You may recall from earlier in the week, I loved me some Giant Sized Old Man Logan. I even went so far as to suggest that the mini-series could be the best–or at least my favorite–comic of the year.

But then I read the rest of my weekly pull, and remembered just how good Greg Rucka and JH Williams’ run on the Batwoman-centric Detective Comics has been. The previous issue wasn’t as good as their stunning first issue, but this latest–issue #857–was great. Stellar art, excellent action, and a tense, tight plot involving weapons of mass destruction, jumping from planes, rapid-fire character development, and plenty of face kicking. I still couldn’t care less about the Question backup story, though, which I suppose could be considered a knock against the book as a whole.

Another comic contending for book of the year is Fantastic Four, which I started reading again this year for Old Man Logan-mastermind Mark Millar’s run, but I’m definitely staying for the Hickman. New writer Jonathan Hickman (along with artist Dale Eaglesham) has actually one-upped Millar’s think big, then go bigger approach to the FF with what has so far been a great ride, with a focus on Reed Richards learning that maybe there is such a thing as doing too much good. or maybe just too many Reeds doing all the good.

We can’t forget Marvel Zombies Return–yet another good time that I’m having with a mini, and this one is weekly! I won’t pretend this book is in contention with any of the above for “best of the year,” but it has been a blast. True to it’s name, it is a definite return to the twisted fun of the original Marvel Zombies series.

I loved Amazing Spider-Man #606, too. I know for some it may feel like the creators are just repeating beats from old Spidey continuity, which might be considered a step back. But I missed the boat on the original Spidey/Black Cat episodes from back in the day, but I’ve always liked the idea of that relationship, enjoyed the way it was recently reimagined in the Spectacular Spider-Man cartoon, and welcome it back to the comic proper. Black Cat has a fun personality to read and, as far as drawings go, she’s not too hard to look at either. It’s also worth noting that Mike McKone’s artwork in this issue is right up there with the rest of my favorites for the week.

Speaking of great artists and spider-themed spandex, I picked up the print version of the Brian Bendis/Alex Maleev Spider-Woman on a whim. See, I tried watching the motion comic version–which was the whole big deal about this comic in the first place (it was  written and layed out specifically with the motion comic platform in mind), and I didn’t like it. I couldn’t get through more than a minute of the motion version…something about the slow pace and the not-what-I-expected voice acting turned me off right away. I guess I just like my comics on paper, though, because reading it the way comics were meant to be read left me liking the book just fine. I’m a fan of Bendis, even if all his characters sound the same and all his books are decompressed. I’m an even bigger fan of Bendis when he’s writing for Alex Maleev, who manages to compliment the scripted mood, character beats, and bursts of action so well. I’m willing to stick around for a few issues just to enjoy the creative collaboration, even if I don’t know that I particularly care all that much about story they’re telling.

I also don’t care all that much about the plight of the Marvel mutant,these days, but I do think Matt Fraction is, at the very least, writing the best Cyclops I’ve read in a while. Uncanny X-Men has been on the cusp of droppage for a while, but there’s always some clever twist or strong character moment that tricks me into caring just enough to come back the next month. Fraction’s Cyclops won me over for at least one more issue.

Robert Kirkman will get me back for another issue, too, for Invincible, but this week’s issue #66–focusing on Invincible’s dad spilling secrets about the dwindling Viltrumite empire to Allen the Alien–was all exposition and quite dull. It’s all big important information that will be relevant later (you know, when characters get back to punching faces off), but the issue felt like a space filler.

And speaking of space fillers…what happened to my one-time favorite comic–Mike Allred’s Madman?! I picked up issue #17, which I think is the last issue of the current series, before some sort of relaunch I absolutely will not buy. What a self-indulgent load of boring, unentertaining blecch. The art is beautiful and playful and quirky as always, but it’s the writing that kills it for me. I am so happy Allred has taken to doing more work-for-hire art in the Marvel and DC Universes, because either I grew out of Madman or the book has just gotten dumb. I guess if you read it as a lost chapter to Red Rocket 7–rather than a relevant or representative part of the usually adorably awesome Frank Einstein’s–you might not hate it as much as I did…but I didn’t like RR7 all that much either. C’est la vie.

That’s all for this we…Oh, I almost forgot–New Avengers #57. The fact that I forgot it, even though it is in the stack of books I keep looking over at as I write this, doesn’t reflect well on it, but I promise, I didn’t dislike it. But it was only an okay read. Despite a ton of characters, good and evil, getting all sorts of sreentime (pagetime?), and assorted subplots related to Dark Reign threading through this book each month, not all that much of anything ever happens in this series. It is the worst example of Bendis’ bad habit for decompressed storytelling. Stuart Immonen is a welcome addition to the creative team, illustrating Bendis’ ongoing epic about the kitchen table in Bucky Barnes’ safehouse/Avenger’s HQ. If I were pinching pennies, this would definitely be another very droppable book, simply because it feels like it goes nowhere each issue, no matter how good (or okay) each issue is. 

That is all for my week in comics. How was yours?

Feature: B-

Before Wesley Gibson (James McAvoy) was Wanted, he was a no one, an office clerk who hated his own existence. Dead-end job, cheating girlfriend, and nothing to show for his entire life, his name does not even appear on a google search (the modern-day test of success). So when a bunch of underground highly-trained assassins from the ancient Fraternity show up on his front door asking him to join them, who could resist? Wait, let me rephrase that, when a sexy-as-all-hell assassin played by Angelina Jolie in a mini-skirt shows up to save your life and tells you to give up your life as you know it, who could resist? Well, he could actually, until he realized there was nothing he could do, it was his destiny.?

Gibson discovers his father, who he never grew up with, was one of the best super-assassins ever, and he was recently killed by another skilled killer named Cross. This man not only wiped out Wesley’s only known ancestor but betrayed the Fraternity. Led by Sloan (Morgan Freeman) the Fraternity maintains order determined by the Looms of Fate which tell those who can decipher its code, who needs to be sought out and killed to maintain balance in the world. No questions asked, once a name appears, that person must die.

After turning his back on his normal life in grand fashion, Gibson is ushered immediately into intense training by Fox (Jolie) and Gunsmith (Common) including taking on so much pain he no longer feels it, learning how to slow time down and crazy acrobatics, and eventually culminating to the most important skill of an assassin, curving bullets. No longer do gangsters have to pray whether they’re hitting their targets by cocking their guns parallel to the ground when you can curve a bullet from your living room. The reasoning behind all this is to hunt down Cross and exact revenge for his father’s killing.

Things get crazy though when Fraternity members’ names start being deciphered in the Looms of Fate. One in particular, Wesley Gibson, takes the story into a completely new direction. But I’m not telling any more because it’s one of THOSE movies. Wanted is a successful attempt at an original dark and rated-R action flick with some bold risks being taken by Russian director, Timur Bekmambetov who mixes his creative brand of filmmaking with the story’s own creative origin.

Based on Mark Millar and J.G. Jones’ comic book, Wanted, the movie captures the wild and rude world created on paper. For Millar who had done drastic spins on some of the biggest mainstream super-heroes, Wanted marked an opportunity in his career to take it a bit further and do his style of writing without any restrictions of language, or keeping-up some bit of censoring experienced in doing mainstream comics. The result was a runaway hit in the comics world, a no-holds barred action comic with Hong Kong fireworks, and the wit and the dark, sardonic Scottish humor of Mark Millar. When you read the comic, you feel like you’re reading a big motion picture and that made its translation to the big screen relatively natural.

The cast assembled was a major score. Angelina Jolie, James McAvoy, and Morgan Freeman, and let’s not forget Terence Stamp, who plays Cross’ helper. Millar must have been screaming like a little school girl as the names were confirmed, and each one of them delivered where they needed to. McAvoy must carry the film as a leading man while strapping on the action boots for the first time. Having seen his career blossom into some dramatic heavyweights like the Last King of Scotland and Atonement is a head-shaker when you consider him breaking onto the scene in the British TV hit, “Shameless.” Jolie, is well, who she is, and it’s not hard to join a cult of murderers when she’s the one seducing you. And Freeman? But you’ll stand up clapping in Freeman’s great departure from how we usually see him as the calm and gentle conscious of the white leading man, or hear him narrating in every other film he’s in. To hear him utter the words, “Mother Fucker” brings watery eyes in fond memories of vintage Freeman in Lean on Me.

With a cast that appears to have had a raucous time, and a story that doesn’t apologize for targeting mature audiences, Wanted is an easy recommendation for those desiring something different, something edgier, something that smacks you in the head with a keyboard. Super-heroes it’s not, but a comic it is, and perhaps is one that successfully shows yet another spoke of what modern comics are about: variety. It’s not for everyone, and that’s okay. For those who will like it, or want to know more about it, can google it. It should have just as many results as “Wesley Gibson” — now at least.

PRESENTATION: B+

Packaging is standard for the regular release with a cardboard slipcase. Also standard is the Universal blu-ray menus with a collection of clips that cycle over and over again while you lazily make your decision. No theme for the movie regarding time bar or loading screens. I do like the art on the actual discs, with the design of a target practice sheet and there is a deluxe version available so for another 15-20 more bucks, you can get 4 postcards, a lenticular scene in an acrylic frame, and a much cooler package. Gauge your love for this movie. Subtitles are availale in English SDH, Spanish, and French.

AUDIO: A-

I’ve been very pleased with all of Universal’s 5.1 DTS-HD Master Audio tracks and Wanted falls right in line. There’s no straining to pick up any dialogue out of the center channel, even McAvoy’s lines are clear despite his British accent. The field of sound effects and low frequency bass hits you like a 20-ft wave and packs a wallop. All of the action is definitely enhanced by the audio experience although I’m not a big fan of the score, so when it’s repeatedly sprinkled throughout the film it can be grating. Spanish and French tracks in 5.1 DTS are the other soundtracks and one last bit of volume control is in the picture in picture volume for the all of the U-Control features as well as being able to toggle the button sounds (thank goodness).?

VIDEO: A-

Wanted looks great in a 1080p/AVC encoded transfer captured in 2.35:1. Details are nicely shown throughout the film but there’s still an acceptably pleasing presence of film grain. This is not your typical high definition film where you expect to see every more and every strand of hair, but the spectacular still looks, well, spectacular. Flesh tones are warm, natural, and pleasing (as seen when Jolie steps out of the healing bath) and rich hues like Fox’s red apple car are vividly bold at night. ?

EXTRAS: B-

Extras are shown in a mixture of 1080i/p HD and 480 i/p standard definition (depending on what the extra is) in 2.0 Dolby Digital.

A great extra is the Alternate Opening (2:38) HD where the story flashes back to when kings and queens ruled and the world order had to be kept back then. There’s a parade with rose petals falling and it fun to see on high def. The Extended Scene (1:58) is a longer take in standard definition where Wesley shoots at a dead body for the first time. Cast and Characters (19:59) is an electronic press kit (EPK) type of affair, breaking down of all of the characters and the actors behind each role. Mark Millar is in the mix once again and it’s good to see him ever-present on the extras. Stunts on the L Train (2:30) shows McAvoy and Jolie rehearsing the “jumping over / ducking under” the overpass. Special Effects: The Art of the Impossible (8:27) show how rain, wind, explosions, car rollovers, derailing a train and other physical practical effects. Running at a shorter clip of (8:06) is Groundbreaking Visual Effects: From Imagination to Execution and there are some pretty innovative scenes they cut here.?The Origins of Wanted: Bring the Graphic Novel to Life (8:05) interviews creator Mark Millar who explains what current events were influencing him when he came up with Wanted, working with artist, JG Jones, and what he wanted to accomplish with the story. If you haven’t seen the Russian horror action film, Nightwatch and Daywatch, do check them out. They were directed by Bekmambetov and Through the Eyes of Visionary Director (9:05) interviews him about his approach as a director and trying different methods and experimenting. Wanted: Motion Comics (13:55) shows that liberties were taken, but you can compare the differences between comics and film, but see that the flavor was maintained. In the spirit of true cross promotion, The Making of Wanted: The Game (10:01) visits the Barcelona video game developer, GRIN as they showcase their game where you can play with Cross or with Wesley. It starts as a shooter game but the story and tasks evolve from there. At the end of some extras, you are given codes for the Code of Fraternity for the game.

Now we come to the blu-ray exclusives. My Scenes is now the standard Universal blu-ray feature where you can book mark your favorite scenes and upload them via BD-Live. You can record your own commentary which I personally dig, it’s not a special people will gravitate to, but I do think creative folks can have a lot of fun with their friends, and perhaps gain new ones based on what they do with it. It’s like going to a baseball game and paying to sit in the booth and record your own embellished play-by-play or be serious and do one that’s critical.

Universal’s U-Control experience has plenty to sift through. In all of the comic book movies Universal has had the pleasure of producing, the Wanted blu-ray has utilized the parent literature again allowing you to view the above feature and the corresponding scene it influenced. There’s also Assassin text profiles, picture-in-picture features and a little bit of scene explorer which all borrow from the above extras. The blending of supplements is a little better than average, a little promotional, a lot of opportunity for Mark Millar to be able to have his say but we don’t learn enough about Bekmambetov’s unique brand of filmmaking which I think is what’s most interesting about the production of Wanted. I will admit after watching the features the video game looks like it’d be a lot of fun.

OVERALL SHOCK VALUE: B

Comic book fans who may be looking with something of an edge to it, and a break away from the “family-friendly fun” of mainstream films should check out Wanted. It’s not the comic, nor the movie for everyone with its crass language and in-your-face splatter-filled violence but it’s that charm, or lack thereof that sets it apart from what most think should be standard in a comic book film. Top loaded with action and over-the-top indulgence, it doesn’t take itself too seriously and that will appeal to many, however, as much as I enjoyed Wanted, it’s not a film I see myself watching again and again and again. But if you’re going to see Wanted one to two times see it and hear it on blu-ray.