Cinema Purgatorio 12 (September 2017)

Cinema Purgatorio #12

Moore and O’Neil open the issue with a story about stunt men. It’s set to It’s a Wonderful Life–like the plot beats–only it’s about how George Bailey’s guardian angel is really a stuntman. It’s rushed, without much content–though some real nice art from O’Neil–and Moore concentrates more on the mysteries of the movie theater. It is, however, past the point it can disappoint. Cinema Purgatorio has long since passed that point.

Ennis and Caceres do a bait and switch on Code Pru. The opening graphic is a lot more intriguing than the actual entry, which ends up riffing on a very popular “monster” movie. There’s some okay art, but the strip is too far gone.

Modded has a lot of nonsense speak from Gillen for the gaming and some nice art from Lopez. Not nice enough art its worth reading the comic, but it’s nice art.

Oh, I forgot A More Perfect Union, which actually manages to be the least thoughtful comic in the whole issue. Everyone else is doing something really complicated–or at least somewhat complicated–Brooks isn’t with Union. He leverages Andrade’s art against his “historically accurate” Civil War against the giant ants.

Yawn.

The Vast has evil Russian(?) kaiju. Who cares. It’s funny, Andrade’s art is perfect in black and white on Union, but it really needs color on The Vast. Or better inks.

It’s Cinema Purgatorio; I’m going to keep reading it, but I’m never hopeful it’s going to come through again.

CREDITS

Cinema Purgatorio, It’s a Breakable Life; writer, Alan Moore; artist, Kevin O’Neill. Code Pru, Clever Girl; writer, Garth Ennis; artist, Raulo Caceres. A More Perfect Union; writer, Max Brooks; artist, Gabriel Andrade. Modded; writer, Kieron Gillen; artist, Nahuel Lopez. The Vast; writer, Christos Gage; artist, Andrade. Letterer, Kurt Hathaway; publisher, Avatar Press.

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Cinema Purgatorio 11 (June 2017)

Cinema Purgatorio #11

This issue of Cinema Purgatorio, at least for the fist two stories, is maximum effort for minimal result. Both Moore and Ennis write the heck out of their stories without much reward.

Moore and O’Neill do the “Black Dahlia” murder case, with victim Elizabeth Short narrating in song. There’s even a Marilyn Monroe cameo. Moore goes through a lot, suspects, intrigue, tangents, but it never really adds up to anything. O’Neill keeps it visually cohesive; it’s just never adds up.

Then Ennis and Caceres’s Code Pru has Pru getting a promotion (or something) after a meeting with a head honcho. Lots of effort from both Ennis and Caceres. Tons of dialogue. None of it adds up. Ennis is sort of better with the length constraint than before, but also sort of worse. It’s not episodic enough.

Brooks tackles some racism and sexism in A More Perfect Union. Not well, but whatever. Andrade’s art is good.

Modded continues to be relatively painless thanks to Lopez’s art. Nothing happens this time, good or bad. It’s not enough, though. Lopez doesn’t have anything interesting to do.

And, finally, The Vast. Some nice work from Andrade, some vague intrigue, some decent talking heads, but no payoff. Just like everyone except Moore, Gage isn’t any good at plotting out these installments. It’s not even concerning anymore, it’s just Cinema Purgatorio.

CREDITS

Cinema Purgatorio, My Fair Dahlia; writer, Alan Moore; artist, Kevin O’Neill. Code Pru, A Nest of Anacondas; writer, Garth Ennis; artist, Raulo Caceres. A More Perfect Union; writer, Max Brooks; artist, Gabriel Andrade. Modded; writer, Kieron Gillen; artist, Nahuel Lopez. The Vast; writer, Christos Gage; artist, Andrade. Letterer, Kurt Hathaway; publisher, Avatar Press.

Cinema Purgatorio 10 (May 2017)

Cp10

Cinema Purgatorio is getting rather long in the tooth, not just for each of the five stories–The Vast might actually be showing signs of rejuvenation, actually–but as a concept. It was always a loose anthology, but when Garth Ennis is writing a cameo for a Predator in Code Pru, it’s clear exhaustion has long since set in.

The Alan Moore and Kevin O’Neill feature is about some kids in a British kids movie–there’s history related to the British film industry, which restricts interest on its own–and their encounter with a giant hair thing. I think it’s supposed to have gotten on the film itself and they’re interacting with its physical effect on the print, but whatever. O’Neill’s got some nice establishing panels, but Moore’s beyond phoning this one in.

Then there’s the secret origin–with evil, abusive witches–of Code Pru. Caceres works on the art. It’s just so rushed, there’s not much point in that care. And then that Predator cameo… I mean, at this point, maybe Ennis and Caceres should just do a Predator comic. Why not? Pru isn’t going anywhere.

More Perfect Union gets back into the actual Civil War history, which doesn’t help it. Brooks still has some big ideas; they don’t seem likely to translate to comics any better than his last big ideas on the strip. Andrade’s giant ant art is gross and cool.

Lopez’s art continues to help Modded immensely. Gillen’s story is still meandering, albeit with a monster fight this time, but it’s still meandering. Reading Modded is just part of the Cinema Purgatorio experience.

As for the improving Vast, Gage has moved the action to kaiju training. Still abjectly unoriginal and derivative, but at least it’s more amusing. Andrade’s art does well with the sterile conditions. He can concentrate.

I was really hoping this issue of Cinema Purgatorio would be the last, if not for the series itself, than at least for Moore and O’Neill. They’re hacking out the material without much inspiration lately.

CREDITS

Cinema Purgatorio, The Picture Palace Mystery; writer, Alan Moore; artist, Kevin O’Neill. Code Pru, Havin’ Me Some Fun Tonight; writer, Garth Ennis; artist, Raulo Caceres. A More Perfect Union; writer, Max Brooks; artist, Gabriel Andrade. Modded; writer, Kieron Gillen; artist, Nahuel Lopez. The Vast; writer, Christos Gage; artist, Andrade. Letterer, Kurt Hathaway; publisher, Avatar Press.

Cinema Purgatorio 9 (March 2017)

Cinema Purgatorio #9

If Cinema Purgatorio were “shown” in a marathon, I think we’ve hit the point where even Alan Moore’s asleep. Garth Ennis too. But a couple of the backup guys are doing better. Sort of.

Anyway.

Purgatorio is about Thelma Todd’s death. Sadly Moore’s script for it is really boring. It’s like something didn’t work out. He thought it’d be more interesting but, instead, he’s just got occasional Batman visual cues because Todd’s lover made a movie called The Bat, which supposedly inspired Bob Kane (and, you know, Bill Finger) but whatever. So? I don’t think anyone ever doubted Kevin O’Neill could draw a giant bat.

It’s kind of fine, but in an unambitious sort of way. Moore might have peaked on Purgatorio.

So too might have Ennis. He’s got a lot of content for Code Pru but nothing he’s fixated on. It’s zombies. And not even Crossed, so it’s not even cute. Ew. Crossed and cute. But he’s just churning it out. I think there’s even a reference to the Code Pru “pilot” where she was a witch, which I don’t think he’s done before. Caceres’s art is fine. It’s not on him.

Now, I make that complaint and it usually means Ennis is going to do something really cool next issue. Fingers crossed.

More Perfect Union. Brooks doesn’t have his history text piece anymore, which is great, but his exposition is getting more verbose. Are they connected? I don’t care. It just means it’s a lot more maybe made up, maybe just for Civil War enthusiasts’ information. It’s noise. Really nice art from Andrade. He’s got good detail. It’s sort of impersonal, but the strip is also a parade of boring visual concepts.

And then Modded, which I hate having to enjoy, is once again pretty fun. Gillen’s writing characters. They’re obnoxious and thin, but with the personality from Lopez’s art, it doesn’t matter. There’s still way too much lingo and it feels like a dated post-apocalypse, so I don’t love it or anything, but I almost look forward to it. I don’t mind it, which is something; I used to loathe Modded.

And The Vast is The Vast. Great art from Andrade, little kaiju, big kaiju. Again, not personality but this time because it’s so poorly paced. Gage has somehow set up this comic one wants to like, but just can’t because it’s humorless. There’s nothing fun about it. Gage seems miserable and bored.

Cinema Purgatorio is getting to be a chore; I liked the book before Moore showed he could do awesome and amazing comics with it. I also miss liking Pru. She was really cool there for a while.

CREDITS

Cinema Purgatorio, Revelations of the Bat; writer, Alan Moore; artist, Kevin O’Neill. Code Pru, Night Without Dawn, Day Without End; writer, Garth Ennis; artist, Raulo Caceres. A More Perfect Union; writer, Max Brooks; artist, Gabriel Andrade. Modded; writer, Kieron Gillen; artist, Nahuel Lopez. The Vast; writer, Christos Gage; artist, Andrade. Letterer, Kurt Hathaway; publisher, Avatar Press.

Cinema Purgatorio 8 (February 2017)

Cinema Purgatorio #8

It’s an okay issue, which–for Cinema Purgatorio–usually means there’s something lacking.

First, Alan Moore and Kevin O’Neill’s feature is the history of Felix the Cat “creator” Pat Sullivan, who was a scumbag both professionally and personally. O’Neill does a fine job on the art, but Moore’s script feels like he’s just hitting various details.

Garth Ennis has a similar problem with Code Pru. There’s a long setup involving ghosts for a full page visual gag payoff. Fine art from Raulo Caceres; there’s just no depth.

Gabriel Andrade takes over the art on More Perfect Union. He does all right, though he’s a little too fixated on human character design and not enough on giant ant action. Though the Max Brooks script doesn’t really offer any good giant ant action, just boring giant ant action.

And Modded is a lot less annoying than usual, maybe because Kieron Gillen’s script goes for brevity. Nahuel Lopez’s art is awesome.

Finally, The Vast. Boring, poorly paced, but with excellent art from Andrade. Very different from his Union art; he puts time into Vast. The other was a rush. The Christos Gage script is all right, I suppose, just disposable.

When Cinema Purgatorio doesn’t have a great Moore and O’Neill feature, the whole issue feels a little too rote.

CREDITS

Cinema Purgatorio, And the Blackness Moved; writer, Alan Moore; artist, Kevin O’Neill. Code Pru, Somethin’ Weird, an’ It Don’t Look Good; writer, Garth Ennis; artist, Raulo Caceres. A More Perfect Union; writer, Max Brooks; artist, Gabriel Andrade. Modded; writer, Kieron Gillen; artist, Nahuel Lopez. The Vast; writer, Christos Gage; artist, Andrade. Letterer, Kurt Hathaway; publisher, Avatar Press.

Cinema Purgatorio 7 (November 2016)

Cinema Purgatorio #7

Well, it’s not the best issue of Cinema Purgatorio. Not the best at all. It’s not really the worst either, I don’t think. I mean, this installment of Modded is probably Kieron Gillen’s strongest writing. But it’s not a particularly distinct issue.

Alan Moore and Kevin O’Neill explore the American Western, which is fine. There’s nothing amazing about it. It’s actually a little obvious; it’s light, which is strange.

Code Pru is okay. Ennis is trying a little harder. It doesn’t really come to anything. Maybe he if he had even two more pages, he’d be able to get someplace better with it. It’s actually an improvement over the earlier stories, it’s just still not clicking.

Like I said before, Modded is Gillen’s best writing. Nice art from Nahuel Lopez. It’s a side story from the main plot, so of course it’s going to be better than usual. Gillen still manages to screw it up at the end, of course.

A More Perfect Union has a really nice double-page spread from Michael DiPascale and some stupid Civil War reference from Max Brooks. I don’t care. No one cares, Max Brooks, no one cares. If they cared, if Avatar is really pitching Cinema Purgatorio to Civil War enthusiasts, well, those guys all left during Code Pru and Ennis’s sex positivity.

And The Vast is a reprint from last issue. I think. I don’t even care. If it’s not, nice art from Gabriel Andrade. If it is, nice art from Gabriel Andrade.

Moore and O’Neill worked up some momentum on this book and if they’re running out… well, Cinema Purgatorio is more often disappointing overall than not, it’s just they had a couple really great stories. And Ennis seemed like he was getting with it. As always, it’s too bad it’s not better.

CREDITS

Cinema Purgatorio, After Tombstone; writer, Alan Moore; artist, Kevin O’Neill. Code Pru, Men; writer, Garth Ennis; artist, Raulo Caceres. Modded; writer, Kieron Gillen; artist, Nahuel Lopez. A More Perfect Union; writer, Max Brooks; artist, Michael DiPascale. The Vast; writer, Christos Gage; artist, Gabriel Andrade. Letterer, Kurt Hathaway; publisher, Avatar Press.

Cinema Purgatorio 6 (September 2016)

Cinema Purgatorio #6

If there’s meant to be an ideal Cinema Purgatorio, this issue comes closer than I’d ever imagine the comic would get. Even with the occasionally phenomenal, usually good, always fine features from Alan Moore and Kevin O’Neill, there’s not much of a feel to the comic. It’s an anthology without tone, not even in terms of the story selection. It feels like Alan Moore inserted into a bad Avatar idea.

Until this issue. It’s not like Gillen’s Modded is any better, but Nahuel Lopez’s artwork is less complicated than the last artist’s and it makes it read better. It might not make it better, I feel like Lopez isn’t ambitious as much as functional while the last guy was ambitious, but it makes it read better. It makes Modded less of a letdown when you get to it.

Because it’s not just like the Moore and O’Neill feature is great, Code Pru is actually pretty awesome. Pro is having dinner at the Nighthawks diner and she has a talk with a reject from a bad eighties Terminator/Highlander knockoff. It’s funny, it’s kind of touching, it’s kind of strange. It’s Ennis finding something cool to do with this usually devastatingly series. Ennis doesn’t have a handle on this comic, maybe because of the length, maybe because of whatever, but this time out, he finds it. He finds his character. Caceres’s art is fine. It doesn’t end up fitting well enough, but it’s fine.

A Most Perfect Union is dumb but DiPascale’s on a role with his art, both in terms of the narrative pacing and of his character expressions. He’s developing a visual tone for the comic even though Brooks’s script is weak. And The Vast is cute. Andrade’s art gets confusing, but Gage actually paces out a fight scene well.

So Cinema Purgatorio is finally a diverting read. Not rewarding in all its parts, but diverting in them. But it all hinges on Moore and O’Neill. This issue of Cinema Purgatorio opens with a political bombshell. Moore and O’Neill tell the story of the Warner Brothers–you know, the guys whose company now owns DC Comics and has made lots of bad movies off of Alan Moore’s comic books, which he infamously hates being involved with. I actually thought he was going to go further, but he stayed classy. Heinous individuals get proper treatment. There’s a lot in the story–a couple times O’Neill just gives up and lets the dialogue and visual references take over. I couldn’t help reading the feature–Moore casts the Marx Brothers as the Warner Brothers, which brings in even more politics. Today Warner owns the MGM library, including the Marx Brothers movies (at least for home video distribution, I actually have no idea if they lease them or own them or what, not the point)–so is Moore making a deeper jab at Warner? Was his King Kong feature a couple issues ago a jab at Warner? Am I reading too much into it? It’s Alan Moore, after all. Aren’t I supposed to read into it?

Anyway, the feature’s great. Beautifully visually, beautifully in terms of dialogue and the Marxist banter. It flows so nicely into Ennis’s Code Pru, it’s impossible not to be generous with this rest of the comic.

CREDITS

Cinema Purgatorio, A Night at the Lawyers; writer, Alan Moore; artist, Kevin O’Neill. Code Pru, Big Jimmy C.; writer, Garth Ennis; artist, Raulo Caceres. Modded; writer, Kieron Gillen; artist, Nahuel Lopez. A More Perfect Union; writer, Max Brooks; artist, Michael DiPascale. The Vast; writer, Christos Gage; artist, Gabriel Andrade. Letterer, Kurt Hathaway; publisher, Avatar Press.

Cinema Purgatorio 5 (August 2016)

Cinema Purgatorio #5

The movie fan in me resents Moore’s title for the Cinema Purgatorio story–The Time of Our Lives, just because it reminds me of The Best Years of Our Lives and Moore isn’t doing a commentary on that film. Instead, he’s doing a thing about post-WWII culture in America, but more the fifties than the late forties. That caveat aside, it’s a solid entry from he and O’Neill. Nothing too exciting, just solid.

This issue’s Code Pru is similarly okay. Nowhere near as good as the Purgatorio but a not bad possession story. It’s unfortunate because Ennis can’t help but hint at what might be in a better Code Pru book, not just this truncated version of the concept. Decent art from Caceres but nothing too outstanding.

The Modded from Gillen and Calero is simultaneously awful (Gillen rips off Mad Max this time, not Scott Pilgrim) and competently illustrated. It’s a shame Calero doesn’t get better writing.

Ditto the More Perfect Union entry. Though DiPascale does some fantastic art this entry. Brooks barely has a script, but every panel is gorgeous. Maybe the less writing Brooks does, the better chance DiPascale has to turn the strip into something tolerable. Mildly tolerable.

And Gage and Andrade’s Vast is more tolerable than usual as well, just because there’s a little more story in this Pacific Rim rip-off.

I guess this issue of Purgatorio is something of a let down after the last one, but when doesn’t this anthology disappoint. At least there’s solid art. And Modded goes by somewhat quickly. It’s easily the worst of the bunch thanks to Gillen’s writing.

CREDITS

Cinema Purgatorio, The Time of Our Lives; writer, Alan Moore; artist, Kevin O’Neill. Code Pru, Your Mother Knits Socks in Hell; writer, Garth Ennis; artist, Raulo Caceres. Modded; writer, Kieron Gillen; artist, Ignacio Calero. A More Perfect Union; writer, Max Brooks; artist, Michael DiPascale. The Vast; writer, Christos Gage; artist, Gabriel Andrade. Letterer, Kurt Hathaway; publisher, Avatar Press.

Cinema Purgatorio 4 (July 2016)

Cinema Purgatorio #4

Holy shit, is Gillen’s Modded a GamerGate thing? Are we supposed to hate the women for telling the sweet little dude what to do? I really hope not. I hope it’s just a dumb scene. Gillen’s writing on this story is already so lame, I’d feel even worse if he were actually trying something subtle with political commentary and just failing at it. Fine enough art from Calero as usual.

Way too short Vast from Gage and Andrade. Again, fine art, crap writing. But Gage really doesn’t have any time to do anything. It’s almost not fair to call the weak writing weak.

And then the Max Brooks thing. DiPascale’s greyscale digital art is too flat this entry. It’s a weak script with the giant ant fighting but there should have been more personality to it.

Notice I went through all the weak stories in this issue of Cinema Purgatorio first? Because the good stories are worth their own time and some due respect.

First, Garth Ennis. And Code Pru, the most disappointing thing in Cinema Purgatorio. Ennis and Raulo Caceres started it as its own thing, got to a promising place, flubbed it when they went to this anthology. It’s not a supernatural book anymore, it’s a monster comic. Maybe Ennis is doing a movie tie-in, who knows. It doesn’t come across. What does come across is good writing though and this issue’s entry of Pru has some great Ennis dialogue. It just doesn’t involve Pru or her partner. He’s not interested in them because all they do is exposition. It’s a mess but there’s still some Ennis goodness. Caceres’s art is too dark for black and white though.

Finally, Alan Moore and Kevin O’Neill doing an homage to Willis H. O’Brien and King Kong. It’s lovely and makes me wish Moore and O’Neill could do this book forever. It’s a shame the other stories in the anthology have anything to do with movies. Moore and O’Neill deserve far better co-creators. Great art on it, some wonderful writing from Moore. It has to be seen to be believed. It makes the issue–this somewhat disastrous Avatar anthology–an essential comic book. Moore’s a show-off with Purgatorio. O’Neill less but he’s still very confident, but Moore’s having a great time with reader expectation. They’re doing great work.

CREDITS

Cinema Purgatorio, A King at Twilight; writer, Alan Moore; artist, Kevin O’Neill. Code Pru, Mommy’s Boy; writer, Garth Ennis; artist, Raulo Caceres. Modded; writer, Kieron Gillen; artist, Ignacio Calero. A More Perfect Union; writer, Max Brooks; artist, Michael DiPascale. The Vast; writer, Christos Gage; artist, Gabriel Andrade. Letterer, Kurt Hathaway; publisher, Avatar Press.

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