Luís

So who could be Civilian Justice's sidekick?

Popular Justice? Or are they saving this identity for the gritty, Punisher-type counterpart of the more Golden-Age-Ideals-based Civilian Justice?

And no doubt a highly respected public institution like the KKK funds Civilian Justice's remarkable exploits against terrorism. God knows nuclear bombs to hit terrorist countries are expensive!

Watched by trailer by chance was blown away! I wasn't paying attention to the hype building up because I never read much Sin Ciyt stuff, although I remember watching Jessica Alba talk it in Conan O'Brian... but now I'm fucking psyched to see this!

I've been waiting for ages to see Mickey Rourke playing a tough guy again!

'Shoot' shouldn't have been published for the simple fact it was horribly written: that should have been the only reason! But instead it was attached to an editorial decision taken during an unstable political climate, and now has grown into this modern myth as a victim of censorship in comics.

You really have to ask yourselves if 'Shoot' is an actual Hellblazer story or if it isn't just a mouthpiece for Ellis' own angry voice? Take John Constantine off the story and you can fit whatever you want in his place; the story isn't born from his character, it's just the only mouthpiece Ellis had available at the moment.

His run had two great things: a fantastic villain - Josh Wright - whom I hope we see again after 'Red Sepulchre;' and a nice supporting cast - Watford, Clarice, Map - which probably wasn't killed off by Ellis because he didn't have the time. And since the comic does need a regular supporting cast, I'm glad for that.

But otherwise I didn't feel much for Ellis' run... and Haunted's artwork was too cartoonish and superhero-y for my taste.

That's a fucking great cover!

I'm afraid to see in colors because the black-&-white aspect is just gorgeous.

I doubt any of those readers actually shed a tear for her.

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It makes me sad to think some were probably busy sheding other bodily fluids :wacko:

The fanbase DC wants are all the manga fans: their superman and batman fans won't pick this stuff up and become new fans overnight, so DC should be very interested in pleasing the existing fanbase; this doesn't look like the way to do it. People who'd pay for the CMX comics would supposedly expect the original, unedited versions; DC should have antecipated this: either they researched this readership's average age to see if they should license NC-17 comics, or thought beforehand whether they had the guts to go all the way with this. Now they're going to piss off lots of potential readers.

Or perhaps it only takes into account all that was good in horror in the last 5o years :wink: Amenabar's movie works very much like Unforgiven to me: in the same way it's a very straightforward story, it manages to synthetise all that good aspects in the western genre and reflect on them; now The Others may be just a 'little ghost story,' but I feel all the technical, narrative, and emotional elements of the horror genre are present in the movie. You just have to be ready to accept it's hardly 'scary,' but then I never saw a scary horror movie in my life, so...

What does that mean, I wonder? Hmm... Maybe John Constantine's just hard to let go of... *g*

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John Constantine is the archetypical occult character, that'ss easy to find similarities in other characters. He's not the first, but he gathers in himself the best elements of this type of character, in the way Amenabar's The Others neatly condenses all the strenghts of the horror genre.

Very nice, Tim!

You want to know how to make magic work? Simple. BELIEVE.

Simple as that. It doesn't matter the name, the formulaes, the rituals, any of it! All it takes is an innate belief in something, the will to have it, delude yourself into thinking that it's going to come true. And, before you know, it has come true!

You don't need to meditate, you don't need angels or demons, you don't need fancy words, you don't need candles, you don't need anything except your own mind and will.

There ya go. I revealed the truth about magic....how shocking! I just saved everyone on this Forum who wants to learn magic hours of their time and 100s of dollars.

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Christian, have you ever read Jung tear the occult apart in his work? I find magic very interesting in the anthropological way Jung saw it too: as this thing born from out primitive ancestors' unconscious, the dreams and the then unexplainable phenomena, all neatly organised in this system of symbols and metaphors to be easily processed by our minds into something familiar, until it became incredibly real to us all. I don't believe in the supernatural, but in the hands of Jung or Levi-Strauss it becomes a great tool to tell us something more about our nature.

Before reading Human Target, I'd definitely say no to Milligan writing this comic. His 'writer-who-does-weird-shit' reputation from Shade made me think he was wholly unsuitable for a more down-to-earth comic like this. But seeing how HT turned out so well in the realism department, I'd be love to see Milligan trying Hellblazer!

I'm already cold... so now I want what else's included in the deal: how do I magically turn smart?

Now that Marvel and DC have realised doing their own 'mangas' doesn't work, nor hiring Japanese writers for their comics, things have finally come to this. When will DC realise that the who people want their manga stuff, want the original thing, not third-rate copies, and not this adulterated shit!

I am one of the few people in the world who really loved The Thin Red Line. yes, it might be pretentious as fuck, but I love it.

I didn't find it pretentious: I saw a very good director knowing exactly what he wanted to do and with the experience to pull it off right; Malick had high expectations and to me he accomplished them beautifully! Perhaps the narrative is unusual, but I was never bored by this 170-long movie: the dozens of nameless characters, the lack of a defined protagonist, the unusual use of voice-over, I love it all! And Hans Zimmer's score is gorgeous.

Watched Touch Of Evil yesterday: it was hardly what I was expecting... in a good way; I thought this was going to be another 'corrupt cop vs. good cop,' but it was a lot more interesting than that! Welles is fantastic as Hank Quinlan: how this guy starts as an 'honest' cop who puts criminals away through illegal methods and doesn't turn to corruption until his reputation is slighted was a nice twist. Heston was fine, too, but I can't stop hearing that line in Ed Wood in my head: "Charlton Heston playing a Mexican, can you believe that?"

Still have Big Fish and The Thin Red Line to watch today.

So, Rosa, to be fair, the guy who wrote this article is a fucking moron! I wouldn't listen to a damn thing he said!

But I didn't listen to him; I listened to Denise:

"I've always been interested in Canon Law and the politics of the church - that's all in The Da Vinci Code," says Mina, "so loads of people are familiar with that."

If I'm correct, this is her speaking, not the article guy writing. You two could rationalise it all you want, but I only see an author who read and probably enjoyed the worst book ever written in the history of mankind, and now wants to make Hellblazer part of that modern market niche about the Christian Church and 'facts' about it and other related crap! It's already a genre in itself, whatever way an author twists it to make it 'fresh' - but not too fresh! Readers love familiarity after all - and so do we really need a comic about it too?

This title has had some really bad moments in its long existence, but I never thought one day an arc could be explained as 'Angel Heart meets The Da Vinci Code.'

... The Da Vinci Code...

... it's official now: I'm not getting back to the title after Carey leaves after all.

I'd be the vicious, calm killer who goes after an eye-witness to his murder... think Peter Storsmare in Fargo, with the long coat and all!

Or I'd be the confused 'hero' who's left wondering what the hell just went on and what was his role in the whole story... a la Blow Up.

Finally saw Million Dollar Baby, and I only had to skip one class. It was outstanding, Eastwood's and Swank's relationship grew so naturally I was comppletely into the story! Loved the gritty cinematography, and Freeman was great, although I don't think he was better than Thomas Haden Church in Sideways.

I can't imagine "El Llameador del infierno" or "El Arrasador del infierno" in a cover... no! No! Take it out from my eyes! I can't still living with that image in my head!!

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I know, it sounds even more like a bad B horror movie than Hellblazer does already

I think I may be the only person who likes Hamlet starring Mel Gibson.

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No, I've enjoyed it too; I watched it a few months ago, although I had the DVD at home longer before that. When I finally watched it, I was pleasantly surprised. Many years ago I tried to watch Brannagh's Hamlet, and I thought it was fucking dull! Today I think I'd probably love it.

I watched it; I loved it! Reading some posts here, especially Abhimanyu's, made me reflect about the movie's quality: perhaps it's really a fucking piece of shit. But I can't hide my innitial feeling to this movie was that I thought it was fucking cool!

Kenneth Brannagh's Henry V!

That poster 'In Love 2' is absolutely brilliant! The original one is very dear to me, a fun way of mixing 'facts' with lovely fiction; Tom Stoppard is just great!

I wish I could see the 3h10m version of Dune one day to see if it makes any sense: I watched the regular 2 hour version and it was fucking incoherent and rushed, although it had so many fine points and ideas and beautiful visuals... but it left so much unexplained!

I mean, what the fuck was that floating alien projecting holographic planets through light beams from his mouth?!?!?!?!?!?!?!?!?!?

Anyway, saw Unforgiven again a few days ago; it's still so fucking sweet! This is Eastwood's masterpiece and his best role yet!

2. And the stupid little set-up they have. "I killed myself when I was a kid, but the para-medics or somthing brought me back. Now I have to go to hell when I die, no ifs ands or buts." If he's still alive he could still be forgiven!! Go to a ****ing conessional booth, the priest will say some ****ing words and you're good as gold. The fact that he's not dead is a pretty big indicator he didn't actually kill himself anyway!!! The soul doesn't leave the body until you're dead. Gone. Kaput. The little ****ing techincality set-up, upon which the whole film is based is TOTAL NON-SENSE.

 

[i agree this is weak. I think the conceit they had to explain this is that he had *already died*. So it was TOO LATE for confession. It's just that he was brought back. Also I suppose that the problem with confession for John is you have to be Catholic, he isn't, so he'd have to convert, and he can't quite do that. He's not fully repentant either. But I agree it could have been set up better...at least...]

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If Christian mythology is fact in the fictional context of the movie, then would an unbaptized/atheist soul really go to Hell? My knowledge is shaky, and I've only got Dantes' 'Comedy' as a guide - and I know it isn't canon - but isn't there a special place reserved for the souls which weren't converted which isn't either Hell of Heaven?

And nobody stays up later than the Portuguese: 75% refuse to get their head down till gone midnight, and 28% are still going at 1am.

Really? I never noticed that. It must be because I'm already asleep around 23.30 every night.