Gatsby77

Just as long as they don't screw up the origin like the '89 Batman did, with a pre-accident Joker being the one who killed Bruce Wayne's parents. That was even dumber than the Batman v. Superman "Martha" thing.

Agreed. He's definitely evolved from generic-pretty-boy to a solid A-list star -- the type of leap that say...Jai Courtney and Sam Worthington never made. More importantly, he seems to pick his roles carefully. He held his own against Denzel in Unstoppable years ago, but then turned in an Oscar-caliber performance in Hell or High Water last year.

Still not bombing as hard as Aronofsky's The Fountain. That film? $10.1 million final domestic gross vs. a $35 million budget. Mother! ? $8.1 million domestic after four days vs. a $35 million budget.

Love the Iron Fist dig. I still remember boardies here defending that turd when it came out. I liked aspects of it, but my god did they miss on the Iron Fist character (as well as the chance to cast _anyone_ other than Finn Jones).

I'm intrigued. A review I found likened it to a Terrence Malick film, which could explain why literal-minded audiences dislike it. At least with Malick you _know_ what you're in for. I've enjoyed some Aronosky (Black Swan, Requiem for a Dream) but found others (ahem! Pi) impenetrable. The worst audience reaction I've ever seen in a theater was the ending of Polanski's The Ninth Gate 20 years ago or so. Marketed as a straight-forward mystery / religious conspiracy thriller with Johny Depp, it goes merrily along its way, until the final scene... -- when we see Depp enter hell. The audience audibly booed. Truly a WTF? ending.

I'm with you. First time using CCS -- no movement since received on 7/10. Honestly, if I'd known it would take this long I would have gone to Joey instead.

Spider-Man # 1 Platinum. a) The book is one of his best covers period, and the release of Spider-Man # 1 ushered in a new era of comic collecting. b) Even if it were in VG, the fact that's it the Platinum edition = still more beautiful than the rarer Gold UPC and was an unobtainable showcase book when I was 12. Runner up (in 9.8 only): Hulk 343. a) This was my first ever Hulk comic off the shelves. b) There are currently zero 9.8 McFarlane-signed copies of # 343 on the census.

Taylor Sheridan is shaping up to be the master of modern westerns. From acting in a supporting role in Sons of Anarchy... to writing such modern classics as Sicario, Hell or High Water, and Wind River. Day-um!

Nah - there's still an announcement every three weeks or so. But it's musical chairs -- former movie speculation books don't *cool* per se, it's just that they fall out of favor as the speculative money moves to the next thing. What cracks me up is we're now seeing Marvel go back to the well. Another cycle of Punisher speculation; another cycle of Venom speculation. I rode the wave when those movies hit the first time and banked some lovely cash. Time to just start stockpiling FF 48s now before we get a "Disney-gets-the-rights-back Surfer-in-Guardians-3" announcement...

Yeah - It took a few years for the first 9.8 copy of Wolverine # 35 show up. I checked my original owner newsstand copy -- same production flaw would knock it out of 9.8. I do, however, have a pristine 9.8 copy in Italian.

This. Thank you.

Another giant gone...

Thank you, sir!

Behold! ASM 129 for cheapskates. It's coverless but complete, a well-loved original owner copy with a small tear on page one and writing on the upper right-hand corner of that page. But I'll also include a pristine color photocopy of the cover (front, back and interiors). So you can own as close to a complete and well-presenting version of this book as possible at a fraction of the normal cost. GPA: 12-month average for a 0.5 is $145, and a 0.5 (incomplete) is listed as having sold in Dec. 2015 for $192. See photos below. $120 shipped in the U.S. or Canada.

Howdy folks, Short sales thread - one book. I've sold before on the boards to folks including Gator, Thirdgreenham, and KPR Comics. Prefer not to sell to those on the Probation list. Prefer payment by Paypal. Shipping to the U.S. or Canada is included; will ship internationally for exact postage.

This is good stuff.

Moot point now, but you missed one: https://www.rottentomatoes.com/m/1116774_swept_away

The reason The Dark Knight stands out to me as the best superhero film done so far is that it -- and to a lesser extent The Dark Knight Rises -- wasn't primarily a superhero film. Rather, it's an above average crime thriller that *just happens* to have a superhero setting. Take out all the fantastical superhero elements, and it's still a compelling movie. Wonder Woman did this as well -- with its World War I setting. Take out the superhero elements, and 2/3rds of the --script could have been the blueprint for a period espionage war movie (a la Where Eagles Dare or Valkyrie). Logan worked because it's more about confronting fatherhood, old age and death as it is flying into a SNIKT-filled bezerker rage. Even Jessica Jones' primary strength was that it was essentially a dual character study about rape and PTSD/survivorship. Take away Jessica and Kilgrave's powers, and it still could have worked. Some non-superhero comic book films definitionally fit this bill because they were reality-based to begin with (think A History of Violence, Road to Perdition). For pure superhero films themselves, for me Spider-Man 2 is the shining counter-example to the above -- it's superhero through-and-through, while not being burdened by an origin story. The challenge I see for Hollywood going forward is to continue expanding the stories that are told with superheroes...stories that: aren't dependent on origins or power explorations alone don't constantly need epic save-the-world battles as their climax and (hopefully) an Iron Man film that somehow doesn't end with dudes in armor beating on each other But ultimately, the key may be Telling compelling stories that stand on their own and *just happen* to involve superheroes rather than relying purely on the whiz bang superhero powers to find an audience.

Mitch! I appreciate your post, but (clearly) disagree with the above. We are smack dab in the middle (perhaps even at the apex) of the comic book movie bubble -- equivalent to where Hollywood was in the late '90s with "disaster movies" (a la Independence Day, Volcano, Armageddon, Deep Rising). Once we have a few big-budget failures in a row, and audiences tire of superheroes we'll see far few fewer films greenlit and far fewer risks taken on lesser known characters. This could start in 5 years, or 10. But sometime in the next decade the pendulum will shift. And the (so far) 15 year-run that has fueled incredible gains in vintage superhero movie material will end. Sure, they'll still be occasional comic book films -- as there have been basically perpetually since 1978 -- but nothing like the 3-4 major release per year that we've seen lately. Decades from now, I believe film historians will regard comic book movies (somewhere between 2012 and 2016) as the equivalent of where westerns were in 1955-58. The western still lives on today, but at a rate of maybe one per year. The last good one I recall came last year -- with a modern take, as Hell or High Water.

Nearing the end of its run. It's hit the $2 theater here in DC.

Interesting article. Notable that it restates the presumption that, despite his denials, Ben Affleck will not ulltimately star in The Batman. And I actually believe Warners will try to land DiCaprio (or someone of his stature) for this. Their track record so far (Ledger, Leto) demonstrates their willingness to pick inspired but non-traditional choices. Even going with Russell Crowe and Kevin Costner for Man of Steel were moves I didn't see coming, and they each elevated that film.

I'm thinking each. I submitted to three different tracks on 7/10. `1) Modern slow track -- received last week. 2) Value -- received last week. 3) 3 books for prescreen and pressing. Still at CCS as of today, 9/01. Expecting an additional 50 days or so at CGC for grading once they are pressed.

Wow. That -script must have been _horrible_ if multiple directors opted out. Haven't seen "Housebound" but hiring a nearly-unknown indie film writer doesn't inspire confidence. Then again, it worked well for FF after Chronicle Personally, I'd just go to any screenwriter of a Blumhouse production -- like, pick up a solid horror alum from the Insidious or Sinister franchise...

Agreed. If you must, watch IF episodes 1 and 8 only. Save the other hours of your life.