Vlasco
Colorist: Marte Gracia
Letterer: VC’s Joe Sabino
Assistant Editor: Jody Leheup
Editor: Axel Alonso
Cover: Jason Pearson
Publisher: Marvel Comics

It’s hard to believe this is only the third issue of Deadpool that I’ve bought new of this series. Since picking up #15 to “try” at a friend’s persistent urging/recommendation, I’ve gone back and bought issues 12-14, the Secret Invasion trade, the Deadpool/Thunderbolts trade, a Suicide Kings hardcover, Merc With a Mouth 1-3 (and 4 “new”), as well as Deadpool #900 and Deadpool Team-Up #899. (And of course, also picked up this week’s Amazing Spider-Man #611 just because it had Deadpool in it).

As the above paragraph probably suggests…I’m hooked. I’m a total sucker for anything Deadpool right now. Of course…that’s for good reason The character’s at the top of his game under the various creative teams right now. And over-exposed or exploited as the character may be, I’m thoroughly enjoying such a concentrated dose of the character at present.

This issue picks up on Deadpool seeking to prove himself to Cyclops, that he can cut it s an X-man. Cyclops is handling a sensitive political situation, and Deadpool doesn’t exactly help. His involvement leads Cyclops to send Domino after the Merc…and a misunderstnding with her overhearing Cyclops talking to Wolverine keeps them from hanging onto Wade once they have him. We’re also given a sort of wacky take on H.A.M.M.E.R. and its agents that fits perfectly with Deadpool. The ending sets up the concluding chapter of this arc on a fairly generic cliffhanger.

The art’s good stuff here, and I continue to really enjoy Medina’s work. This contrasts with the cover art, which–while amusing enough–isn’t all that appealing. Still, I’m thankful for the interior being to my liking.

I like that this title is fairly well self-contained; despite the large number of other Deadpool comics and appearances going on at present, this story isn’t forced to acknowledge all of that; its story is its own entity.

This isn’t a great jumping-on point, really (but certainly is not the worst, thanks to the “Previously Page” that Marvel actually does very well with). As a whole, this really feels like the “main” Deadpool book, allowing the other books their status as “secondary” or “side” titles. This seems the book you’ll want to give a look at if you’re interested in Deadpool’s place in interaction with the current Marvel Universe’s ongoing continuity (Dark Reign and all that).

All in all, another solid issue, and I’m ready for the next.

Story: 7.5/10
Art: 8.5/10
Whole: 8/10

This Man, This [Expletive Deleted]

Writer: Joe Kelly
Artist: Eric Canete
Colorist: Andres Mossa
Letterer: VC’s Joe Caramagna
Asst. Editor: Tom Brennan
Editor: Stephen Wacker
Exec. Editor: Tom Brevoort
Publisher: Marvel Comics

I never expected to be reviewing–much less BUYING–an issue of this title given the current status quo. I’m one of those who has zero interest in the current Spider-Man post-One-More-Day. That I bought this issue at all is high praise to the draw of Deadpool. And, as I’d hoped…this felt more like a Deadpool title than Spider-Man.

The issue opens with Deadpool amidst a bunch of mostly recognizeable Marvel Women taking a phone call about a new job. Of course, this plays out in typical Deadpool-fashion and manages to reference/poke fun at a couple notable points of Spider-Man comics the last couple years. Even the “Previously Page” is given some hokiness, breaking the “fourth wall” having the Marvel EIC and other editors give the situation-so-far. We then quickly move into seeing Spider-Man in action against Lady Stilt-Man and all the ridiculousness one can imagine. Deadpool steps in and he and Spidey fight (though the fight devolves to juvenile “yo mamma” trade-offs). Finally, Deadpool attains his goal, and the scene shifts to show us the real purpose of Deadpool taking on Spidey, with a fairly major character now lying dead, as this title heads into something called “The Gauntlet.”

I’m not familiar with the artist…and honestly, this issue did absolute zero to make me want to get familiar. The style is rather stylistic…but really does not at all fit what I’d expect of something with Deadpool (or Spider-Man, for that matter). If I wasn’t 1. so stoked about Deadpool as written by Joe Kelly and/or 2. never bothered to look inside the issue before purchase, due to knowledge of Deadpool’s presence and the “regular” cover being the one I wanted*…I’d recommend against this for anyone but those already following and enjoying the title.

(* see how I’ll use the asterisk to note something? Sort like Deadpool and his “voices.” I specifically avoided a recent issue of Hulk that had Deadpool in it, due to the fact that the cover I wanted turned out to be a 1:200 or so ratioed-variant. I’d've avoided this issue had it been the same set-up.)

Where this issue succeeds is in feeling like a Deadpool story guest-starring Spider-Man. As I have zero interest in Spidey’s current status quo, this issue worked very well by not dealing with it in any focal manner. I recognize background characters–Madame Web, and Mattie in particular–and see how they provide a sort of “framing sequence” that marks this as a sort of “prologue” to The Gauntlet.

Where this issue fails is in establishing anything to bring me back next issue. This felt like a one-off, and though I’m mildly intrigued by what was set up here…I’m still not at all interested in actually investing in the next arc.

Deadpool fan? This is well worth picking up, if you don’t mind the art. Regular reader of The Amazing Spider-Man? This’ll probably be right up your alley and have more significance for you than me (not having touched a Spider-Man comic in close to two years).

Final thought: The cover is great. And yet realy has nothing to do with the issue. This is the sort of image that would make a great ad in that regard…and I daresay I’d buy a poster if they made one of this image.

Story: 7/10
Art: 3/10
Whole: 5/10

Marvel Spectacular Spider-man lot today. Consisting of :

• Dive Bomber Green Goblin
• Toxic Blast Venom

Marvel Universe size 3 1/4 inch figures with 3 Fiercest Foes battle cards in each pack.

I’m a little disappointed I can’t be a dwarf mage in Dragon Age.  So far it’s the only real problem I have with the game.

So, I’ve mentioned before, although apparently not on this site, that I love Dark Avengers and I will buy all of the trades when I get the money to do so.  That might be several months, but it’ll be worth it.  By extension, I’m a pretty big fan of the entire Dark Reign saga, since it does a surprisingly good job of turning the entire Marvel universe on its head, and does it without making the heroes look like morons (House of M and Avengers Disassembled) or like complete dicks (Civil War).  Considering it’s helmed by the guy who wrote two-thirds of the series in those lists, it’s a pretty big surprise.

I’m not opposed to the big events in theory.  Hell, I don’t mind them year after year.  Considering these stories have existed for upwards to sixty years, something needs to shake them up every so often, why not put change up continuity every 18 months or so?  After all, it does a decent job of distracting the readers from the giant continuity snarls damn near every character is involved in (no it doesn’t).

Of course, this is all theoretical.  It’s nice to have huge, epic events all the time, where Superman devastates whatever powerful anti-god he’s fighting with Dethklok blaring while he’s kicking ass.  Unfortunately, this leads to severe amounts of fatigue, and the epic events start to feel like old hat.  Sure, alien invaders, crazy mixed up realities or Darkseid punking every fucker on the planet seems cool the first time, but by the time we get to the fifth one in a row, it’s starting to get old.

I guess that’s why I’m so surprised at how much I enjoy Dark Reign.  It’s…different, I guess.  Instead of a huge epic event, it’s a bit more subtle.  Sure, shit gets blowed up good and all, but the change was different than it was before.  Instead of something exploding, the good guys come back home to find the bad guys in charge.  I guess it’s not different, just a nice change of pace.

It’s also fun to see the heroes legitimately working towards a real threat too.  This is different than, say, Secret Invasion or Final Crisis.  In those, it was a forgone conclusion that the heroes would win.  Oh yeah, there would be losses, sure, but we all knew the bad guys were going to get their asses kicked hardcore.  Now, it’s not so sure.  The villains are the good guys and the heroes are outlaws, and it’s done with a lot more subtlety than Civil War (granted a brick to the face is more subtle than Civil War).  The heroes are desperate, looking for any edge to win, and even though they know Norman Osborne is crazy as shit and likely to melt down soon, that doesn’t mean they can get their world back.  I like it.  It’s fun.

Speaking of summer events and giant crossovers, my buddy Matt found this:

Bad ass, huh?

Merc With a Myth

Writer: Fred Van Lente
Artist: Dalibor Talajic
Letterer: Jeff Eckleberry
Production: Paul Acerios
Assistant Editor: Sebastian Girner
Editor: Axel Alonso
Cover: Humberto Ramos
Publisher: Marvel Comics

While a THIRD Deadpool title does seem a bit much, this debut issue is great fun. Given that each of the titles so far seems to maintain its own identity or feel and the character himself is somewhat timeless and archetypal, I don’t really have a problem with it. I’m enjoying following all three titles, even though one could really pick and choose which one of the three or any combination and still get a fun “Deadpool experience.”

This issue sees Deadpool teaming up with Hercules. After dreaming about fighting some ultimate opponent, Deadpool soon finds himself trapped in a labyrinth where he meets up with Hercules. It’s soon revealed that the two are dealing with a couple of classic (yet, I never would’ve thought I’d see them teamed up) Marvel villains who have trapped the both and pitted them against their own nightmares. Hercules faces a legion of offspring claiming to be his own children; Deadpool faces an embodiment of the two voices in his head as the entity tries to kill him. Deadpool takes fairly extreme (yet, for him, sorta typical) action to solve the problem, and our ‘heroes’ then face their true foes.

I really like the done-in-one nature of this issue–I assume the series in general will consist of done-in-one issues or at least shorter-than-6-issues arcs. That’s a great selling point for me, as it means that while following the “mainstream Marvel Universe” adventures of Deadpool in the core title and the other adventure in Merc With a Mouth, there are also these full stories coming out that start and resolve quickly.

Unlike most of the comics I follow these days, I’m really not familiar with any of the creative team here. While that’s not something I’m used to, it works to the benefit of the title, I think, as I’m more focused on the character and story without concerning myself with how it stacks against the writer or artist’s previous work. I enjoyed the story, and the art fit the story, making for an overall enjoyable issue whoever’s involved in creating the issue.

“Fun” as the first two titles have been, this seems likely to be the breakout Deadpool title for me. If you’re interested in Deadpool OR Hercules, and don’t want commit from the get-go to lengthy seemingly-structured-for-collected-volumes arcs, this is definitely the issue for you (and for Deadpool in particular, this would be the series for you).

As with Deadpool #900, I actually find some amusement–or at least, appreciate the humour in–the numbering. The irreverence of the numbering lends itself to the timelessness of this title–who cares what the NUMBER is? The specific stories–particularly as one-off issues–should be the draw.

Highly recommended.

Story: 8.5/10
Art: 8.5/10
Whole: 9/10

By: Ed Brubaker, Bryan Hitch and Butch Guice
Colors: Paul Mounts
Letters: VC’s Joe Caramagna
Covers: Hitch, Guice and Mounts; John Cassaday and Laura Martin, Joe Kubert and Laura Martin
Assoc. Editor: Jeanine Schaefer and Sankovitch
Editor: Tom Brevoort
Publisher: Marvel Comics

I’m not 100% certain I bought/read issue 3 of this, offhand. Even if I not only read issue 3 but also reviewed it, I don’t at present recall issue 3. Despite that, it’s almost an irrelevant point as this issue finds Cap still bouncing through time, the Skull and crew still getting things assembled, and Cap’s allies still playing catch-up.

Skull and crew arrive in Latveria at invitation of Doctor Doom. Doom fixes their time device, while Cap’s allies are finding out what happened with Sharon and how she–and her blod–hold the key to what’s going on with Cap.

As Doom’s device is activated, things come to a bit of a head as a body is present, though all may not be quite as promising as it appears.

The art’s easily the best part of this story. Hitch draws a great Doctor Doom, and I found myself enjoying the visuals even as the story sped through its own pages. Brubaker’s done a great job overall with the Captain America saga. This series seems just a bit much, though, and something feels a bit “off” from what I enjoyed in reading the first omnibus and the 1.5-year saga following up on Steve’s death and Bucky’s installation as the new Cap.

If you’re specifically a fan of Brubaker’s work you’ll probably enjoy this; ditto if you’re a fan of Hitch’s art. If you’ve been following this mini thus far, probably worth finishing out the story. Otherwise, you’re probably just as well holding off for a collected volume.

Plus, with a collected volume…you won’t have two different titles for the same story (three, if we count the fact that this essentially IS the Captain America title right now, outright replacing the main title for its duration).

Story: 5.5
Art: 9
Overall: 7

I’ve gotta admit…I’m very slow when it comes to catching up on the latest films. And so I finally managed to rent out Wolverine DVD and even find an hour or so to watch it.

Wolverine is one of the most  popular characters in the Marvel Universe…so aptly termed due to their unending tendency to create newer mutants or do a permutation/combination storylines. There are so many parallel comic books and series not to mention every possible combi of mutants out there…it makes you wonder if they outnumber the normal humans!

Not to digress…the film depicts the life of Wolverine – his origin, his family, his love life and enemies. He and Sabretooth are infact brothers and while manifests tendencies of a jungle cat/lion, Wolverine is well…wolfish in form and nature. Now what strikes odd here is how can 2 brothers with same bloodline become 2 different mutants…

The film begins in a mansion where a sick James Howlett/wolverine watches his dad (who is not his dad) being shot by the violent groundskeeper, and this accelerates his mutation. Wolvy grows claws with which he kills his biological father who reveals the true circumstances before dieing. Wolverine aided by his brother Victor Creed/Sabretooth escapes into the forests…and the the credits roll through various timelines where they are both shown to be part of WW2 and Vietnam war. Then they are contacted by William Stryker who offers them a place in his band of mutants. They are in quest of a rare mineral Adamantium believed to the strongest metal known to mankind. Certain incidences during the quest force Wolverine to abandon the group.

6 years later we see him leading a normal life with Kayla on the Canadian borders but his happy life is shattered when Sabretooth decides to hunt him down. Kayla is attacked and a distraught Wolvy decides to undergo a torturous transformation that would make him almost invincible. After a long goose chase, Wolverine discovers that Stryker and Sabretooth are together in a plot to create the ultimate mutant-killer, Weapon XI at a secret facility. He breaks in to discover that Kayla is not only alive but also a mutant who is under Stryker’s services. Kayla has the ability to manipulate emotions!

The premature Weapon XI is activated by Stryker who wants Wolverine annihilated but help from Sabretooth saves the day. Sadly the day also ends Kayla’s life and Stryker as a sort of revenge eliminates Wolverine’s memories. The mutants Wolverine helped escape are taken in by Professor Charles Xavier.

While the story is certainly interesting..it is slow-paced too. The plus side is we are introduced to Gambit and Cyclops who feature in the sequels. But whether Weapon XI is destroyed or alive somewhere in the rubble is not known. Atleast I couldn’t figure it out. Hugh Jackman just fits the part of Wolverine both in form and thoughts. While Kayla Silverfox comes across as a quiet yet intense character with a mystery of her own, it doesn’t come out in the movie much though. Sabretooth is deadly as ever! You can’t simply appreciate the movie or its intensity unless you are well aware of the characters and their origins or atleast followed the X-Men series.

Marvel Universe figure Lot MOC featuring :

• Daredevil
• Bullseye
• Punisher
• Hand Ninja

ANTHONY HOPKINS

Anthony Hopkins has been cast as Norse god Odin in Marvel Studios’ Thor.

Read more HERE.

Odin is Thor’s father, the ruler of the Norse Gods, and one bad azz mamma jamma you don’t want to mess with.

ODIN

Other confirmed cast for the Kenneth Branagh directed THOR, which has a confirmed release date of May 20th, 2011, includes:

Chris Hemsworth as Thor – the God of Thunder
Tom Hiddleston as Loki
Natalie Portman as Thor’s human love interest – Jane Foster
Jaimie Alexander as Thor’s Asgardian love interest – Sif
Colm Feore as a yet to be revealed villian
Stellan Skarsgård as a top-secret as yet unrevealed role

For more info on all of these casting updates click HERE.

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DYLAN BAKER

[Dylan] Baker confirmed that he is on board for Sam Raimi’s forthcoming Spider-Man 4. Baker appeared in Spider-Man 2 and Spider-Man 3 as Dr. Curt Connors, a professor at Empire State University.

Read more HERE.

SPIDER-MAN vs. THE LIZARD in 'SPIDER-MAN 4'??

In the comic-book Dr. Curt Connors becomes the Spider Man villian, The Lizard, and it’s possible director Sam Raimi could go in that direction for one of the films villians.

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Writer: Victor Gischler
Pencils: Bong Dazo
Inks: Jose Pimentel
Colors: Matt Milla
Letters: Jeff Eckleberry
Production: Rev. Paul Acerios
Asst Editor: Sebastian Girner
Editor: Axel Alonso
Cover: Arthur Suydam
Publisher: Marvel Comcis

Though not what I’d typical consider my usual fare for comics…there’s something about the over-the-top situation and visuals the character winds up in that just makes this a fun read. Though the story takes place pretty much in context of a current Marvel Universe, it sits on an edge just slightly off from most of the other books.

Whether it’s something outrageous like a zombie Tyrannosaur, to the cheesecake Dr. Betty, to the wisecracking Deadpool himself, this story takes established characters and concepts (AIM, Hydra, etc.) and sets them just on the other side of “fantastic” from “comic book realistic.”

The cover scheme for this book has also been fun–rather than just another logo or standard cover design, the title’s been presented in different fonts, as the covers have been “Deadpool-ization” of other classic images in our popular culture (much the same way Suydam’s original Marvel Zombies covers were “zombified” takes on classic Marvel covers. Even the intro/recap page for this title has been fun, changing things up a bit.

We continue following Deadpool, Dr. Betty, and zombie-Deadpool’s head as AIM and Hydra vie for the “bioweapon” the head represents by way of the zombie virus. One needn’t even be all that familiar with these fictional organizations…just that both involve loads of generic footsoldiers, goofy costumes, and all that…with the smarter folks at the head of the organization. Deadpool deals with the zombified Tyrannosaur, and has what I consider a classic slapstick sorta response in one panel that put me immediately in mind of old cartoons I used to watch as a kid. It was predictable, I totally saw it coming…and while predictable isn’t always good, it felt just right as it was used here.

The issue’s art has a nice balance wherein it’s not terribly realistic (too much realism would totally spoil the feel of the story) and yet it avoids feeling too “cartooney.” The art seems a great fit for the story…and the way Deadpool saw the Tyrannosaur was quite amusing.

The cover is labeled with a “parental advisory,” for good reason. The violence and gore, and PG-13 clothing on Dr. Betty, and a bit of coarse language certainly make this something to avoid providing to the younger crowd.

I have near-zero interest in any of the rest of the Marvel Universe these days…but this little “family” of titles focusing on Deadpool have been reminding me that it’s not the characters or the universe that disinterests me as much as a lack of genuinely enjoyable and amusing stories.

While the main Deadpool title has been very good, this just carries a different level of fun and adventure that makes it my favorite of the two titles…at least for now. (And it remains to be seen how Deadpool Team-Up will hold against the main title and this one).

You don’t need to be reading any other titles to follow what’s going on here–you don’t even have to be following the main Deadpool title. That has its story rooted within current Marvel Event Continuity, while this title has its own self-contained story set in the Marvel Universe but not hampered by the ongoing Event Continuity.

Story: 7/10
Art: 8/10
Whole: 8/10

Issue Credits

Letterer: VC’s Joe Sabino
Covers: Dave Johnson
Assistant Editor: Jody Leheup
Editor: Axel Alonso
Publisher: Marvel Comics

For $4.99, this issue would have to do quite a bit in order to justify its cost. Thankfully, it more than delivered. While I was really hoping it would be all-original content, my only real frustration at there being a reprint in the back (Deadpool Team-Up featuring Deadpool and Widdle Wade) is that that was one of about a half-dozen Deadpool comics that I already own from the 90s–and which I’d spent several hours just last weekend digging through 18 longboxes to find.

As-is, this is far from the “typical” Deadpool comic–nothing here seems to be in-continuity in the sense of advancing either of the main plots for the first two Deadpool ongoings. However, this faux-anniversary issue is a great “primer” for new fans, and presumably quite a treat for old fans. There may not be any real throughline in the book, but we get seven short stories starring Deadpool, but different creative teams new and old that give the character a chance to shine.

And the number is a nice play on the recent re-numbering Marvel has done with its various titles (I do wonder if Deadpool himself might have appeared in 900 comics through the years, which would me nicely appropriate).  It definite fits the character to play with the numbering–and I surprisingly don’t mind for this one character, as it seems an obvious riff on things rather than a serious numbering bit.

I really enjoyed Liefeld’s art on the Joe Kelly story–there was just something to it, perhaps simply the knowledge that the art’s by the guy that created the character. My favorite story of the bunch was Swierczynski’s riff on a certain tv show about crime scene investigators. Having enjoyed these shorts as I did…if Marvel ever decides to move the Deadpool books to the $3.99 price point, I would hope they’d consider having new original content such as these included after a full-length “main” story.

As these stories are not part of any of the ongoing stuff, if you simply enjoy the Deadpool character or are curious, this is a fantastic single issue to pick up. The original content alone is really worth the cover price (particularly compared against Marvel’s standard-sized $3.99 books!), and you get a reprint of an issue from the 90s that you’d be lucky to find by itself for the price of this issue, these days.

Long-time fan, new fan, or just curious about who the heck Deadpool is…I highly recommend this issue!

Close Encounters of the @*#$ed-Up Kind
Writer: Jason Aaron
Penciler: Chris Staggs
Inker: Juan Vlasco
Colorist: Marte Gracia

This story sees Deadpool beamed onto an alien spacecraft, where he is subjected to the aliens’ probing. However…Deadpool being Deadpool, the tables are quickly turned with a chewed-off arm (his own) and turning the aliens’ machinery against them. Rather than simply delivering a carload of dead guys where he was headed…he delivers a bunch of dead guys and a ship of dead aliens.

This is definitely an over-the-top sorta Deadpool story–the bit with the arm I’m beginning to sense may be a running gag with the character. The art’s not my favorite depiction by any means, but definitely gets stuff across quite well in an indie-comics cartooney sort of way.

Silent But Deadly
Writer: Fred Van Lente
Artist: Dalibor Talajic

This story opens with a bang…or rather, if we get technical, a “Boom” as Deadpool’s caught in an explosion. Though his eardrums’re blown out by the explosion, it doesn’t take away from his ability to kick butt, facing 3…well, I actually thought of The Joker’s minions, but that’s a whole other sort of thing. They seem to have some sort of invulnerability, at least to Deadpool’s swords. Once he switches to guns…the fight’s basically over. The “punchline” of the story was rather amusing, and seems typical of the character as well.

The art’s not bad, but not what I typically associate with the character. Still, no complaint with it, really–in a quasi-”anthology” such as this issue, I don’t really expect a consistent visual style nor for every visual interpretation of a character to be my personal ideal.

Deadpool: Shrunken Master
Writer: Mike Benson
Artist: Damion Scott
Colorist: Lee Loughridge

With a couple of “light” stories out of the way, this one goes down a much darker path. Here we see Deadpool at a psychiatrist, having an apparently typical-for-Deadpool session. We see the smart-aleckiness of the character, and it’s actually quite interesting seeing him interacting with someone like this, being analyzed and even doing some self-analyzing. However, there’s a twist toward the end as we see that Deadpool’s motive is not to seek counciling, but rather see some justice done.

This was another story that to me comes across as what I can only really describe as “indie”–it’s not typical/mainstream super-hero fare…or at least, none that I’m used to associating with such. Yet, it really carries the mood quite well, and does exactly what it should. Again, not my favorite depiction, but for very well-suited to this particular story.

Pinky Swear
Writer: Joe Kelly
Artist: Rob Liefeld

This was the story I was most looking forward to for this issue, after having read the Marvel Spotlight: Deadpool issue last week. We find Deadpool in the midst of a battle, with a pretty woman hanging on for dear life. We have some…questionable (but fitting) inner dialogue from Deadpool’s voices. Before long, Deadpool is reminded of a date he’s gotta keep–with an old friend from his school days. The boys had a bet over whether his friend would marry someone in particular by a certain time, and mid-battle (with the battle following him) Deadpool finds the guy, and the bet is settled.

I normally don’t care all that much for Liefeld’s art, but it worked quite well here–likely for nostalgia, knowing this is Deadpool as visualized by the character’s creator. The story itself seems to really fit the character–that even in the middle of a gun battle and with an attractive woman at his side trying to stay alive, Deadpool would keep some childhood promise where other ‘dates’ may not be kept. The bet itself really makes it work, as it seems so trivial, and yet Deadpool makes it into this huge thing.

What Happens in Vegas…
Writer: Duane Swierczynski
Artist: Shawn Crystal
Colorist: Lee Loughridge

This story quickly becomes a rather obvious riff on the tv show CSI. Deadpool’s very much aware here of the “real world,” and the formula of the tv show. The fact that anyone would pronounce him dead and yet he’s cognitive–both of his surroundings and of where the reader might be looking–is an interesting use of narrative further illustrating the character’s nature. As it turns out, the story itself is Deadpool trying to get a particular reaction from one of the investigators–inserting himself into the “mythology” of the show, given the typical, cheesey one-liners. And of course, not getting the intended reaction, Deadpool reacts violently, before explaining to the reader what he was going for.

Not all that thrilled with the art on this one, but it fits the story. The investigator characters are pretty much recognizeable, knowing who they’re supposed to be…without being actual likenesses of the tv actors/actres. As said earlier, this was my favorite story in this issue…it took me by surprise, but the fact that I’m aware of the show and the bit Deadpool’s going for…I just really enjoyed it. All the more because of the pun Deadpool’s going for being right up my own alley humour-wise (though of course I do not condone the violence!).

Great Balls of Thunder on the Deep Blue Sea
Writer: Victor Gischler
Penciler: Sanford Greene
Inker: Nathan Massengill
Colorist: Dave McCaig

This was a rather amusing short. Basically, Deadpool’s on vacation on a cruise ship, and his typical, violent nature is most assuredly NOT compatible with the typical vacationer. Unfortunately for Deadpool…Dr. Octopus is also present, and does not take kindly to the mercenary’s presence. Deadpool suggests some “vacation code” (typical that he’d have something like that in mind, whether or not anyone else even KNOWS of it or recognizes it). The ending’s darkly amusing, playing with scene transition in a way that works very well in this medium.

The art is very cartooney, but that works well for this story. This actually may be one of the least-violent Deadpool stories I’ve read, and it looks entirely possible that–while severely inconvenienced–no one in the story actually dies. Really just an entertaining story.

One Down
Writer: Charlie Huston
Artist: Kyle Baker

This story has a bit of typical Deadpool as the character ultimately continues to break the “fourth wall” since he’s fully aware that he is a comic character. It also serves as some strong commentary on the current/contemporary nature of comic characters, especially from Marvel and DC. There’s also a hint of Jay & Silent Bob here at the story’s ending…or at least, I thought of that film with the way it ended compared to this.

We see Deadpool conversing with the voices in his head as he gets up and around for the day, going through all the stuff he needs to in order to reach a particular target. The identity of the target is what brings the whole story together. Once again, a rather dark place for the story to go…quite morbid, actually. And yet, it puts a certain depth and seriousness to Deadpool that I think I’d actually be very interested in seeing explored.

I’m not all that familiar with Baker’s art, though he’s one of the view names I recognize amongst the artists for this issue. The style works very well for the story. The visual and written aspects work very well in a way that really wouldn’t work in anything BUT a comic, even while this piece itself comments on comics.

This one wasn’t as “fun” as the CSI riff…but next to that, I think this was my other favorite of the issue.

Deadpool and Widdle Wade

Well…actually, this is a whole separate issue, deserving of its own review. Its inclusion here obviously beefs up Deadpool #900, especially as it was already a special by itself.

THOR About Ready To Smash Some Face

Read more HERE.

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BRYAN SINGER

But Singer’s movies since X-MEN have not been the gems he was hoping for. With SUPERMAN in development fubar (due to the Siegel heirs regaining copyright copntrol of the character in a few years) and Singer’s involvement with Battlestar Galactica somewhat of a risk considering how popular the SyFy series was and how the BSG movie will be yet another reiagining from scratch – X-Men seems like Singer’s logical best bet to regain solid footing.

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by Steve ‘Frosty’ Weintraub – Collider.com

When a movie gets ready to film, casting breakdowns are sent out to various agencies to see if any of their actors are suited for a role. This happens on every movie, and most of the time, no one reports anything because who really cares what actor is serving Jennifer Aniston her coffee in her latest romantic comedy. But when you land some of the casting breakdowns for the next Marvel movie, you’re going to get some coverage. Anyway, the studio is obviously looking for a ton of people to fill many roles in “Thor”, but for now, you can read the description for a college student named Marcy Lewis and who they’re looking for to play Warriors.

And for people not caught up… Kenneth Branagh is directing “Thor” for Marvel next year. The film is getting released May 20, 2011 and it stars Chris Hemsworth (Thor) and Natalie Portman (Jane Foster). Here’s the synopsis that Marvel released:

Marvel Studios expands its film universe with a new type of superhero: THOR. This epic adventure spans the Marvel Universe; from present day Earth to the realm of Asgard. At the center of the story is The Mighty Thor, a powerful but arrogant warrior whose reckless actions reignite an ancient war. Thor is cast down to Earth and forced to live among humans as punishment. Once here, Thor learns what it takes to be a true hero when the most dangerous villain of his world sends the darkest forces of Asgard to invade Earth.

Thanks to Movie Spoilers for the casting info:

[MARCY LEWIS]
(20) Is a college student. Aloof, jaded beyond her years, she thought her internship with scientist Kate Spelling would be an easy 6 college credits. However, she’s been stuck for months in this small New Mexico town and relegated to a wide range of unglamorous activities. Kate has been particularly hard on Marcy, making it her personal project to see that Marcy lives up to her potential. Marcy deals with her situation both by using subtle irony and by being an overt wiseass.

(WARRIORS)

A fearless warrior race, where size, strength and ferocity define a member’s rank in both the social and military hierarchy. Warriors born in this society face the harshest ecological conditions imaginable and thrive in environments where lesser creatures, including humans, quickly perishes. Theirs is a world created to cull weakness from the universe to ensure their supreme sovereignty spreads across the stars. MUST BE 6′2 OR TALLER, NO BODYBUILDER TYPES. SAG ROLE BUT NO LINES. MUST BE COMFORTABLE WEARING PROSTHETICS.

Amazon Specials!

Want You to Want Me Part Two: No Man is an Island

Writer: Daniel Way
Penciller: Paco Medina
Inker: Juan Vlasco
Colorist: Marte Gracia
Letterer: VC’s Joe Sabino
Assistant Editor: Jody Leheup
Editor: Axel Alonso
Cover: Jason Pearson
Publisher: Marvel Comics

After the cliffhanger emphasis put on Deadpool’s decision last issue, this issue was rather abrubt to start out. Deadpool is flatly turned down and away. Upon further consideration, Cyclops sends Domino after him to bring Deadpool in to the team. This results in some misunderstanding between Deadpool and Domino, before Deadpool spills the beans on his plan to show the X-Men what “moves” he’s got to bring to the team.

This is my first new, bought-day-of-release issue of Deadpool in years. I vaguely recall picking up the final issue of Cable/Deadpool a few years back; prior to that, I don’t recall if I picked up the first issue of whatever the long-running solo Deadpool title became with that “reboot” back in 2001/2002ish. And before that, I’d picked up the first issue of the first 1990s mini-series (that came out the same summer as the first Sabretooth miniseries…guess which character’s ultimately had “legs”?).

The “previously” page lets one in on the bare essentials you need-to-know for this issue…I don’t even need to remember what happened in the previous issue (though I’ve enjoyed issues 15 and 12-14 [in that order]). This is one thing I definitely applaud Marvel on that I’ve long felt DC needs to do–especially the WAY Marvel does it, it’s something that adds to the single issue format, and is easily removed for the collected volume with zero loss of story or story pages. But it adds a lot to the issue itself…not to mention providing a consistent place to see which creator did what on a given issue.

Though there’s some dark, violent stuff to this series…there’s a warped sense of fun about it, too, that makes it simply an enjoyable book to read, with some amusing gags and pokes through the “fourth wall.” The art just plays right into this, as the visual style is very solid…and really quite good in and of itself. Cyclops, Domino, and of course, Deadpool all look quite good in this issue, and for that alone the art gets props from me. The visuals bring in contemporary looks for the various characters…and really makes ‘em look about the best I’ve seen them in awhile–particularly Cyclops and Deadpool himself.

This issue and its story are grounded in the “Dark Reign” status quo the overall Marvel Universe is mired in…and yet thankfully keeps somewhat above it, in a way. There’s also the fact that the issue is a mere $2.99…which is QUITE a steal on a book from this publisher of late.

There’s plenty of backstory to be had in Deadpool as a character, even just from this current series. That context will add an extra layer of enjoyment to the reading of this issue. At the same time, short of another reboot or an issue specifically labeled on its cover or in solicitations as a jump-on point…this is about as good a jump-on point as one’s gonna get.

If you like the character and aren’t reading this book, I’d recommend giving it a shot. ALso, if you’re avoiding Marvel for all the $3.99 books and yet want a peek into the Marvel Universe of late…this seems an excellent title for peeking in on things at the already-high-enough $2.99 price point.

Story: 7/10
Art: 8.5/10
Whole: 8/10

STELLAN SKARSGARD

STELLAN SKARSGARD as the Saxon King CERDIC in KING ARTHUR

Skarsgård really is a spectacular and obvious choice for the movie. He was a major bad ass as the Saxon King Cerdic in the recent KING ARTHUR movie and would be great as any of the Norse Pantheon from the Marvel comic book.

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