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BATGIRL: STEPHANIE BROWN, VOLUME 2 (DC Comics)

Written by Bryan Q. Miller & Grant Morrison.

Art by Pere Perez; Dustin Nguyen; Derek Fridolfs; Ramon Bachs; Cameron Stewart; Lee Garbett; Trevor Scott; Guy Major; Nathan Fairbairn; Travis Lanham; Dave Sharpe; Carlos M. Mangual; Sal Cipriano; & John J. Hill.

Collection Cover Art by Dustin Nguyen.

SUMMARY:

Released in 2018 by DC Comics, this 328-page trade paperback completes Stephanie Brown’s initial journey as Batgirl — that is, prior to DC’s New 52 continuity reboot.  This volume collects Batgirl # 13-24; Bruce Wayne – The Road Home: Batgirl one-shot; and Stephanie’s overseas team-up with Bruce Wayne’s Batman in Batman, Incorporated: Leviathan Strikes # 1 — all originally released between 2010 and 2012.  With Issue # 24, DC Comics cancelled this series, as its subsequent New 52 reboot would restore Barbara Gordon to the role as the original (and again teenage) Batgirl.

After Volume 1, Stephanie Brown’s on-the-job training as the newest Batgirl resumes, as she tries evading her prior rookie mistakes.  Juggling her second semester as a Gotham University freshman, Batgirl must help enigmatic GCPD Detective Gage thwart a homicidal Clayface’s bank heist.  Another team-up awaits Stephanie, as fellow teen Supergirl flies into Gotham City for some downtime with her new friend.  Hence, they spend a wild Friday night pursuing twenty-four 3D clones of Count Dracula that have escaped from Gotham University’s campus movie screen into reality. 

Stephanie’s combat and sleuthing skills are then tested by a mysteriously stealth-powered adversary, who is the person she least expects.  Meanwhile, with Bruce Wayne still missing, a determined Vicki Vale confronts Barbara Gordon to confirm the original Dark Knight’s secret identity.

With Barbara and Wendy “Proxy” Harris providing her tech support from the Batcave and now the hidden ‘Firewall,’ Stephanie gains an unwanted ally in the ‘Grey Ghost’ in her pursuit of the sinister Reapers cult.  Worse yet, an injured Batgirl finds herself a prime suspect after being framed in the cult’s homicide of one of her own classmates. 

Stephanie, in the meantime, teams with Damian Wayne’s Robin in an undercover sting to rescue kidnaped children from their abductors. As his surrogate big sister, she later tries to demonstrate to ten-year-old Damian that he is still a child capable of innocent playtime.

Set amidst Valentine’s Day, Stephanie unexpectedly meets Klarion the Witchboy in Gotham City.  Helping Klarion find a romantic playmate for Teekl (his feline mascot), Batgirl reluctantly finds herself undercover in Limbo Town.  One friendly favor merits another, as Stephanie takes Klarion to a Valentine’s Day festival at Gotham University.  With Detective Gage and ‘The Grey Ghost’ at her side, Batgirl next faces the first of the Reapers’ techno-mercenaries: Slipstream.  Another of these techno-operatives, Harmony, subsequently challenges Batgirl.  At the same time, months after her brother Marvin’s grisly homicide, Wendy is now haunted by his zombie-like ghost.           

Assigned overseas to London by Bruce Wayne’s Batman, an undercover Stephanie teams up with her fellow teenage vigilante, the Squire, to rescue hostages.  The Knight makes a cameo appearance in this adventure.  Taken captive while probing a British boarding school, Stephanie confirms it’s an elitist front for a Leviathan terrorist recruitment center. 

With Batgirl vastly outnumbered, it’s up to the original Dark Knight to help even the grim odds.  Upon her return to Gotham City, Stephanie resumes her feud with The Reapers’ legion of armored thugs.  With an ally fatally struck down, Batgirl must re-double her efforts.  Hence, she summons the right kind of all-star firepower for this job: Supergirl, Miss Martin, Stargirl, and Bombshell.        

As the series comes to an end, Stephanie is stunned by the return of her supposedly dead father: the Cluemaster.  Rendered comatose, Batgirl’s life is saved by her beloved friends and the last person she wants discovering her secret identity.  Having dreamt possible future adventures awaiting her, Stephanie makes peace with her life as is.  She’s as ready for tomorrow as Batgirl as she’ll ever be.   

Notes: This title is also available digitally.  The prior volume complies Issues # 1-12, including a two-part crossover with Tim Drake’s Red Robin.

REVIEW:

Despite inevitable turnover with this franchise’s artistic personnel, Volume 2’s visuals are still well above-average.  In particular, Dustin Nguyen’s distinctive artistic charm is an ideal fit for Stephanie Brown’s Batgirl.      

In sync with a reliable visual look, writer Bryan Q. Miller proves consistently on his game progressing Stephanie’s “Lesson” as a rookie Batgirl.   Not only is Miller’s storytelling a fresh take on a college-age heroine, but he plays up Stephanie’s exuberance and self-confidence for what it should be – i.e. she’s a plausible teenager. 

Hence, energetic team-ups with Supergirl, Damian Wayne’s Robin, Klarion the Witchboy, and Stephanie’s British counterpart: the Squire, blend DC’s formulaic elements with the playful advantages this new Batgirl brings with her.  Ending an issue with a bounce house scene with the skeptical Damian, for instance, demonstrates how Miller has made Stephanie an appealingly relatable character to readers.         

With Barbara Gordon’s Oracle and Wendy Harris’ ‘Proxy’ leading the supporting cast, Miller ensures that his youthful protagonist isn’t overshadowed by a preponderance of too many Bat-characters crossing over.  That even includes the Dark Knight himself, as his team-up with Stephanie in the “Leviathan Strikes” crossover is a welcome treat. 

To Miller’s credit, he effectively phases in potential castmates that could stick around awhile or possibly prove expendable – it’s a welcome nod to unpredictability.  More so, DC Comics evidently paid attention to how Miller had revitalized Batgirl’s significance to the Bat-Family, even after this series was regrettably cancelled. 

One can recognize how many of Stephanie’s fun-loving traits were lifted for the New 52 Barbara Gordon to update the most famous Batgirl’s well-established persona with extra dimension.  It’s unsurprising given how another New 52 consolidation tweaked Barry Allen’s Flash to more closely resemble Wally West’s hyperactivity.  Hence, two Silver Age icons received contemporary personality makeovers while temporarily relegating both Stephanie and Wally to DC’s continuity dustbin. 

Nearly fifteen years later, Miller’s take on this underrated Batgirl still hasn’t received its due reward – let’s just say the poignant series finale speaks for itself.  Batgirl: Stephanie Brown, Volume 2, ultimately, is a teen-friendly gem well worth re-discovery.

ADDITIONAL CONTENT:

The original cover is presented in a full-page format followed by a posed Batgirl portrait taken from the interior artwork to precede each story.  The cover artists are: Stanley “Artgem” Lau (Issues # 13-14); Shane Davis & Barbara Ciardo (Bruce Wayne – The Road Home: Batgirl); Dustin Nguyen (Issues # 15-24); and Chris Burnham & Nathan Fairbarn (Batman, Incorporated: Leviathan Strikes # 1).

BRIAN’S ODD MOON RATING:                    8½ Stars

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Comic Books & Graphic Novels Marvel Comics MARVEL's Hardcovers & Paperbacks STAR WARS-Related

STAR WARS: HAN SOLO (MARVEL Comics)

Han Solo # 1-5  Written by Marjorie Liu.

Art by Mark Brooks; Dexter Vines; Sonia Oback; Matt Milla; & VC’s Joe Caramagna.

Star Wars # 8-12 Written by Jason Aaron.

Art by Stuart Immonen; Wade Von Grawbadger; Justin Ponsor; & Chris Eliopoulos.

Collection Cover Art by Stephanie Hans.

SUMMARY:

In 2016, Marvel Comics released writer Jason Aaron’s Star Wars # 7-12 (from 2015) as a trade paperback entitled Star Wars, Volume 2: Showdown on the Smuggler’s Moon.  Writer Marjorie Liu’s complete 2016 Han Solo five-issue mini-series was subsequently released in a trade paperback format in 2017.  Come 2018, Marvel Comics compiled these two unrelated storylines into a 232-page hardcover simply titled Star Wars: Han Solo.  The only issue not included is Star Wars # 7, which sets up Luke Skywalker’s adventure apart from Han & Leia’s covert scouting mission.

Set several weeks after Star Wars – Episode IV: A New Hope, Captain Solo has uneasily dodged freelance smuggling gigs considering that he and Chewbacca are hot on the Empire’s Most Wanted list, not to mention Jabba the Hutt’s infamous bounty.  Prodded into a secret assignment by Princess Leia, Han & Chewbacca go undercover entering an illegal galactic race known as the ‘Dragon Void.’  Essentially, it’s any hotshot pilot’s dream to win the ultra-dangerous Dragon Void (let alone survive it).  As far as most of the elitist competition is concerned, Han Solo is a nobody; worse yet, just a lowly smuggler with seemingly nothing to lose but his life.    

Against the galaxy’s hottest racing talent, the Millennium Falcon’s crew must evade the Empire’s scrutiny while retrieving three Rebel spies, all targeted by an unknown mole bent on murder.  It’s up to Han & Chewbacca to protect their passengers from this assassin lurking among them.  In this five-part adventure, will Han’s pride or his conscience ultimately determine a rescue mission’s outcome vital to Rebel intelligence?

Picking up after Star Wars # 7 (also set in this same post-New Hope timeframe), Han & Leia find themselves in a tense stand-off with a vengeful mercenary, Sana Starros, who claims to be Han’s estranged wife.  Trapped in a nebula on a remote planet by the Empire, Leia & Han uneasily make a truce with the snarky Sana to escape with their lives. 

Meanwhile, Luke Skywalker’s search for long-lost Jedi secrets takes him (with Artoo-Detoo) to Mar Shaddaa – the Smuggler’s Moon.  Seeking passage into Coruscant (the Jedi Temple), Luke is taken captive by the ruthless Grakkus the Hutt.  The young Skywalker (and his vintage lightsaber) are deemed the new prizes of this Hutt’s extensive Jedi artifact collection.

Forced into arena combat by Grakkus and a mysterious handler, an inexperienced Luke faces a gauntlet of gladiatorial challengers.  Learning of Luke’s predicament, Chewbacca & See-Threepio, along with Han, Leia, and a reluctant Sana converge on Mar Shaddaa to rescue him.  Standing between them and Luke is the Empire; Grakkus and his bloodthirsty minions; as well as the vile bounty hunter, Dengar.  Against an intergalactic horde of enemies, Han, Chewbacca, and Leia must resort to unexpected weaponry to save their friend’s life. The truth of Han & Sana’s marriage years before is subsequently revealed.

Elsewhere, Darth Vader continues his obsession with uncovering the identity of the rookie Jedi, who participated in the recent Battle of Yavin.       

Notes: Both individual books are available digitally, as is this combined title.  

REVIEW:

Visually, this book is a welcome gem, in terms of its high-caliber artwork.  The main characters consistently resemble the actors, especially as it’s made easy to imagine Harrison Ford playing out these stories.  As for the plotting, frankly, neither one rates as an absolute must-have for Star Wars afficionados, but readily ‘above-average’ is a fair assessment.  In Marjorie Liu’s Han Solo, formulaic ‘Cannonball Run’-like elements hit the plot’s target justifying the art squad’s stellar effort.  Even if there are virtually zero surprises, Liu’s racing/espionage caper still takes readers on an entertaining ride.

Jason Aaron’s action-adventure, at a minimum, offers the intriguing sequence of Han, Leia, & Chewbacca standing back-to-back wielding lightsabers in arena combat.  The introduction of Sana Starros is also a fun treat, along with Han & Chewbacca’s face-off with Dengar. 

Perhaps the best bit of dialogue comes from a mortified See-Threepio, upon his translation of the growling Wookie’s reply that ‘we’ means that he will be accompanying Chewbacca to help save Luke.  Speaking of which, the necessity for Luke’s friends having to suddenly come rescue the impulsive young Jedi is this tale’s only off-note.  Aaron should have depicted either Han and/or Leia expressing some justifiable exasperation at Luke’s foolish journey – for some semblance of reality.

Ultimately, readers get a dynamite Star Wars double-feature from Marvel Comics, even without Star Wars # 7 to better introduce the Smuggler’s Moon storyline.  With that in mind, Han Solo’s Marvel/Disney exploits are off to a rousing start.   

ADDITIONAL CONTENT:

The original covers and their variants are reprinted as full pages.  The Han Solo cover artists consist of: Lee Bermejo (Issues # 1 & 3); Tula Lotay (Issue # 2); Olivier Coipel (Issue # 4); and Kamone Shirahama (Issue # 5).  Interspersed throughout this book, Issue # 1’s variant artists are: John Cassady & Paul Mounts; Mike Allred & Laura Allred; Scott Koblish & Nick Filardi, and John Tyler Christopher. 

Issue # 2’s variant duo is Mike Allred & Laura Allred.  Issue # 3’s variant team consists of Declan Shalvey & Jordie Bellaire, plus a separate cover from Michael Walsh.  Issue # 4’s variants are supplied by artists Stephanie Hans; Kirbi Fagan; Jamal Campbell; and Dustin Nguyen.  Issue # 5’s variants are provided by artists Mike Del Mundo; Joëlle Jones; Cameron Stewart & Matthew Wilson; and Kevin Wada.     

The Star Wars # 8-12 cover artists are the team of Stuart Immonen, Wade Von Grawbadger, and Justin Ponsor.

BRIAN’S ODD MOON RATING:                     8 Stars

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

SEVEN SOLDIERS OF VICTORY, VOLUME 2 (2 of 2) (DC Comics)

Written by Grant Morrison.  

Art by Frazier Irving; Pasqual Ferry; Ryan Sook; Mick Gray; Yanick Paquette; Serge LaPointe; Doug Mahnke; Billy Dallas Patton; Michael Bair; Freddie Williams II; & J.H. Williams III.

Collection Cover Art by Ryan Sook.

SUMMARY:

Released in 2011 by DC Comics, this 381-page hardcover concludes the 30-issue Seven Soldiers of Victory epic originally published in 2005-2006.  With Seven Soldiers # 0 and Seven Soldiers # 1 serving as its bookends, the saga’s seven primary characters are each showcased in his/her own four-part, interrelated mini-series playing off the premise that none of these Soldiers interact with one another, let alone realize their link to an ancient prophecy.

Presenting writer Grant Morrison’s storyline by each issue’s chronological release rather than each individual mini-series together, Volume 2’s contents shift between Klarion the Witch Boy # 4; Mister Miracle # 1-4; Zatanna # 4; Bulleteer # 1-4; and Frankenstein # 1-4 before concluding with Seven Soldiers of Victory # 1.  Grim revelations of The Sheeda’s magical invasion of Earth become more specific, as the destined Seven Soldiers rise against their common enemy. 

Notes: As with Volume 1, this title was subsequent re-released as as a trade paperbacks and in digital form.  Other formats include: a full-scale, nearly 800-page hardcover Omnibus assembling the entire series and the original Seven Soldiers Books 1-4 trade paperbacks (i.e. Volume 1 combines Books 1-2 and this Volume 2 is the combined  Books 3-4).

Klarion’s series finale begins with the Witchboy nearly burned at the stake by Limbo Town’s incensed inhabitants, including his own mother and sister.  With the sinister Mister Malmoth and his mercenaries invading Limbo Town, dark secrets are revealed.  It’s up to teenage Klarion and his feline familiar, Teekl, to save his underground home from Malmoth’s diabolical plans for ‘updating’ Limbo Town. 

Elsewhere, a re-imagined a ‘Mister Miracle’ named Shilo Norman emerges as possibly Earth’s greatest escape artist (note: the existence of Scott Free’s Mister Miracle isn’t addressed).  Like his unacknowledged predecessor, the slippery Mister Miracle finds himself targeted by a cadre of otherworldly threats, including the ominous ‘Dark Side.’ Even his extraordinary talents escaping the inescapable may not be enough to overcome these odds.  

A possibly powerless Zatanna Zatara and her young apprentice, Misty, arrived in Slaughter Swamp in search of its mysterious Seven Unknown Men.  A lethal showdown awaits Zatanna in the form of the evil magician, Zor.  The ethereal prize awaiting their battle’s victor is the truth of her late father’s elusive four magical books: the Libri Zatarae. 

Stunned by her husband’s reckless death, Alix Harrower has reluctantly become the hero-for-hire Bulleteer – a Bullet Girl for a new generation.  It’s revealed that Alix was the unidentified no-show in Seven Soldiers # 0, who had avoided the prior team’s gory annihilation.  Forced into battle by a personal foe, Alix refuses the summons of a persistent ghost pressing her acceptance as one of the prophesied new Seven Soldiers.  Another ominous link to the prior team has targeted this rookie Bulleteer for assassination by The Sheeda.

With help from his estranged secret-agent wife, The Bride, Frankenstein’s Monster faces multiple grisly missions in his pursuit of the immortal Mister Malmoth following the villain’s escape from a defiant Limbo Town. The legendary undead monster senses he must hunt down Malmoth first in order to destroy The Sheeda. 

To thwart The Sheeda Queen and her insidious forces, desperate solo gambits must be made by Frankenstein’s Monster; Zatanna Zatara and Misty; Klarion the Witchboy; Sir Ystina the Shining Knight; and Shilo Norman’s Mister Miracle.  Also converging on the scene are Jake Jordan’s Guardian and the Bulleteer, as one of the Seven Soldiers will make the ultimate sacrifice to secure victory.  The epilogue updates the fates of some of the survivors.

REVIEW:

Explaining Grant Morrison’s strange Seven Soldiers of Victory, Volume 2 to non-fans would be the equivalent of fathoming Kurt Vonnegut’s Slaughterhouse Five as a graphic novel.  Perhaps Morrison was aiming for a Vertigo Comics audience that deems weirdly subversive sci-fi/fantasies like Robert A. Heinlein’s Number of the Beast as top-caliber entertainment.

Given the artistic talent involved (and their varying degrees of murkiness), Volume 2’s visuals are consistently stellar – no matter how incomprehensible Morrison’s storyline often is.  Before proceeding further, Volume 2 concocts some cleverly devised plot twists, and a few well-written segments (i.e. Zatanna # 4) are easy to follow – scoring some rare poignancy at welcome moments.  Yet, that’s more the exception than the rule.  While Klarion # 4 and Frankenstein # 2-4 contribute necessary depth to The Sheeda invasion angle (and mostly make sense), the same doesn’t apply so much to either The Bulleteer # 1-4 and Mister Miracle # 1-4.       

Case in point: The Bulleteer’s sub-plots include some supernatural characters relevant to Seven Soldiers # 0 and # 1, which generates well-played intrigue.  However, the primary arc constructs an inevitable showdown between likable heroine Alix “The Bulleteer” Harrower and the woman her late husband was having a cyber-affair with. Aside from their terrific visual quality, Alix’s adventures are, therefore, mostly irrelevant. 

There’s also no mistaking the talented art team’s fixation on displaying the Bulleteer’s blatant sex appeal vs. crafting her a compelling origin tale.  While Alix’s mini-series is actually a fun read, her contribution is far more padding than any substantial one. More so, Alix’s cameo in the Seven Soldiers finale surely doesn’t add much to Morrison’s mixed-bag finish line. 

As for Morrison’s Mister Miracle, his re-imagining of Jack Kirby’s New Gods (including Darkseid) is a high-concept homage that baffles far more than it dazzles.  Readers will find that they have to operate on the same wavelength as Morrison to follow Shilo Norman’s confusing four-part tale.  Mister Miracle is prime evidence of how muddled Morrison’s saga becomes when Volume 2 is absorbed as a whole.  The glorification of horrific, R-rated plot curveballs (off-screen or not) makes their creative justification throughout this wonky project seem even more tasteless.

Note: Volume 1’s grisly surprises are more repulsive than in Volume 2.      

Ultimately, Volume 2’s high-caliber artwork and pristine production values are its two best and most enduring assets.  Morrison’s bizarre plotting, by comparison, is overrated, as his impressively grand ambitions tend to fall short of the actual content.

ADDITIONAL CONTENT:

A two-page summary conveys the events of Seven Soldiers of Victory, Volume 1.  The original full-page cover precedes each story.  Cover artists are: Frazier Irving (Klarion # 4); Pasqual Ferry (Mister Miracle # 1-2); Freddie Williams II & Dave McCaig (Mister Miracle # 3-4); Ryan Sook (Zatanna # 4); Yanick Paquette, Michael Bair, & Alex Sinclair (Bulleteer # 1 & # 4); Paquette, Serge LaPointe, & Sinclair (Bulleteer # 2-3); Doug Mahnke & Dave Stewart (Frankenstein # 1); Mahnke & John Kalisz (Frankenstein # 2-3); Mahnke & Nathan Eyring (Frankenstein # 4); and J.H. Williams III (Seven Soldiers of Victory # 1).

Morrison, at the end, presents six pages of insightful script notes preparing Seven Soldiers of Victory # 1.  Presented in a full-page format, the collection covers for Seven Soldiers of Victory, Book Three (cover artists: Paquette, LaPointe, & Stewart) and Book Four (cover artists: Mahnke & Stewart) are included.  In a full, double-page montage (essentially, a poster), Sook’s collection cover artwork for Seven Soldiers of Victory, Volumes 1 & 2 is saved for last.

BRIAN’S ODD MOON RATING:                      6½ Stars

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HART TO HART: NIGHT HORRORS (Season 1: Episode 14 or Episode 16)

SUMMARY:          RUNNING TIME: Approx. 49:15 Min.

First airing on January 22, 1980, on ABC-TV, Ray Austin directed this early Hart to Hart episode, which was written by Bill La Mond & Jo La Mond. Attending an awkward dinner party on a dark, stormy night, millionaire & amateur sleuth Jonathan Hart (Wagner) reluctantly declines wife Jennifer’s (Powers) prodding that they politely escape while they can. 

Not only is their friends Amanda & Fred’s (Harris & Snyder) secluded mansion haunted, the evening’s quirky fun is a treasure hunt for the late prior owner’s priceless cache stashed somewhere in the house.  Others recruited for this dimly-lit parlor game are: a boozy realtor (Small); a smarmy horror novelist (Shenar); an enigmatic reverend (Martin); the household’s creepy butler (Stuthman); and a frosty psychologist (van Pallandt) prone to psychic disturbances. 

Once their host makes a ghoulish entrance, everyone is split into random pairs to search the house – evidently, with the winner to take all.  As Jennifer & Jonathan find out, double-crosses aside, it appears that somebody is willing to kill to acquire the lost Greeley fortune. 

With their cars and telephones disabled, everyone has no choice but to wait inside the mansion and resume the search.  Not only are the elusive Greely gems at stake, so now are the Harts’ lives.  

Jonathan Hart & Jennifer Hart: Robert Wagner & Stefanie Powers

Max: Lionel Stander

Amanda & Fred: Cynthia Harris & Arlen Dean Snyder

Reverend Tyson: Barney Martin

Michael Shillingford: Paul Shenar

Gladys Leary: Mews Small

Simon: Fred Stuthman

Dr. Lorna Phelps: Nina van Pallandt

Freeway: Charlie Gray

REVIEW:

It’s false optimism if one expects more from this murder-mystery hokum than Wagner and Powers trading Halloween quips and marital double-entendres.  Otherwise, the eye-rolling plot resembles Hart to Hart’s bungled attempt at playing CLUE

Sabotaged by a glut of haunted house teases from a Hollywood cliché festival, the cast’s presence offers this misfire’s sole asset.  Still, the actors fall short of overcoming the guest characters’ absence of depth, let alone selling a series of plot curveballs that lead nowhere.  The blame falls on the La Monds’ mediocre script imitating far better haunted house whodunnits, which director Ray Austin doesn’t improve upon.  All he can do is convey an appropriately spooky ambiance, which mostly goes to waste.

This episode’s first two-thirds is tolerable as an average TV mystery for that era.  Regrettably, the worst unforced error comes in its last fifteen minutes, which resorts to some midnight grave-robbing. There’s no plausibility justifying sending the Harts and the other treasure seekers out to raid the Greeley family cemetery … conveniently located in the estate’s backyard. 

Even impulsive greed, as a homicidal motive, doesn’t disguise the last few twists in the cemetery from being flat-out ludicrous.  Ultimately, “Night Horrors” is one dubious Hart to Hart caper where even die-hard fans might resent far more cheese being served than substance.

P.S. As a spoiler, the script’s ineptitude even botches an easy gag prior to the epilogue.  Viewers will get to glimpse the aforementioned Greeley gems, which are obviously nothing more than glittery trinkets from the studio’s prop department.  The mystery’s end, however, is left ambiguous, with most of the treasure hunters inexplicably losing interest after taking a gaze inside the jewelry box. 

The La Monds and/or Austin inexplicably fail to conjure up some satisfying wink to explain why these gems were a joke all along (as irony given an earlier plot hiccup).  For instance, do the characters scornfully recognize these ‘precious’ Greeley gems as an assortment of unremarkable costume jewelry after risking their lives for it? Or is there some other reason why no one seems to want this treasure in the end?  

Such a surprise wouldn’t have salvaged this TV dud, but one decent chuckle still might have sufficed for viewers.  And the less said about the epilogue’s weak finish afterwards playing ‘vampires’ with Max the better.  

BRIAN’S ODD MOON RATING:                           4 Stars

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