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Digital Songs & Albums Electronica & Epic Music & Radio Shows Soundtracks (Digital) STAR TREK-Related

EPILOGUE/END CREDITS (by James Horner & Leonard Nimoy – from 1982’s Star Trek II: The Wrath of Khan movie soundtrack)

SUMMARY:                          RUNNING TIME: 8:47 Min.

From the closing moments and end credits of 1982’ Star Trek II: The Wrath of Khan movie soundtrack, composer James Horner performs the tune with an unidentified orchestra.  Before shifting into the closing credits, as heard in the film, star Leonard Nimoy provides the Original Series opening “Space … The Final Frontier” voiceover that his co-star, William Shatner, had previously delivered.  

REVIEW:

Long overshadowed by John Williams’ iconic Star Wars scores, James Horner’s own work from The Wrath of Khan is undeniably stellar. 

Instead of mimicking Williams’ epic style, Horner opts for a more nautical though modern sound (i.e. occasional synthesizers) that echoes the Original Series’ theme at the right moments.  More so, the low-key vibe Horner imbues this track makes wonderful use of poignant tinges to make the film’s storyline seem even more timeless.  It’s a welcome deviation from composer Jerry Goldsmith’s excessively grandiose take on 1979’s Star Trek: The Motion Picture

Still, what makes this original track frankly perfect is Leonard Nimoy’s brief presence.  With his familiar voice slightly filtered to sound raspier, Nimoy’s contribution conveys a ghostly effect – appropriately, given the film’s somber yet still optimistic ending.  More so, the teamwork between Horner and Nimoy ensures that “Epilogue/End Credits” saves the best for the last on arguably the franchise’s greatest soundtrack.  Highly recommended!    

BRIAN’S ODD MOON RATING:                        10 Stars

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Digital Songs & Albums Music & Radio Shows Pop, R&B, Soul, & Dance Soundtracks (Digital)

BEVERLY HILLS COP II (by Various Artists: 1987 film soundtrack)

SUMMARY:              RUNNING TIME: 45:14 Min.

MCA Records released the movie soundtrack for 1987’s Beverly Hills Cop II.  Notably, none of composer Harold Faltermeyer’s instrumental tracks are included – unlike the original film’s soundtrack.  This 1987 album subsequently peaked at # 8 on U.S. Billboard charts.  Bob Seger’s popular lead-off tune, “Shakedown,” would later earn nominations in 1988 for ‘Best Original Song’ at both the Academy Awards and the Golden Globes. 

The eleven-track album consists of the following:

  1. Shakedown (by Bob Seger)                              (4:01)
  2. Be There (by The Pointer Sisters)                   (4:17)
  3. In Deep (by Charlie Sexton)                            (3:34)
  4. Hold On (by Corey Hart)                                (3:46)
  5. I Want Your Sex (by George Michael)             (4:47)
  6. Better Way (by James Ingram)                        (4:10)
  7. Love/Hate (by Pebbles)                                  (4:02)
  8. Cross My Broken Heart (by The Jets)              (4:12)
  9. 36 Lovers (by Ready For The World)            (4:19)
  10. I Can’t Stand It (by Sue Ann Carwell)           (4:04)
  11. All Revved Up  (by Jermaine Jackson)          (4:02)

The album is currently available in vinyl, CD, and digital formats.      

REVIEW:

Thirty-seven years later, Bob Seger’s “Shakedown” is still a dynamite tune to add to any rock or movie hits playlist.  Still, one can obtain the track off a Seger’s greatest hits project, as opposed to locating it on this album misfire.  Aside from solid entries from Seger, The Pointer Sisters, and James Ingram, this album would frankly pass as a bland mid-80’s R&B compilation.

When compared to the original Beverly Hills Cop soundtrack, there’s nothing remarkable about this sequel effort.  Instead, it’s a precursor to a ‘90s film soundtrack trend utilizing forgettable rock/pop tunes (not actually used for the advertised movie) as glorified padding.  Hence, the sales gimmick became the dubious ‘inspired by’ portion of soundtracks.  The same applies to Beverly Hills Cop II where musical substance is hardly its top objective.    

The total exclusion of Harold Faltermeyer’s score isn’t necessarily a deal-breaker.  Still, given the album’s actual content, the producers’ intent was solely on potential radio play.  Case in point: though apt for its scene at the Playboy Mansion estate, George Michael’s “I Want Your Sex” serves up bottom-of-the-barrel pop trash.  Dragging down the rest of the album, Michael’s cringe-worthy track makes Beverly Hill Cop II’s playlist kid-unfriendly for no good reason. 

The album’s most practical option for finding a physical copy is either at a garage sale or a discount retailer.  Otherwise, hearing this soundtrack once digitally may prove more than sufficient. 

Note: Pursuant to his song’s own radio popularity, George Michael (who also wrote “I Want Your Sex”) scored an award much deserved: a 1987 Razzie for ‘Worst Song.’  

BRIAN’S ODD MOON RATING:                     5 Stars

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Digital Songs & Albums Electronica & Epic Individual Tracks (Digital Albums & Singles) Music & Radio Shows Pop, R&B, Soul, & Dance Soundtracks (Digital)

DRAGNET ’88 (by The Art of Noise – inspired by 1987’s Dragnet movie soundtrack)

SUMMARY:                           RUNNING TIME: 2:59 Min.

From the 1987 Dragnet film soundtrack, British synthesizer-pop group (The) Art of Noise supplies this homage title tune. 

Film dialogue clips from co-stars Dan Aykroyd, Tom Hanks, Dabney Coleman, and narrator Bill Wittman are included (and often repeated) to give the song a remix-style take on composer Ira Newborn’s instrumental opening credits track. The tune appears (in a different form) on the soundtrack as “Dragnet (Danger Ahead/Dragnet March).”  

One might consider “Dragnet ‘88” a companion piece for another of the soundtrack’s inclusions, “City of Crime,” performed by Aykroyd and Hanks.   

REVIEW:

For non-fans, this upbeat, synthesizer-heavy track will probably get old fast.  Still, fans of Dan Aykroyd & Tom Hanks’ Dragnet film will likely find this playful Art of Noise tune a welcome treat.  “Dragnet ’88,” suffice to say, makes for a fun throwaway on a road trip or movie hits playlist.   

BRIAN’S ODD MOON RATING:                             7 Stars

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Digital Songs & Albums Individual Tracks (Digital Albums & Singles) Music & Radio Shows Pop, R&B, Soul, & Dance

BAD BOY (by Miami Sound Machine – from 1985’s Primitive Love)

SUMMARY:                         RUNNING TIME: 3:53 Min.

Off Miami Sound Machine’s 1985 studio album, Primitive Love, “Bad Boy” is its fourth track.  The tune’s subsequent Cats-inspired music video received regular airplay on MTV and VH1.     

REVIEW:

Between Gloria Estefan’s endearing vocals and a delightful dance-pop melody, “Bad Boy” remains an endearing tune nearly forty years later.  Though this upbeat tune is overshadowed by other tunes in Estefan’s considerable repertoire, it merits a chance for re-discovery. 

The playful charm of “Bad Boy” supplies a welcome addition to any home or road trip playlist.  

BRIAN’S ODD MOON RATING:                     7 Stars

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Digital Songs & Albums Individual Tracks (Digital Albums & Singles) Music & Radio Shows Pop, R&B, Soul, & Dance Soundtracks (Digital)

MANHUNT (by Karen Kamon – from 1983’s Flashdance soundtrack)

SUMMARY:                       RUNNING TIME: 2:36 Min.

From 1983’s Flashdance movie soundtrack, Karen Kamon performs its fourth tune: “Manhunt.”  Going a full year after the album’s initial release, “Manhunt” also subsequently became the soundtrack’s fourth released single.  As of this writing, the Flashdance soundtrack (currently available in vinyl, CD, and digital formats) is the only source to find “Manhunt.”     

REVIEW:

Superficially, this Early 80’s dance-pop tune isn’t all that remarkable.  Given the same soundtrack’s multiple award-winning/nominated pop hits (i.e. Irene Cara’s “Flashdance … What A Feeling!,” and Michael Sembello’s “Maniac”), it isn’t surprising that Karen Kamon’s sexually assertive tune has been overshadowed for more than forty years.  Still, when given a chance, this track’s catchy melody and Kamon’s appealing vocals make “Manhunt” a better song than one might assume. 

Hence, the sultry charm of “Manhunt” merits consideration for any retro-dance, movie hits, or road trip playlist.     

BRIAN’S ODD MOON RATING:                   6½ Stars

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Digital Movies & TV Movies & Television (Videos) Online Videos TV Episodes & Movies TV Series TV Series (Specific Episodes)

WELCOME BACK, KOTTER: BRIDE AND GLOOM (Season 4: Episode 14)

SUMMARY:                        RUNNING TIME: 26:00 Min.

This fourth-and-final season episode of Welcome Back, Kotter first aired on January 13, 1979, on ABC-TV.  It also served as John Travolta’s second-to-last appearance as ‘Vinnie Barbarino.’  Due to an ongoing creative/contract dispute, star Gabe Kaplan neither appears, nor is his character’s non-presence acknowledged in this storyline.  Norman Abbott directed this episode off Earl Barret & George Bloom’s script.

Juan Epstein (Hegyes) prods his best friend, Vinnie Barbarino (Travolta), into marrying his Guatemalan cousin, Angelina (Levario) into a quickie marriage/divorce to ensure her American citizenship. Television-saturated and constantly demanding, Angelina doesn’t speak English, which necessitates Epstein’s services as Vinnie’s translator.  Despite Vinnie’s desire to hush the matter, word quickly circulates to ‘The Sweathogs’ (Hilton-Jacobs, Palillo, & Shortridge); his academic counselors (Strassman & White); and the entire high school student body.

Vinnie’s trepidations over marrying Angelina worsen once she makes specific (and likely expensive) demands for the wedding.  ‘The Sweathogs’ further egg the situation on during a best-forgotten bachelor’s party the night before.  Vinnie & Angelina’s marriage ceremony takes an unexpected swerve once her passion for singer Freddy Fender comes into play.   

                                          Cast:

Gabriel “Gabe Kotter: Gabriel “Gabe” Kaplan (credits only)

Julie Kotter: Marcia Strassman

Vinnie Barbarino: John Travolta (as special guest star)

Michael Woodman: John Sylvester White

Freddie “Boom-Boom” Washington: Lawrence Hilton-Jacobs

Arnold Horshack: Ron Palillo

Beau DeLabarre: Stephen Shortridge

Angelina: Rachel Levario

Sally: Linda McCullough

Priest: Uncredited

Marimba Player: Uncredited.

REVIEW:

Aside from ‘The Sweathogs’ not even remotely resembling teenagers, the absence of series star Gabe Kaplan is just as glaring.  Still, had Kaplan appeared and pitched a few wisecracks, even his trademark quips wouldn’t have salvaged this dreck. 

Despite game efforts from Robert Hegyes, John Travolta, and guest star Rachel Levario, there’s just one single LOL gag before the last commercial break.  Otherwise, considering its eye-rolling premise, all viewers get is a dubious Latina immigrant stereotype and cliché-fest. 

Let’s just say that “Bride and Gloom” is best left in the Late 1970’s TV rerun dustbin.         

BRIAN’S ODD MOON RATING:                       3 Stars

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

THE QUIET RESISTANCE (by Nemesea)

SUMMARY:                     RUNNING TIME: 56:00 Min.

Released in 2011 by Napalm Records Handels GMBH, The Quiet Resistance is the Dutch goth metal/rock band Nemesea’s third studio album. 

Including its spooky title prologue and a bonus track, Nemesea’s album sports fourteen tracks.  The Quiet Resistance consists of:  

  1. The Quiet Resistance (guest vocals: Gerben Verhaar)  (0:52)
  2. Caught in The Middle     (4:49)
  3. Afterlife            (3:12)
  4. Whenever         (3:31)
  5. If You Could  (guest piano: Joost van den Brock)  (3:54)
  6. High Enough  (guest vocals: Charlotte Wessels)  (4:13)
  7. Say  (4:04)
  8. It’s Over  (guest vocals: Marcus Klavan & guest turntables: Matt Litwin)  (3:59)
  9. I Live  (guest piano: Joost van den Brock)  (4:31)
  10. Stay With Me   (3:48)
  11. Rush   (5:27)
  12. Release Me   (3:40)
  13. 2012  (5:58)
  14. Allein  (guest vocals: Heli Reissenweber)  (3:58).

REVIEW:

It’s a compliment describing Nemesea as a Western European answer to Evanescence, as far as their very similar goth takes on energizing symphonic metal/rock.  2011’s The Quiet Resistance supplies ample evidence, as lead singer Manda Ophuis matches Evanescence’s Amy Lee one haunting vocal after another.  If compared, the substance of Ophuis and Lee’s vocals frankly sound almost identical. 

Case in point: Tracks # 8 (“High Enough”) and especially # 3 (“Afterlife”) sound as if they came directly off Evanescence’s 2003 album, Fallen.  Still, Ophuis and her bandmates surpass any stigma as Evanescence copycats with consistently high-caliber performances and sufficient originality throughout this album.  These tracks topping out at a nearly an hour’s running time, impressively, don’t wear out their welcome. 

The Quiet Resistance, accordingly, merits a chance for re-discovery as a classy entry in the symphonic metal/rock genre.

PACKAGING:

The CD is well-secured in its casing, as its advertising appears accurate. The individual track running times aren’t disclosed.  The slickly produced insert includes each track’s lyrics – with the exception of the title prologue.  Atmospheric band photos, credits, and thank-you’s are also provided. 

BRIAN’S ODD MOON RATING:                          8 Stars

Categories
Books & Novels Fantasy, Horror, & Science Fiction Movies & Television (Books) STAR TREK-Related

STAR TREK: THE RETURN

Written by William Shatner, Garfield Reeves-Stevens, & Judith Reeves- Stevens

SUMMARY:

Released in 1996 by Pocket Books, the 371-page Star Trek: The Return is the direct sequel to the first ‘Shatnerverse’ entry – 1995’s Star Trek: The Ashes of Eden.  Given occasionally retroactive contradictions with Trek’s established mainstream continuity (i.e. the fate of the U.S.S. Enterprise-A), the so-called ‘Shatnerverse’ evidently occupies its own self-contained alternate timeline.     

Set a few weeks after Star Trek: Generations (and as teased by The Ashes of Eden), Starfleet’s Veridan III salvage operation of the crashed U.S.S. Enterprise-D is unexpectedly besieged.  At the base camp, Commander William Riker and Counselor Deanna Troi barely survive the unknown enemy’s onslaught. Is this ruthless attack merely a diversion?  Meanwhile, elsewhere on Veridan III, a visiting Ambassador Spock directly witnesses the theft of Captain James T. Kirk’s remains from his mountaintop grave. 

As it’s soon revealed, the Romulans have joined The Borg in a sinister alliance to destroy Federation opposition.  Joining a covert Starfleet strike team, Captain Jean-Luc Picard and Dr. Beverly Crusher confirm this joint invasion has already commenced with the assimilation of the remote Starbase 804. 

Worse yet, through use of alien technology, Kirk has now been resurrected and then brainwashed.  His new mission is to kill The Borg’s greatest threat: Picard himself.  As a sleeper agent for the Romulan/Borg alliance, Kirk’s restored body is infested with bionic nanites that helped bring the Starfleet legend back to life.  Simultaneously, these same nanites are now slowly killing him.  Kirk, meanwhile, experiences enigmatically haunting dreams occupied by the ghost of Spock’s father, Sarek. 

Targeting Picard’s temporarily displaced crew (i.e. Worf, Geordi LaForge, & Data), a disguised Kirk intends to extract Picard’s whereabouts by any means necessary.  Though instinctively resistant to his brainwashing, the amnesiac former captain of the U.S.S. Enterprise finds himself on an intercept course with allies turning on one another.  With Riker and later Picard suspecting Ambassador Spock’s current Romulan ties, they wonder why The Borg didn’t assimilate Spock upon his brief capture.  Spock, in turn, questions Picard’s own previous Borg assimilation.  The rogue Kirk intends to take full advantage of such distrust – even as he is reunited with his two best friends. 

With Dr. Julian Bashir’s help, a team of U.S.S. Enterprise luminaries (Picard, Riker, Troi, Crusher, Data, Worf, LaForge, Spock, Admiral McCoy, and Kirk) join a desperate Starfleet strike mission.  Targeting The Borg’s home world, the Federation’s new makeshift Enterprise is caught in the crossfire by the same Romulans who had abducted Kirk.  With their new Enterprise’s weaponry rendered inoperative, Starfleet’s two greatest captains both realize an ultimate sacrifice must be made.  In order to thwart The Borg, will the simmering rivalry between Captains Kirk and Picard again end in tragedy? 

The initial Kirk resurrection storyline subsequently concludes with 1997’s Star Trek: Avenger.  The ‘Shatnerverse’ chronology would resume with two additional trilogies and, finally, a Starfleet Academy prequel in 2007.         

Notes: In addition to hardcover, this title’s alternate formats include paperback and audiobook; however, as of this writing, a digital format isn’t available. 

Purportedly, Shatner had pitched to Paramount Pictures after 1994’s Star Trek: Generations that the second Next Generation film explore Captain Kirk’s resurrection for the franchise’s upcoming 30th Anniversary.  As Paramount opted to instead produce Star Trek: First Contact, one wonders how closely The Return expands upon Shatner’s initial premise. 

REVIEW:

William Shatner (far more likely, his ghostwriters: Garfield Reeves-Stevens & Judith Reeves-Stevens) sharply concocts a slam-bang Trek adventure no doubt meant to be as cinematic as possible.  Including tidbits of well-informed fan service (i.e. V’Ger, Spock’s prior mind-melds, etc.), Star Trek: The Return devises a plot far more aggressively complex than the old school ambitions of Kirk & Picard’s ill-fated Generations team-up. Think of it this way: Star Trek: The Return aspires for a complicated storyline more akin to Star Trek VI: The Undiscovered Country (and Star Trek: First Contact) than Generations.  

Whereas Generations clearly made Kirk its expendable guest star, The Return boldly flips that concept upside down.  Hence, it’s indisputable that Shatner’s take on Star Trek is that the franchise ought to still revolve around James T. Kirk.  Everyone else (from Spock, Picard, etc. on down), therefore, comprises his high-profile supporting cast.  As to a sixty-something Kirk’s inexplicable vigor, one might presume that his murky nanite-infused resurrection has transformed the Trek icon into something just short of ‘The Six Million Dollar Kirk.’       

In addition to lots of Kirk, this storyline supplies a welcome exploration of Spock and, to a lesser degree, the ever-cranky Admiral McCoy, as to their geriatric presence in the Late 24th Century.  As for Jean-Luc Picard, William Riker, and the primary Next Generation roster (plus guest star Dr. Julian Bashir), this novel at least lives up to their established characterizations. One can credit Garfield Reeves-Stevens & Judith Reeves-Stevens for ensuring that Picard’s team isn’t merely a hollow afterthought in a ‘Best of Both Worlds’ (pardon the expression) bridge between generations.  

The significant difference, however, is that the Next Generation characters have been obviously diminished in favor of emphasizing Kirk’s star power.  For instance, various scenes where Picard’s crew merely stands in the background observing Kirk (or Kirk & Picard) (or Kirk, Picard, & Spock) or make minimal contributions become abundant in the novel’s second half.  For that matter, the amount of deference aimed at Kirk is never left lost upon readers (who should already get the point).    

Spelling out further numerous contrivances building towards ‘Kirk vs. The Borg’ would likely present too many plot twist spoilers.  Suffice to say, the Shatner team’s efforts to re-imagine The Next Generation as far more action with dense plotting and far less technobabble can be construed as a worthwhile endeavor. Conversely, The Return’s mostly coherent plot risks being cluttered with non-essential characters and still squeeze in sufficient ‘screen time’ for everybody. This gamble, in terms of pure entertainment value, pays off, but anyone’s reasonable sense of Trek plausibility may be stretched at times too thin.

Ultimately, as long as one doesn’t mind Shatner’s ego assuming the captain’s chair (to the shock of no one), Star Trek: The Return still delivers an intriguing read for Trekkers from any generation.     

ADDITIONAL FEATURES:

None.

BRIAN’S ODD MOON RATING:                   7½ Stars

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

LAST DANCE (by Donna Summer – from 2003’s The Journey: The Very Best of Donna Summer)

SUMMARY:                           RUNNING TIME: 3:17 Min.

For 1978’s Thank God, It’s Friday movie soundtrack, Donna Summer first performed this disco tune.  Also co-starring in the film, Summer’s “Last Dance” song becomes a pivotal element of the storyline’s plot.  The song subsequently won ‘Best Original Song’ at the 1978 Academy Awards and 1978 Golden Globes.  In 1979, Summer’s tune won ‘Best Female R&B Vocal Performance’ at the 1979 Grammys. 

Subsequently re-released multiple times on various disco compilations and Donna Summer-related projects, one option to find “Last Dance” is 2003’s The Journey: The Very Best of Donna Summer.  This song is also available digitally.      

REVIEW:

Donna Summer’s effervescent vocal performance remains timeless.  She quickly converts what seems like a seemingly romantic and low-key R&B ballad into a disco gem.  The song’s subsequent accolades prove well-deserved. Donna Summer’s “Last Dance” is highly recommended to boost any road trip or movie hits playlist.     

BRIAN’S ODD MOON RATING:           8½ Stars

Categories
Comic Books & Graphic Novels Marvel Comics MARVEL's Hardcovers & Paperbacks

AVENGERS: TWILIGHT (MARVEL Comics)

Written by Chip Zdarsky.

Art by Daniel Acuña; VC’s Cory Petit (Issues # 1-2); & Joe Caramagna (Issues # 3-6).

Cover Art by Alex Ross.

SUMMARY:

Released by Marvel Comics in 2024, this 208-page trade paperback collects the same year’s Avengers: Twilight # 1-6.  In a dystopian alternate future, it’s been decades since the catastrophic H-Day where Boston was demolished and countless lives were lost in the Hulk’s monstrous rampage. 

Simultaneously, with access to newfound data, Ultron-enhanced super-villains hunted down and eliminated nearly all of Marvel’s heroes (including Spider-Man) by preying upon their secret identities.  The few that survived subsequently slid into the public’s shadows or have seemingly vanished altogether.  For instance, the fates of Iron Man and the Wasp remain unknown, though they are presumed dead. 

The U.S. Government, consequently, has confiscated virtually all of Tony Stark’s advanced technology (i.e. Avengers Mansion) and is using it to pacify or pummel the public into submission through constant surveillance.  Hence, thuggish IronCops now roam city streets to remove society’s undesirables from sight.  With the U.S. President reduced to a glorified puppet, Kyle Jarvis (purportedly Edwin Jarvis’ brother) and his adoptive protégé: Tony Stark’s orphaned adult son, James, essentially now control the country.  Through Stark’s technology, a small group of Avenger lookalikes are now seemingly the world’s high-profile protectors. 

In New York City, an elderly and depowered Steve Rogers is married to a physician, Rosa, and stays in contact with Luke Cage and Matt Murdock – both also worn down by age.  After his failed entry running for political office, Steve’s two friends are disappointed that he isn’t trying harder to stem America’s ugly downward spiral. 

Still, Steve fumes when a Red Skull news retrospective falsely implies that his old enemy was secretly a double agent working against the Nazis.  A friend’s subsequent off-screen death and a brutal encounter with IronCops completely lights Steve’s fuse.  Jeopardizing both his life and his marriage, Steve risks everything to become the original Captain America once more.  Joining a decrepit Luke Cage and his underground band of ninja-like Defenders, Captain America is back in action.  Steve then makes multiple attempts to bring the grim reality to the mass public’s attention. 

Staying in his way is an ultra-arrogant James Stark – the upstate genius son of Iron Man and the Wasp – who has no intention of letting his surrogate uncle (and, in his mind, a now-useless relic) ruin America’s new way of life.  What the younger Stark doesn’t know is his adoptive father’s true identity, and, therefore, an insidious ulterior motive.  Steve’s attempts to recruit his few remaining old friends fall short until he confirms Tony Stark’s bizarre fate. 

Infiltrating the Raft (now an illicit laboratory), Steve regains his classic shield.  A fiery battle with the world’s new Iron Man results in both Thor’s majestic return and Tony’s ‘resurrection’ of sorts.  Hence, the classic Avengers trio reunites one last time, with a new female Hawkeye and Kamala Khan’s Ms. Marvel aboard, as well.  It all comes down to a pivotal White House showdown where Steve’s vilest enemy has the U.S. military, nuclear missiles, and, once more, the world’s most devastating menace at his disposal. 

Even the arrival of one more original Avenger may not be enough to end the Red Skull’s catastrophic final scheme.

Note: This title is also available digitally.   

REVIEW:

Elements of DC’s Kingdom Come and Dynamite’s Project Superpowers come to mind when reading Avengers: Twilight

Specifically, writer Chip Zdarsky delves into a warped future where America’s traditional ideals have been long suppressed in a nightmarish exaggeration of contemporary real-world issues.  Not everything Zdarsky pitches is original, makes sense, or is even adequately explained (i.e. what happened to the Ultra-powered villains?  What happened to Marvel’s mutants? What are the fates of other Avengers?), but he still concocts an intriguing thrill ride.   

Zdarsky gives a grizzled, far older Steve Rogers a similar vibe as Frank Miller does with Bruce Wayne’s middle-aged Batman in The Dark Knight Returns.  The same applies to assigning familiar characters like Ms. Marvel, Luke Cage, and briefly Matt Murdock into valuable supporting roles.  Extra kudos are merited for delivering this reality’s last Thor vs. Hulk slugfest as it’s practically akin to the climatic Superman vs. Captain Marvel encounter in Kingdom Come.  There are some welcome surprises, too, as Zdarsky recognizes how six issues allow only so much.  Hence, his sensible yet fewer plot twists (i.e. so few Avengers) should go a longer way with readers.       

Zdarsky’s storytelling is admirably reinforced by the art team’s excellent visuals – their only inconsistency is James Stark’s inexplicably older facial appearance near the end.  Overall, Avengers: Twilight is likely a must-have for Avengers die-hards, who prefer the team’s Silver Age roster.  For most others, however, it’s most definitely a welcome library find.   

ADDITIONAL CONTENT:

Each full-page Alex Ross cover precedes its story.  The 14-page variant cover gallery consists of:

            FULL-PAGE

  • Issue # 1 (2nd printing) – artist: Daniel Acuña;
  • Issue # 1 (foil) – artist: Acuña;
  • Issue # 1 (IronCops) – artist: Acuña;
  • Issue # 2 (Iron Man) – artist: Acuña;
  • Issue # 3 (Kamala Khan’s Ms. Marvel – artist: Acuña;
  • Issue # 4 (Thor) – artist: Acuña;
  • Issue # 5 (the new Hawkeye) – artist: Acuña;
  • Issue # 1 (the Avengers) – artist: Acuña;

QUARTER-SIZE

  • Issue # 1 variants (5): 1. artist: Felipe Massafera; 2. artist: Frank Miller; 3. artists: Leinil Francis Yu & Sunny Gho; 4. artist: Skottie Young; and 5. artist Simone Bianchi;  
  • Issue # 2 variants (4): 1. artist: Greg Smallwood; 2. artist: Phil Noto; 3. Artists: Sergio Dávila & Arif Prianto; & 4. Superlog; 
  • Issue # 3 variants (3): 1. artist: Noto; 2. artists: Sara Pichelli & Matthew Wilson; & 3. artist: Taurin Clarke;
  • Issue # 4 variants (5): 1. artists: Carmen Carnero & Nolan Woodard; 2. Francesco Mobili; 3. artist: Mark Brooks; 4. artist: Brooks (black-and-white sketch of variant # 3); & 5. artist: Bianchi; 
  • Issue # 5 variants (3): 1. artists Tony Daniel & Jay David Ramos; 2. artist: Benjamin Su; & 3. artist: Cafu; &
  • Issue # 6 variants (3): 1. artist Declan Shalvey; 2. Artists: Yu & Romulo Fajardo Jr.; & 3. artist: Marc Aspinall.

Lastly, Acuña shares four pages of his character designs, including the elderly Steve Rogers; the IronCops; the ninja-like Defenders; the ‘new’ Captain America; Kamala Khan’s Ms. Marvel; the new Hawkeye; Thor; Iron Man; and the Wasp.

BRIAN’S ODD MOON RATING:                         7½ Stars