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Comic Books & Graphic Novels DC Comics

CATWOMAN # 55 (1998 DC Comics)

Written by Devin K. Grayson

Art by Jim Balent; John Stanisci; Buzz Setzer; & Albert DeGuzman

Cover Art by Jim Balent; Sherilyn Van Valkenburgh; & Tasty Fried Color

SUMMARY:

Entitled “Shared Mentality,” DC Comics released this issue for March 1998.  Selina Kyle is mortified that her privacy is under siege by creepy millionaire Warner Samson, who is a high-profile security systems tycoon.  Seeking vengeance against her taunting stalker, Selina goes undercover to swipe Samson’s covert access codes for some well-deserved looting payback.  Still, Selina must decide what she is willing to lose to halt Samson’s incessant degradation of women.

REVIEW:

Though the art squad delivers consistently terrific visuals, Devin Grayson’s routine plotting is disappointingly hollow.  Though Selina is presumably an equal master-of-disguise to Bruce Wayne, her resourceful adversary is depicted as too much of a misogynistic moron to be believed. 

The first few pages are promising, in terms of Selina’s slimeball stalker clearly having the upper hand.  Yet, Grayson makes revenge look far too easy for Selina flipping the advantage against the sleazy Warner Samson, without better exploring his motive for harassing her (beyond presumably clichéd macho arrogance).

Case in point: Selina’s current nemesis evidently knows more than where she lives and where she shops, let alone has illegal access to Selina’s unlisted phone number.  Especially after confirming his identity to Selina, wouldn’t Samson logically anticipate potential retaliation, i.e. be on the lookout for her potential disguises?  In other words, shouldn’t her tech-savvy stalker have already have researched her notorious modus operandi/reputation and anticipate Catwoman’s effort at retribution? Hence, his idiotic lack of suspicion amidst Selina’s undercover work is less-than-credible.    

Though the issue’s intriguing premise falls far short, Grayson partially delivers on Selina’s conscience surpassing her innate greed.  Yet, one is left wondering why doesn’t Catwoman earlier take greater offense upon spying Samson’s battered spouse?  Making a defiant stance against spousal abuse would have made this plot seem far less flimsy.

Though it’s an okay read, excellent artwork can’t overcome an abundance of plot holes in Catwoman # 55.  

ADDITIONAL CONTENT:

There’s a two-page “Copy Cats” letters-and-answers column, including hype from editor Denny O’Neil for the next major Bat-event: “Cataclysm.”    

BRIAN’S ODD MOON RATING:                     5½ Stars

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Comic Books & Graphic Novels DC Comics

CATWOMAN # 18 (1995 DC Comics)

Written by Chuck Dixon

Art by Jim Balent; Bob Smith; Buzz Setzer; & Albert DeGuzman

Cover Art by Jim Balent; Jordan B. Gorfinkel; Electric Crayon; Curtis King; & John Wren

SUMMARY:

Entitled “Here Comes the Bride,” DC Comics released this issue for February 1995.  Forced into a shotgun wedding with the nefarious Prince Willem, a captive Selina Kyle schemes to escape ASAP.  Yet, at Willem’s castle evidently somewhere in the snowy Alps, heavily-armed, rival hit squads converge to object to the nuptials. 

One is a peeved Galiant’s commando team seeking to eliminate a double-crossing Catwoman while the other intends to assassinate the prospective ‘groom.’  All a tenacious Selina knows is that she had better skedaddle fast once the crossfire ensues.  

REVIEW:

Anchored by the art squad’s reliably terrific visuals, writer Chuck Dixon serves up a predictably chaotic Cat-caper.  No matter its assortment of plot contrivances, the undemanding Catwoman # 18 delivers a fun (if not quickly forgettable) read for fans.

ADDITIONAL CONTENT:

There’s a two-page “Copy Cats” letters-and-answers column.  

BRIAN’S ODD MOON RATING:               6 Stars

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Digital Movies & TV Movies & Television (Videos) Online Videos Sports (TV & Videos) TV Series WWF/WWE (Pro Wrestling)

BOOKER T. VS. “MACHO MAN” RANDY SAVAGE, WITH ELIZABETH (WCW Monday Nitro: Taped December 15, 1997)

SUMMARY:                                RUNNING TIME: 9:42 Min.

Recorded for a WCW Monday Nitro in Charlotte, NC, the bout occurs on December 15, 1997.  Representing the New World Order (NWO) is “Macho Man” Randy Savage and his manager/ex-wife, Elizabeth.  The opposition is Harlem Heat’s Booker T. The Nitro announcing team consists of: Tony Schiavone, Bobby “The Brain” Heenan, & “Iron” Mike Tenay. 

Notes: The match’s length includes Savage & Elizabeth’s entrance.   

REVIEW:

To some degree, this bout serves up slightly above-average TV-caliber wrestling, with its most welcome element being a conclusive finish in lieu of the usual NWO interference garbage.  Yet, what’s even better is seeing Booker T (in his youthful prime) and a 45-year old “Macho Man” trade off several of their signature moves.  The wildcard, of course, is Elizabeth playing Savage’s deceptively meek valet in a corrupted take on her glamorous WWF persona. 

To Savage’s credit, much like in his lengthy feud against Diamond Dallas Page that same year, he doesn’t hesitate selling a solo Booker T as a future main event star.  Booker, for his part, lives up to this prime-time opportunity. For fans of Booker T and a still-spry Randy Savage, this match shouldn’t disappoint anyone.      

BRIAN’S ODD MOON RATING:                         6½ Stars

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Digital Movies & TV Movies & Television (Videos) Music Videos Online Videos

GHOSTBUSTERS (by Ray Parker Jr.: 1984 music video)

SUMMARY:                                     RUNNING TIME: 4:05 Min.

Released in 1984, Ray Parker Jr.’s MTV music video proved hugely influential in selling Ghostbusters to younger fans.  In addition to Parker Jr. working tongue-in-cheek with unidentified actors performing the song, the music video incorporate movie clips and a collection of celebrity cameos lip-synching back-up vocals.

The celebrities consist of: Irene Cara; John Candy; Melissa Gilbert; Chevy Chase; Teri Garr; Peter Falk; Jeffrey Tambor; George Wendt; Al Franken; Carly Simon; Rick James; and Danny DeVito.  More so, in a rare instance back then of movie actors appearing in music videos, the Ghostbusters themselves (Bill Murray, Ernie Hudson, Harold Ramis, & Dan Aykroyd) finish strutting the song’s last moments with Parker Jr.

REVIEW:

Effectively advertising Ghostbusters, Parker Jr.’s energetic music video is something of a mid-80’s pop culture pioneer.  Recruiting plenty of star power (a rarity back then), the song’s chorus will be left stuck in the brains of viewers afterwards. 

The only caveat for kids is that, upon being ‘woken up’ from bed, an unnamed actress in a skimpy nightie runs around with Parker for part of the video.  Considering that child actors are employed earlier in the video, this contrast between potential audiences is a bit awkward.  Still, for what this cheesy video altogether acccomplishes, it’s well-played.

BRIAN’S ODD MOON RATING:                   7½ Stars

Categories
Documentaries DVD History & Biographies (Videos) Movies & Television (Videos)

CALIFORNIA GOLD RUSH

SUMMARY:                            RUNNING TIME: 1 Hour

Narrated by actor John Lithgow, TOPICS Entertainment released this documentary to DVD in 2011.  Providing a historical overview, Lithgow and a select group of historians describe the beginning, the bleak middle, and lasting impact of California’s sudden prominence (including imminent statehood) come 1849. 

Included are side profiles of would-be agricultural tycoon John Sutter, whose vast properties were utterly trampled by prospectors, and ultra-rich merchant Samuel Brannan, who represents the flipside of the phenomenon: selling shovels and other mining supplies to desperate clientele. 

Also represented are the inclusion of the nation’s most diverse population up to that time; drastic changes in California’s economy; the tragic encroachment/genocide upon the region’s Native Americans; and the environmental fallout from hydraulic mining.      

Steven Boettcher and Michael Trinklein tag-team writing, directing, and producing the film, as well as handling its cinematography.  The participating historians are: J.S. Holiday; JoAnn Levy; Merrill Mattes; Sylvia Sun Minnick; Charles Martin, Sr.; and Denis O. Watcher.  Providing voice-overs are Jim Pickering, Michael LaGue, & Michael W. Nash.

REVIEW:

John Lithgow’s articulate, down-to-earth presence spells out the tragedies and occasional triumphs amidst a worldwide descent upon a pristine California of 1849 and ensuing years.  Anchored by a scenic blend of contemporary video footage mixed with vintage photographs, the even-handed insights from various historians offer a welcome balance. 

Taking a classy approach examining the greatest get-rich-quick mentality in world history, this all-ages documentary is an ideal viewing experience for armchair historians.

BONUS FEATURES:

On the main menu screen, besides scene selection, there are options to view the documentary’s trailer and an epilogue detailing the ironically bleak fates of John Sutter and Samuel Brannan.

PACKAGING:

The DVD is held in a sturdy casing.  The documentary’s contents are accurately advertised. 

BRIAN’S ODD MOON RATING:                  6 Stars

Categories
CD's Music & Radio Shows Rock, R&B, Pop, Soul, & Metal/Symphonic

ALL THAT YOU CAN’T LEAVE BEHIND (by U2)

SUMMARY:                                RUNNING TIME: 49:00 Min.

Released by Island Records & Interscope Records, U2’s tenth studio album was released in late 2000.  The album’s eleven tracks are:

                                                                  Running Time:

  1. “Beautiful Day”                                             4:07
  2. “Stuck in a Moment You Can’t Get Out Of”     4:31
  3. “Elevation”                                                   3:46
  4. “Walk On”                                                   4:55
  5. “Kite”                                                           4:26
  6. “In a Little While”                                         3:38
  7. “Wild Honey”                                                3:46
  8. “Peace on Earth”                                            4:47
  9. “When I Look at the World”                            4:17
  10. “New York”                                                   5:29
  11. “Grace”                                                          5:29

All That You Can’t Leave Behind subsequently scored seven Grammys over the next two years.  At 2001’s 43rd Annual Grammys, Track 1 (“Beautiful Day”) won Song of the Year, Best Rock Performance by a Duo or Group With Vocal, and Record of the Year. 

In 2002, in addition to a nomination for Album of the Year, three separate tracks won: specifically, Track 2 (“Stuck in a Moment You Can’t Get Out of”) won Best Pop Performance by a Duo or Group With Vocal; Track 3 (“Elevation”) won Best Rock Performance by a Duo or Group with Vocal; and Track 4 (“Walk On”) won Record of the Year.  The album concluded with 2002’s Grammy for Best Rock Album.   

Note: This album made Grammy history as the first and only effort to win Record of the Year two consecutive years.

REVIEW:

Given its slew of accolades, the album’s projection of a mature, self-reflective vibe should seem impressive.  Yet, All That You Can’t Leave Behind, from a production standpoint, comes off as both overdone and dated.  Competing against U2’s vintage sound, the album clearly can’t escape the era from which it was released. 

Listening to these songs years after the fact only highlight the album’s sonic limitations. The biggest offender would likely be Track 4: “Elevation;” still, others like the simplistic Track 11: “Grace,” age much better. For the most part, this assortment of tunes presents a reverse sort of anachronism. 

Specifically, the album resembles less traditional U2 and more so the bands it subsequently influenced, such as Coldplay.  All That You Can’t Leave Behind tries too hard to emulate classic U2 that that it becomes a sanitized, rock-influenced pop record lifting their 80’s run.  Unfortunately, this album falls short of the edgy, alternative rock that the U2 of the ‘90s and their contemporaries were putting out a decade prior.

The band goes too far backwards into their thought-provoking roots vs. pushing forward a new and more unique experience.  This creative strategy can largely be attributed to the underwhelming reception to their two prior records; hence, returning to their original sound made sense purely from a commercial standpoint.

The result is deliberately superficial, and, therefore, more accessible than other U2 works; yet, to deeper music fans, this bland effort could play like shallow U2 fluff seeking mainstream relevancy.  While there’s some solid hits and decent deep cuts, All That You Can’t Leave Behind represents a step down from The Joshua Tree and other ground-breaking U2 albums.

PACKAGING:

Including a solid casing, the standard CD accessories are all here.  The CD’s contents are accurately listed.

ROSCOE & BRIAN’S ODD MOON RATING:       5 Stars

Categories
CD's Music & Radio Shows Rock, R&B, Pop, Soul, & Metal/Symphonic

ONE LOVE (by Kimberley Locke)

SUMMARY:                             RUNNING TIME: 45:00 Min.

Released by Curb Records in 2004, One Love is the debut album of American Idol alum Kimberley Locke.  Besides covering a familiar pop standard, Locke delivers eleven original tunes – one of which is a duet with fellow Idol contestant Clay Aiken.  The songs are:

                                              Running Time:

  1. 8th World Wonder                        3:59
  2. Have You Ever Been in Love      4:17
  3. Wrong                                       3:17
  4. I Could                                      4:20
  5. Without You (with Clay Aiken)    4:31
  6. It’s Alright                                 3:19
  7. Coulda Been                               3:45
  8. Before                                        3:54
  9. You’ve Changed                         3:23  * Locke is a credited co-writer
  10. Now I Can Fly                           3:47
  11. I Can’t Make You Love Me         3:22
  12. Over the Rainbow                       3:45

REVIEW:

Simultaneously exuding charm and radiant vocals, Locke’s first album proves a welcome treat.  In entertaining fashion, her songwriting team and musicians conjure up sufficient variety shifting between R&B/soul and mainstream pop.  Unsurprisingly, though, both Locke’s vocal style and her songs tend to resemble original American Idol winner Kelly Clarkson. 

That isn’t a detriment so much, as her material seems almost factory-made by Curb Records.  Still, Locke’s considerable talents shine on One Love, as this classy album merits a chance at re-discovery.  

PACKAGING:

Including a sturdy casing, it’s all standard-issue materials.  The CD’s contents are accurately advertised.

BRIAN’S ODD MOON RATING:                     7½ Stars

Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

THE OMAC PROJECT (DC Comics)

“Countdown to Infinite Crisis”  Written by Geoff Johns; Greg Rucka; & Judd Winick. “Countdown to Infinite Crisis”  Art by Rags Morales, Michael Bair, & Moose Baumann (Chapter One); Ed Benes & Hi-Fi (Chapter Two); Jesus Saiz, Jimmy Palmiott, & Paul Mounts (Chapter Three); Ivan Reis, Marc Campos, & Guy Major (Chapter Four); Phil Jimenez, Andy Lanning, & Steve Firchlow (Chapter Five); Nick J. Napolitano [Project Letterer]; & Jim Lee and Alex Ross [Project Cover Artists].

“OMAC Project”  Written by Greg Rucka. “OMAC Project”  Art by Jesus Saiz; Bob Wiacek; Cliff Richards; Hi-Fi Design; Phil Balsman; & Jared K. Fletcher. Cover Artist: Ladrönn.

“Wonder Woman # 219 ” Written by Greg Rucka. “Wonder Woman # 219”  Art by Rags Morales; David Lopez; Tom Derenick; Georges Jeanty; Karl Kerschl; Mark Propst; Bit; Dexter Vines; Bob Petrecca; ‘Nelson;’ Richard Horie; Tonya Horie; & Todd Klein. Cover Artists: Ladrönn & J.G. Jones.

Collection Cover Art by Ladrönn

SUMMARY:

Released by DC Comics in 2005, this 256-page paperback assembles the Countdown to Infinite Crisis one-shot; the complete OMAC Project # 1-6; and the corresponding Wonder Woman # 219 (all from 2005)  The 80-page Countdown is divided into five chapters, jumping back and forth from present-time to the recent past few days. 

Feeling rejected by his allies, Ted Kord’s doomed Blue Beetle investigates alone the shadowy culprit that has been plundering his company’s resources.  With some help from Wonder Woman and an injured Booster Gold, Blue Beetle uncovers a Checkmate organization that has ruthlessly seized command of Batman’s vast Brother I (Brother Eye) satellite surveillance system. At the Batcave, Batman ominously realizes that an unknown adversary has locked him out of accessing Brother I.  

Tipped off by an insider re: Blue Beetle’s brutal homicide, Batman and the Justice League are startled by Checkmate’s ultimate A.I. weapon deciding to rid Earth of all metahuman interference.  Despite simmering dissension, it’s up to DC’s greatest heroes to thwart an army of seemingly unstoppable and armored OMAC drones manned primarily by innocent ‘sleeper cell’ civilians. 

Worse yet, a battered Wonder Woman takes drastic action to save a mind-controlled Superman from Checkmate’s nefarious Black King.  Fallout from all tiers of this complex storyline will subsequently play into Infinite Crisis # 1.

REVIEW:

Fans of DC’s controversial Infinite Crisis era will likely find The OMAC Project’s sophisticated storytelling a welcome read.  All creative facets are consistently high-caliber, including the storyline’s dark plot twists.  Still, depictions of sadistic, cold-blooded violence and occasional profanities makes The OMAC Project inappropriate for a potential pre-teen audience.  That’s the caveat: DC Comics deceptively doesn’t offer a parental advisory re: this adult-oriented plot that plays off kid-friendly, spoofy Justice League International tales from the 80’s and 90’s. 

Ultimately, The OMAC Project is recommended for those seeking out the complete Infinite Crisis saga.

ADDITIONAL CONTENT:

The cover for Wonder Woman # 219 is sized to a half-page, but the other cover reprints appear in a full-page format.

Entitled “Crisis Counseling,” a full page summarizes the build-up leading into Countdown to Infinite Crisis.  Later, including half-page cover images, there’s a two-page summary of Superman # 218, Action Comics, # 829, and Adventures of Superman # 642 (which comprise Parts 1-3 of the “Sacrifice” storyline), which concludes in the Wonder Woman # 219 crossover.  Lastly, there’s also a nine-page “Designing the OMAC Project” gallery consisting of imagery (in color and black-and-white) from artists Jesus Saiz & Ladrönn.

Note: Additional cover artists are: Ed Benes & Rod Reis (Superman # 219); Tony S. Daniel, Dexter Vines, & Guy Major (Action Comics # 829); and Karl Kerschl & Dave McCaig (Adventures of Superman # 642).

BRIAN’S ODD MOON RATING:                          8 Stars

Categories
Comic Books & Graphic Novels DC Comics

DC SUPER-STARS OF MAGIC GIANT # 11 (1977 DC Comics)

‘Zatanna’ Written by Len Wein & Art by Gray Morrow.

‘Flash’ Written by John Broome & Art by Carmine Infantino and Joe Giella.

Cover Art by Gray Morrow.

First Page Art by Mike Nasser & Terry Austin.

SUMMARY:

DC Comics released this 48-page issue for January 1977.  First up is an untitled 17-page Zatanna Zatara adventure serving as a sequel to Justice League of America # 51.  On a dark and stormy night, at the Zatara family mansion known as Shadowcrest, sorcerer John Zatara is corrupted by an unknown supernatural threat.  Under such ominous influence, he banishes his beloved daughter, Zatanna, and her business manager, Jeff Sloane, to a bizarre prehistorical locale. 

Taken captive, Zatanna & Jeff face imminent execution by a warlock’s goons in the ‘Tower of the Dead.’  Against seemingly impossible odds, it’s up to the Mistress of Magic to save Jeff, Zatara, and Earth itself from an old foe wreaking vengeful havoc.  No matter the heartbreaking consequences, Zatanna must even be willing to kill her mind-controlled father in magical combat to thwart his reign of terror.     

From May 1962’s The Flash # 128, the 13-page back-up feature is the frequently-reprinted “Case of the Real-Gone Flash!”  Though the story is oddly identified as their third encounter, Barry Allen’s Flash tangles with the formidable 64th Century rogue, Abra Kadabra, for the first time. 

REVIEW:

This long-forgotten DC anthology title serves up two worthwhile capers.  Len Wein’s reliable scripting and Gray Morrow’s engaging visuals concoct Zatanna’s fun lead feature that amply earns its cover image.  Though dated as a Silver Age relic, the Flash’s face-off vs. Abra Kadabra is still worth a quick read. 

Along with the bonus materials as kid-friendly padding, DC Super-Stars of Magic Giant # 11 is a nostalgic treat serving up classy, all-ages DC Comics-style entertainment.

ADDITIONAL CONTENT:

A single-page biography summarizes ‘The Great Houdini.’  Though the author isn’t identified, the facial close-up is illustrated by Mike Nasser & Terry Austin.  A second full-page article is entitled “Conjuring Through the Ages.”  Neither its writer nor the illustrator of a Merlin image are identified.  There are also page-length instructions for three magic tricks: ‘The Coin in the Glass;’ ‘The Disappearing Coin;’ and ‘The Magical Prediction.’     

BRIAN’S ODD MOON RATING:                6 Stars

Categories
Individual Tracks (CD's) Music & Radio Shows Rock, R&B, Pop, Soul, & Metal/Symphonic

NOW I CAN FLY (by Kimberley Locke: One Love)

SUMMARY:                         RUNNING TIME: 3:47 Min.

As Track # 10 off her 2004 debut album, One Love, American Idol alum Kimberley Locke performs this tune.

REVIEW:

Locke’s classy vocals are welcome on this slice of contemporary Soul/R&B.  Despite Locke’s obvious talents, “Now I Can Fly” is still an average song.  Though there isn’t anything making it a solo must-download, the tune is worth hearing on the complete One Love album.

BRIAN’S ODD MOON RATING:                          6 Stars