"Walk The Line" review



So Mrs. Lung and Mrs. Bot and yerz truly surprised WrongRobot opening night with a tri-tip steak sammich and tickets to "Walk The Line." Unfortunately, our fearless leader was in a pissy mood at first because his phone was juiced and he'd just spent 40 minutes in brutal downtown Friday afternoon rush hour traffic. Thank goodness for the aforementioned steak sammich, which settled him right down.



Before the review, allow me to share the following funny tidbit. Upon arrival, I locked up my bike and looked up to see a MASSIVE line formed on the upper level. So I went up to the line (I walked the line, if you will) and picked out a nice lesbian couple to ask if it was the line for Harry Potter or Johnny Cash, cause you know, all lesbians love Johnny Cash. (Oh, come on, I'm just fucking around.) "Say, is this the line for Harry Potter or Johnny Cash?" "SEVEN TEN!" "Uh ... Que?" "Oh. Sorry. Harry Potter." It's just funny to me that everyone was so focused on that movie that the option of another opening night queue was not even in their radar. Not funny to you? Fine, whatever, here's your fucking review then...



//// SPOILERS ABOUND -- TURN BACK NOW IF YOU DON'T WANT IT SPOILED \\\\



The cast was nothing shy of brilliant, frankly. Joaquin Phoenix IS Johnny Cash.







There's no way he's gonna look like him or sound like him really -- instead, he got more to the meat of Johnny. A humble, hardworking, and sad man who got caught up in the traps of fame while trying to bring some joy to the world and some closure to his pain through his music. He rocked the role of a guy who was constantly at odds with his past, with his father, and with himself. The internal conflict he showed was absolutely incredible. And Reese Witherspoon?







Holy. Fucking. Shit. STOLE THE SHOW. I had a LOT of doubts about her in this role, if only for the fact that her resume includes such cinematic brilliance as "Sweet Home Alabama," "Legally Blonde," "Legally Blonde TWO," and "Little Nicky." So you see my hesitation to jump on the Witherspoon bandwagon. But, like Peter Jackson before her, the past has no bearing on the project at hand. She OWNED the role of June Carter. She emoted perfectly as her character watched her friend and secret love almost destroy his life. It was incredible and I got chills more than once.



The supporting cast was great too, with roles filled for Jerry Lee Lewis, Elvis, Waylon Jennings and Roy Orbison, among others. You can't top Dennis Quaid as Jerry Lee Lewis, and frankly, you can't top Bruce Campbell as Elvis (hahahaha!), but these guys were good nonetheless. One of the most standout supporting roles, though, was that of Robert Patrick as Johnny's dad Ray Cash. Ray was a bastard and Robert Patrick played him as ugly as he could. You really got to hate the guy after a while and that's a gift for an actor to give -- emotional investment.



The staging of the movie was pretty cool. Just like any good biography, you have to start somewhere interesting, and this was no different. This movie started in 1968, at Folsom Prison, during a break in the famous live concert he gave there. Johnny's backstage, transfixed on a table saw in the woodshop. (Immediately I wonder, WHY IS THERE A TABLE SAW IN A PRISON?, but that's neither here nor there.) This flashes us back to Dyess, Arkansas, 1944, where Johnny is a young boy, probably 10, and the movie goes from there, eventually catching back up to itself in time and then moving forward from there. Very original, very hip. (You'll also find out why the table saw is important.)



The story itself was as true to fact as I know, which, admittedly, is very little, but that was also cool cause I learned a ton. For instance, I had no idea that Johnny proposed to June onstage. But it was wonderful at showing the things that were the most important influences on this legendary man. The death of his brother, his hard-ass father showing him next to no love and emotionally abusing him to the point of scarring him for most of his life, June's role in helping him clean up, etc.. The writers/director/whoever also did an amazing little trick. They'd insert a little spot-on recreation of something so you got grounded in fact and then take their artistic liberties from there. They didn't change the story, as far as I can tell, but they'd get you solidly locked in to fact by showing, say, the part in the Folsom concert where Johnny says, "...this is being recorded, so you can't say 'hell' or 'shit' or anything like that..." and then chop and streamline the story more in line with the audience they were playing to. It was great and I admired the moviemakers for their ingenuity.







All in all, this was a biography, you know, so what originality do you really have? You gotta tell a story, true to life, and you gotta make it sell. So there's not much to say about that. But within that, you do have freedoms, and I think the cast especially made this movie a stellar outing.



9 of 10 clanks from a raving Johnny Cash fan. In fairness, however, if you don't like Johnny Cash, and especially if you don't like country/rockabilly music, you're not gonna have as good of a time.



IronLung out.

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X-Men #177

Writer: Peter Milligan

Artist: Salvador Larroca



Geez, I mean, week after week I give these guys a break, and every issue, I feel that fristration of potential missed. A few issues back, I felt that Larroca had found his groove again, and that some of his better work could finally be found on this title. But it's slipped again. IN fact, the whole issue felt disjointed and poorly executed, just like several of the Milligan/Larroca issues in the past. Is it the art, which is compositionally challenged, inconsistent in style, and frequently rushed in quality? Or is it the script, which is sparse and uneven? It's like Marvel Editorial handed Milligan a scenario and ordered dogpaddling to commence immediately. Nothing happens here. Sentinels are surrounding the mansion, as ssen in the weak House of M Day After one-shot. Here, we have the X-men storming into battle to attack, which is understandible, given their past history. However, leaders Cyclops and Emma Frost are repeatedly cautioning against immediate action because, you know, they're not fighting, not attacking, saying things like "We aren't attacking!" in giant-robo voices. But since Milligan scripts are all about misunderstandings on theis title, off they go to attack the Sentinels, and we see several pages of 'has she or hasn't she lost her powers' drama with Polaris wandering around, lip-trembling, under the bootheels of Sentinels who are not attacking, etc. By the end of the issue, I *think* we are to understand that the new mutant-related government agency, O.N.E., is not their to round up them mutants, but to...er... I don't know, stand around like bored cops at a peace rally. Meanwhile, the Sapien League is roaming around in the forest surrounding the mansion, and since in Milligan's world O.N.E. apperently don't actually use surveillance in their supposed guarding of the mansion against human rioters or whatever, we get to see a horribly clumsy introduction to a new villain in a Jason hockey mask, with some scary exposition explaining how mean she is, which I'm pretty sure is on an 'amateur writing mistakes 101' list somewhere.



Eh. Waste of time.



4/10 Clicks

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Young Avengers #9

Writer: Allan Heinberg

Artist: Jim Cheung



Yeeehaw! Jimmy Ceung is back, and it's just what the comic doctor ordered. I love this series, and my frustration with the fill in art from the last few issues took it down a notch in my, er, stack. But with this issue, we have a return to form with the original creative team, and in one book, we have everything that has made the title so enjoyable: teen angst, solid Marvel continuity, blasts from Marvel Handbooks past, great dialog, parent problems, brilliant art, savvy colors, and genuine suspense. I think it's just a fine example of what a Marvel book CAN be.



Eli has given up being the Patriot, after his use of super-drugs was revealed last issue. The team has disbanded, busted by the parents, struggling NOT to use their powers in public despite the ever-present state of emergency in Marvel's Manhattan. And despite the Avangers' insistence that the team's youthful inexperience puts them in peril, the danger follows them regardless of whether or not their wearing the spandex. And when one of their own is attacked on campus by none other than the Super Skrull, staying under the radar becomes impossible.



I love how Heinberg finds rational, believable reasons why the gang aren't flipping their parents off and running off to adventure. This book is the antithesis to Marvel's other awesome teen book, the Runaways. Here, the family ties are what keep the kids from embracing their super sides. We are reminded regularly how their parents' attitudes and fears influence the Young Avengers' choices. Which of course is a brilliant recapturing of what made Spidey so personal in the 60's. Super-heroism as a cipher for finding your own identity, and all of the teen angst issues, with parents, administrators, friends, classmates, lovers and enemies, masked as super-hero stories, but really, int he end, just the life of a teenager. Cheung captures several scenes with perfect clarity. His comfort with the designs of these characters is growing, and they continue to grow into their own looks comfortably. His illustrations of the purse-snatcher, the Super Skrull and Eli's parents amaze me in their detail and diversity. With his return to the book, I'm once again comfortable placing this book in my top 5 of the regular monthlies out right now.



9/10 Clicks

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3. Young Avengers #1

The Manhattan Guardian is the story of Jake Jordan, a former cop with tragedy in his past and perhaps heroism in his future. By turns the most conventional and most inventive of the Seven Soldiers books, it's also the one I'd most like to see continue as an ongoing comic.





For a Grant Morrison character, Jake Jordan is remarkably grounded. A former police officer, now unemployed for a wrong fatal shooting, Jake is just holding on, to both his life and his marriage. His father-in-law sees opportunity presenting itself, and one unforgettable job interview later, Jake is the Manhattan Guardian, the living masthead of a tabloid paper written by it's readers.



The role Jake has suddenly inhabited is a novel one. He's a reporter who makes the news, not reports it. It's a fun reversal of the role characters like Superman and Spider-Man have. Both effect the course of events and report on those actions. The Guardian is out to effect events, not observe them. And when his family are drawn into those events by mad subway pirates, it's time for reporting, Guardian style!



And yes, I just said subway pirates. Like I said, at it's start The Manhattan Guardian is easily the most grounded of the Seven Soldiers comics. It's world the most like our own. It thrives on the sensational and the gossip of celebrity doings. Yet as it moves on, it becomes more and more enmeshed with the goings on of the Seven Soldiers epic.



It's also the most inventive in it's structure. The first two issues set up Jake's life and situation, but are also an effective two-parter. The third issue stands alone, but it's B-plot advances the issues in Jake's life beyond being a super-hero. It's remarkable how as he becomes more comfortable as the Guardian, his "real" life comes more and more undone. The final issue reveals the story of the Newsboy Army and Guardian owner Ed Stargard's involvement in them. Throughout the series, the through line is Jake Jordan's mental state. At it's begining, he's a broken man, desprately searching for purpose and absolution . By the end, he's a hero, ready to do battle with an unimaginable threat that was beyond his scope before he put on the Guardian's uniform. The transformation is real and powerful, a great piece of writing, but it's only, as ever, half the story.



The Manhattan Guardian is drawn by Morrison collaborator Cameron Stewart. Stewart's art is lush with detail and texture, helping to create the appropriately grounded world this part of Seven Soldiers takes place in. His figures have human weight and gravity, even the outlandish subway pirates. ESPECIALLY the subway pirates, costumed in cast-offs of every day life, yet exotic and wild in execution. And with every step the world gets alittle more odd.



And let me also take a moment to comment on the design of The Manhattan Guardian costume as well. Again, it's beauty is it's straddling both the fantastic and mundane. The charater itself is a revamping of a classic Kirby character, the Guardian. And elements of that character are still present; the Guardian's shield and helmet in particular. But added to it are a SWAT-esque set of accesories. The guantlet, boots and belt are very riot police, very SWAT. His flak jacket, even with the headlights and masthead on it, feels very possible. The Manhattan Guardian is a very real superhero. And he stays that way through-out, no matter how bizarre the story gets around him. That's an accomplishment, and hats off for Stewart being able to do it.



The connections to the rest the Seven Soldiers epic work in a similar way. Issue One's main connection to the rest of the epic is a radio-spot for Mister Miracle's latest fantastic escape. Also, the origins of the Guardian becoming a masthead, versus the character's last appearences in the Superman books, provide a few fun ties to the larger DCU, as well. As Issue Two decends into the subway tunnels of Manhattan, deeper ties come to the fore. The subway train President Clinton smashing the Horigal is the reverse of a scene from the Klarion mini-series. Also, the die that both No-Beard and All-Beard are chasing tie not only to Klarion, but to the Zatanna mini-series as well. Issue Three, as stated above, does mainly advance the relationship story, so I missed any outside refrences. Issue Four, however, is the motherload in terms to deeper ties. The secret history of the Newsboy Army just fills to the brim with ties. The fact they are a group of seven heroes. A fateful trip to Slaughter Swamp, including an encounter with the Seven Unknown Men and the Sheeda Queen. An encounter with Sheeda riders. Then there are the Newsboys, themselves. Baby Brain, as Ed Stargard, is at the center of The Manhattan Guardian. Kid Scarface becomes Vincenzo the Undying Don, a centarl player in the Shining Knight mini. Ali Ka Zoom and his ghost have a key role in the Zatanna mini-series. I was under the impression that L'il Hollywood was Gimmix from Seven Soldiers #0, but recent solicitations for the Bulleteer mini-series has shown that to be mistaken.



The other outstanding feature of the book is that actually builds to a sort of internal climax, as opposed to just leaving the opening for the character to synch up to Seven Soldiers #1 next year. There is a part of me that says we haven't seen the last of The Manhattan Guardian. I dearly hope it's right.



The Manhattan Guardian

(Stand Alone) 9 of 10 (As Part of Epic) 10 of 10!!

Coming soon, maybe even right after posting this, this week's final review, Klarion.

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House of M #8

Writer: Brian Michael Bendis

Artist: Oliver Coipel



This was the bookend final chapter in Marvel's House of M mini-series, and much like the first issue, Scarlet Witch sort of steps out from behind a curtain, winkity-wink's her nose Bewitched-style, and reshapes the Marvel universe. Again. The fact of the matter is, as a whole, the net result of House of M as a series is negligible. The result of this issue has huge implications for the Marvel U, certainly. But this was a series that was worth reading for the details along the way far more than the overall execution. As a structured narrative, it's sort of a toss-up. On the one hand, there's no resolution, no change by the last issue of events created in the opening act. Sure the specifics of the reality-warped world are different, but the book started with Wanda whacking the world in her crazy fugue state, and it ended the same way, on a smaller scale. And thanks to Marvel marketing, that secret was out in Previews long ago. On the other hand, I really enjoyed the pacing in this series. I like that it took t's time and let the characters slowly absorb the reality of their unreality. This issue might be my favorite of the series in that regard. Coipel really shows us the ramification of the changes in the heroes we've followed. Kitty Pryde, desperately crying out for help as the students at Xavier's school are flopping around on the floor; Peter Parker, wracked with grief over the life he lost; Hawkeye's uniform bolted to the shattered perimeter wall of the decimated Avengers Mansion; WOlverine found twitching in the grass, his memories restored. All of these pieces were probably more compelling than the series as a whole, but man, the vive worked for me. It had the same sense of ending-with-dread that Terminator 3 had... and I'm willing to admit it: I prefer this approach over the obvious comparison this year, DC's hyper-detailed Crisis Revisited. Each have their merits, but all I can say for the final issue of this series is that it left me with memorable images I still think about and picture in my head. That's a good comic in my book.



9/10 Clicks

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House of M: The Day After

Writer: Chris Claremont

Artist: Randy Green/ Aaron Lopresti



I don't know what this is. Is it extra crap that should be shown in individual books? Is it material not included in the House of M series but should have been? Is it extraneous drivel shat out to glean a few more bucks out of this series?



This is bad, bad stuff. EVEN considering my general frustration with the current state of Claremont. I mean, it had a few interesting tidbits, like Blob defattened (but then why the skin? What ARE the rules of this most excessively arbotrary de-mutantization?) who probably should merely have died under the stress of his own mass after losing the power to hold it all together in Blobbish invulnerability? And if these are all people who suddenly lose the mutant gene, why are some partially affected, some not at all? Even assuming it holds true that those within the protective bubble around them when Scarlet Witch did her whamma-bamma.



The bombing of X-Corp was a cheap shot, unexplained in the context of this public change to the status-quo that reads as either tragedy or salvation, depending on which page of the script you're on. You have to be pretty subtle to use terrorist attacks on towers in comics these days. This ain't it. The introduction of government mutant management organization #4,687, this time called O.N.E. is cumbersome and excessive, and why are we to suddenly believe the X-Men would be surprised, let alone panicked, at the site of yet another generation of Sentinels?



The concept of showing the ramifications across the board in the X-universe is a decent one. We need to see how people are coping with drastic memory loss, power removal, and a sudden surge of persecution and anti-mutant kik-em-on-the-way down syndrome. But that was all handled quite succinctly in the last pages of House of M #8. The concept of introducing teasers as to the direction each mutant book is going in the aftermath of the HOM events is also sound. But it should have been the back end of all Marvel books this month, not that dreadful Howling Commandos preview that actually sank the book. And to be fair, this was incredibly restrained scripting, given some of Claremont's recent excesses. SO it isn't a bottom of the barrel book. But still...

This just felt rushed and sensational. Tacky.



3/10 Clicks

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Getting this in one in under the wire, shortly before the next ep airs here on the Pacific Coast. I know there was some griping among the internet community that the supposed super-sized episode actually contained a chunk of odd slo-mo repeat clip content from the previous episodes. I think y’all are griping about the wrong thing. See, that actually worked just fine to me, seamlessly merging the events on both sides of the tribe divide, showing the Tailies and Losties encountering each other in rough timeline. The real issue is that these super-sized episodes fuck up your TiVo programming, so yourun the risk of missing the body-finding on Law and Order. THAT we cannot have.



We see a lot more of Ana-Lucia here, her initial neutrality shift into aggressive defense mode, her harder and harder edges showing, plenty of that patented Michelle ‘meanface’ Rodriguez pained snarl… but we also saw some other interesting tidbits. Like, what’s with the wedding band? Can’t have kids, or had em and lost em? And what’s with Ana-Lucia’s questionable skills anyway? MY first thought was cop, because she knows how to handle a pistol. But the emphasis on interrogation and apparently superhuman ability to dig very big holes and weave very strong bamboo cages, combined with her willingness to accept a pessimistic worst-case scenario and not let go, make me think CIA. So, was she part of the spooksquad that was shadowing Sayid? It does beg the question why she might be drinking at the airport bar last season, but then again, we don’t know what dirty business she might have been involved with recently that might encourage her to break protocol. I’ll tell you what, though, when they APPEARED to confirm that Ana-Lucia shot Shannon, Sayid’s look at her was not pure revenge-rage… it was recognition. And hatred. So, what exactly might Ana-Lucia have done with Sayid’s long lost girlfriend in Australia, one wonders.



One also wonders at how they again didn’t show that meanface actually shot Shannon. They just showed her aim, fire, and Shannon go down. But editing is key, and they specifically didn’t use the editing cues they would normally use to show that sort of direct action. I remain unconvinced. I think there’s an Other on a grassy knoll somewhere. There’s also a question-mark about the magic 9mm AL is wielding, since we were told Sawyer had one bullet left, and between this episode and the preview, either there’s more ammo to go around, or someone was lying. ‘I shot the woman he loved’ she says in the preview for tonight’s episode… that’s a specific ambiguous pronoun reference, I say. But there’s something up with that ventilate-the-bitch scene with Shannon. No Walt voices this time. Does each person hear different things when the whisperin’ comes callin?



The whole focus on Nathan was an interesting red herring. We were fed enough body language and caginess from our friend from the show Ed (whoa, that’s two now) to make it obvious that we were supposed to think it was him. I thought it was even more interesting how Goodwin handled it. The Nathan, Ethan thing was a little bit forced from a script standpoint, and I mean, c’mon, they both claim to be from Canada. So what the fuck with that.



I harbored an earlier suspicion that Libby was an Other, and I still think it’s possible. In fact, I think there may be more to the Nathan thing as well. See, we have different hatch outposts with different Dharma symbols representing different constellations… so why not different Others encampments, long-suffering experiments run amok? I have a sneaky suspicion that Nathan and Ethan were on one tribe, and Goodwin and Libby were perhaps another. It weights heavy on the Tailies for being infiltrated. But on the other hand, we have to give the writers some credit in giving them less credit. They ARE writing this week to week under a larger thematic umbrella. They may not have thought about the infiltration plot that far down the line yet when they introduced Ethan as the one guy not on the manifest. There’s another possibility about the Losties from the original group… there could be more plants hidden in their ranks, that replaced people on the manifest before Hurley’s tally. Anyway, Libby still seems too sympathetic to me, and anyway, she’s carrying the flight attendant’s bag… and who better to get rid of, once you know you’re off to merge with other Losties? How about someone from the plane’s crew who knew who were passengers and who weren’t? I used to think Libby was the chick on the raft in the Season 1 finale, but I read elsewhere that someone claims to have frozen their finale recording, and confirmed that the raft chick was the one Desmond had in the picture frame… which is even harder to figure out. I will say that Goodwin looked genuinely surprised to see the bunker they eventually came to. Which was weird. So, Goodwin could have killed Nathan as a means to eliminate his competition. I did note that the guys Eko, the Tailie’s literal and figurative Locke cipher, bludgeoned to death were wearing Dharma Desomond-style jumpsuits. So, are some, or all, of the Others just crew from hatches (six total, right?) that ran out of goodies and went native? I’m still trying to understand, frankly, how Desmond’s hatch is getting resupplied with food and new appliances, let alone where that power cable is going. When’s someone going to go diving?



Someone on another site said they saw Eko in the preview, standing by Jack when Jack’s wife is dying. We’ll see tonight. I didn’t catch that. Then again, people also keep saying that Eko has a Dharma logo on his arm, which would give him something in common with Jack, ey?



Lastly, my wifebot was irritated at the focus on the Tailies and was anxious to get back to the regular cast. I thought, however, it was perfect. We got a compressed history of this tribe under hardship, perfectly framed by the opener, with the stylish tropical fantasy getaway scene interrupted by tail section wreckage hurtling into frame like a meteor shower, Tailies drowning and on fire simultaneously, and the first action that brings both tribes face to face: Ana-Lucia appearing to kill Shannon. The Losties are about to taste some genuine internal conflict, not just “don’t tell ME to take first watch!”

Tonight we may learn more about what Goodwin meant by “good people vs. not good people” on his list. Good is in moral platitudes or good as in BBQ-able? I was secretly sort of hoping there was some Logan’s run thing going on, with kids inheriting their rightful Lord of the Flies throne, but when we saw the aravan of Others footery a few eps back, we clearly saw the teddy bear seen in hands of those snatched Tailies kids… so they weren’t eaten, and they weren’t LEADING, so I don’t get the sense that the children are revered.



I’m excited to see what we see tonight. Eyes peeled!

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1. Lost, Season 2: Episode 21, "Two for the Road"
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I"ve got me a collection of Wrong signs dating back several years, which I'll try to unearth and add here at some point, but man, these guys have the motherlode:







http://www.swanksigns.org/gallery.asp



That one above is actually very handy in SF... where it doesn't exist of course, and fools on bikes better know better!







...but what the fuck!?



:::







This is the perfect treatise on contemporary architecture...

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This could be one of those fantasy film posts where few members are familiar with the source material, but if so, I hope it encourages any of you to check the comic out, because it's definitely in my top ten, often close to the top of that pool. Runaways is a sleeper book wriiten by Brian K. Vaughan [Ex Machina] and series regular artist Adrian Alfona. The premise is deliriously simple: what if you, and all your teenage friends who hate their parents, discovered that your parents... were supervillains? What would you do? You'd get the hell out of Dodge, that's what. And so it went. Vaughan writes intelligent teen dialog somewhere between the surreally worldly Dawson's Creek and the overly-witty Gilmore Girls (yes I watch it with Mrs. Bot) and the book is easy to get into, and hard to put down.



Below are my casting choices for a Runaways feature film, which might not be so pie in the sky, the way Vaughan's other properties have been heating up in Hollywood (and Marvel's new film ambitions don't hurt...)









Nico Minoru: This young Chinese witch with the Staff of Whateverthefuck has been one of the few characters in mainstream comics almost completely consistently drawn to look her ethnicity, with perfection. I just have to think that Alphona is good friends with the Supernet, because she's a virtual doppleganger to...ahem, adult star Jade Hsu.



Gertrude Yorke: Gertie is a short, kinda stocky and completely artgeek funky chick with piles of attitude and sass and wisdom beyond her years, the culmination of every extra cool record store girl with cynicism masking vulnerability, and Ginnifer Goodwin [Ed, Walk the Line] would be a perfect match for her smile, eyes and attitude. I've seen the actress match on Gert and Nico since the first issue, and it's never wavered.



Alex Winter: The team's early leader, and let's just assume this film covers the events of book 1, Alex is articulate, intelligent, calm and cool. Dule Hill's our guy.



Chase Stein: CHase initially comes off as a slacker jack, but grows on you, proving himself to be earnest, clever and not a little bit of a stud when needed. SOmething about Jake Gyllenhal's hangdog expression and long gaze struck me right, imagining him with those bitchin goggles on his brow.



Victor Mancha: Sure, he's from book two, but he's a great character and he has to be folded in here. However, as a young half-Hispanic dude, I found him difficult to cast among the unfortunately limited pool of actors that might fit the role. I started looking instead to casting agency sites, checking out unknowns and came across Patrick Dew, who just nails it.



Karolina Dean: This character initially reads to me as a very tall, young Gwenyth Paltrow type, but the more I thought about her sexuality issues in the book, I realized that Coyote Ugly's Piper Perabo could work. She's skewing a little old here, but Karolina does vibe that way in the book, too, so there you go.



Molly Hayes: Skewing young here, but these days in film, the acrtresses playing 10 year olds have driver's licenses already, so to capture the youthful spirit, wide-eyed wonder, and childlike panic of the soul of the group, I went with the extra-expressive Dakota Fanning.



:::



And if you want to see their folks, the Pride, a supervillain underworld gang that completely owns Los Angeles, here they be:









:::



So, those three of you that actually read Runaways, what do you think?

Related posts:

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2. Runaways Adaptation Hits Casting Controversy
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I saw this on SNL and fell apart. Saw it again, fell apart. Saved it to TiVo, recorded it to my nifty Neuros 442 A/V portable, brought it in to transfer over to the PC, and post for your viewing pleasure... then handily REFORMATTED THE DRIVE.



Thankfully, there's other wrong robot fans on the supernet.

To wit:







http://www.robotcombat.com/video_oldglory_hi.html



Whoops, just fell apart again.

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