COLLECTIBLE TIME: BEAST KINGDOM IRON MAN, MARVEL 60TH STATUE

For Valentine's Day, Donna gave me an Iron Man, Marvel 60th/D-Stage, "Staging Your Dreams" Previews Exclusive Statue, from Beast Kingdom. I don't quite know what the labeling means in whole, beyond the Beast Kingdom/Marvel/Iron Man designation, but I do know one thing for sure. This statue is an aesthetic wonder. 

The piece measures about 9" x 6" and makes me think of what Aurora would have produced if it had released an Invincible Iron Man kit back in the 1960s. It also reminds me of the Horizon, vinyl Iron Man model of the 1980s, which sports a similar look and stance (again, rather Aurora-esque). 

This Beast Kingdom Iron Man also invokes the style of various, Hallmark ornaments, which is cool, since I do own many of the company's superhero representations. 

As a bonus, there's the diorama base and backdrop, with its enflamed, arc-reactor foundation, Marvel nameplate and those nifty, comic-book images stacked behind the armored Mr. Stark.

Yep, this one's a winner on all fronts: a terrific tribute to one of the best of the best. Thanks, Donna, for the super-duper, Valentine's treat! 💘 

Collectible Time: Iron Man: 60th Anniversary Celebration (a360media) Magazine

In April, I posted on media360's The Story of Superman/85 Years, and now the publisher supplies an equivalent for Marvel's Tony Stark, aka The Invincible Iron Man. 

Iron Man: 60th Anniversary Celebration (Pop Culture's Unlikely Hero) is authored by Andy Mangels, who covers the character's noble expanse, from his genesis as a modern knight-errant, conceived by Stan Lee and Larry Leiber, to the protagonist's big-budget, Paramount/Disney blockbusters, starring the perennial Robert Downey Jr. 

 

Mangels reminds readers that Marvel started Stark as a weapon designer/arms dealer, an entrepreneurial relegation that shouldn't have gained him favor in the protesting, Vietnam era, but he soared despite it, becoming a revered Avengers leader. 

For extra flavoring, the magazine also references the what-ifs, including the aborted Cannon Films proposal with Tom Selleck and a pre-Downey version to have featured Tom Cruise and Nicole Kidman. 

With its sleek, color photos, pleasing layout and hardy info, Iron Man: 60th Anniversary Celebration is an invaluable source that all comic-book and cinema buffs must possess, and it can be purchased at bookshops and supermarkets across the nation. This sensational salute won't be around for long, so nab a copy today. 

TERRIFIC TEAM-UP IMAGE: BATMAN & IRON MAN (MOCKUP)

TERRIFIC TEAM-UP IMAGE: STARK, STORM & INFINITUS

 

TERRIFIC TEAM-UP IMAGE: IRON MAN, SPIDEY & THE WRAITH

 

Collectible Time: Marvel Legends Iron Man 2020

A dear neighbor surprised me with a cool Walgreens gift after I helped her with some yard work. It's Iron Man 2020: part of the Marvel Legends 6" line.

Actually the figure represents Arno Stark, whom I'm not that familiar, but I suppose a Stark is a Stark, and an Iron Man is an Iron man, no matter how he's welded. (For the record, there are apparently two such Arno Starks in the modern scheme of things, one being an alternate-reality counterpart.) 

The simulated armor for this toy variant is an aesthetic pleasure: formidable, but not so bulky that it abandons any streamlined sheen. Shoulder gears also distinguish it from other Iron Man suits: a nifty touch. 

As the stock/borrowed images convey, Arno is meant for posing, though I'm certain many collectors will keep their pieces mint in box. 

The figure also comes with extra hands/gloves and fire-balling accessories, which add to the action-adventure zeal. (I particularly like the boffo, blast-off modification. Super-Stark-Sharp!)

Yep, I dig this one a lot: an "invincible" addition to my mighty Marvel collection and an item I'll no doubt relish for years to come. I'm truly touched and honored to possess it. 

HAPPY EARTH DAY 2018!!!

I saw Spidey Come Home...

After the mush-maddened and ticket-slipping "Amazing Spider-man 2", an overhaul seemed required for the webslinger’s cinematic image. Either the Marc Webb/Andrew Garfield format had to be revamped or Spidey needed to go into hiding a few years before a reboot (perhaps one even in the Sam Raimi vein) was summoned. The powers-that-be decided to move fast, however, with Sony, Marvel and Disney ironing out contractual concerns to make Tom Holland's Peter Park a spry, supporting part of "Captain America: Civil War". With Spidey’s significant but brief participation pleasing fans, he gained another headlining effort.

Jon "Cop Car" Watts was enlisted for this big revitalization, assigned to direct but also to develop the story, along with John Francis Daley; Christopher Ford; Jonathan Goldstein; Chris McKenna; and Erik Sommers. 

The result, "Spider-man: Homecoming", picks up where "Civil War" left off (well, at least after a couple flashbacks), its main carryover Avenger being Robert Downey Jr.’s Tony Stark, aka Iron Man. Stark again takes Parker under his wing, advancing the youngster's suit to an even greater level, but the entrepreneur also relegates the youth to Manhattan's confines. Despite the lad's amazing abilities, Stark doesn’t see Parker as full-fledged Avenger material...not yet, anyway. (For the record, per comic lore, Spidey is always glad to assist the Avengers, Fantastic Four, X-Men and the like, but never yearns to be a permanent part of any team.)  

At any rate, Parker's need to impress Stark becomes the film’s predominate theme: the story of a boy who so desperately wants to impress his mentor by helping others that he stumbles along the way and well, you know the rest. (BTW: The film's subtitle implies Parker's coming to terms with his strengths and weaknesses, his notions of right and wrong, paving a symbolic path that will lead him home, so to speak.)

The script also focuses on Michael Keaton's Adrian Toomes, aka, the Vulture: a former salvage contractor, who after being financially stomped, grows a craving for conquest and with some extra cash (via some refurbished, alien technology) makes his ambitions a reality. It's sure fun to see Keaton in this ironic, villainous turn, though he more than tested the dark waters in "RoboCop ’15". It's also cool how the Vulture reflects Keaton's "Birdman" persona, which in its own right parodies his Caped Crusader portrayal, while simultaneously representing the type of baddie Batman would love to batter. 

Alas, there's no Daily Bugle to lure Parker and therefore no J. Jonah Jameson to berate him (pity, since the ol' hothead was physically non-existent in Webb's version). Stark's loyal pal, Happy Hogan (Jon Favreau) is there, though, as well as the alluring Aunt May (Marisa Tomei). Chris Evans also cameos as Cap America, along with Gwyneth Paltrow as Pepper Potts. 

In addition, the film features some new faces and reinterpretations of old favorites, which include Parker's this-time unrequited love, Liz Allan (Laura Harrier)--and don't let that darn surname fool ya--who's offset by cynical Michelle "M.J." Jones (Zendaya). There's also wide-eye, golly-gee chum, Ned (Jacob Batalon), who may or may not be the Bugle's Ned Leeds; naive Coach Wilson (Hannibal Buress); encouraging Mr. Harrington (Martin Starr); and trusty rival Flash Thompson (Tony Revolori), revised with copious smugness. 

Interestingly enough, Jennifer Connelly portrays Karen, the offscreen "Suit Lady", who guides Spidey through his fabric guise. For what it's worth, Connelly already held an Avengers link before winning the role, being married to Paul Bettany, who plays the Vision and prior to such, having voiced J.A.R.V.I.S.  Nonetheless, it's too bad we weren't granted a sly "Hulk" tie-in through the actress, but I guess the past is the past when it comes to certain ill-fated, Marvel ventures, though recasting is clearly okay. (Say, wouldn't Eric Bana make a terrific Kraven the Hunter?)

On the new henchmen end, we're introduced to Logan Marshall-Green's Jackson Brice/Shocker and Bookem Woodbine's Herman Shultz/Shocker (yep, two Shockers for the price of one!); Donald Glover's Aaron Davis, aka the Prowler; and Michael Mando's Mac Gargan, aka the Scorpion. (Indeed, lots of history is being spread here, but wasn't that also characteristic of the previous flicks? Sometimes this layering-the-tracks can be clever, but other times too much, too soon. We can only keep our fingers crossed for Watt's restart.)

As seen in "Civil War", Holland (despite that brief, far-too-cocky run-in with Cap) is likable as high-schooler and superhero. However, this finely tuned double standard wouldn’t have quite the impact if not for Keaton’s embittered villainy. 

The Vulture (one of Spidey's oldest foes, though others beyond Toomes have seized the alias) becomes the film's most ubiquitous persona. Keaton's intensity heightens the conflict, injecting an unreasonable angst that makes the story's primary nemesis as intriguing as its titular hero. For the beleaguered Parker, Toomes becomes a devilish obsession, in which we can take delight sharing. Indeed, we don’t want the Vulture to reign supreme, but we can appreciate the madman's decisive drive, while despising his misguided motives.  

This tottering dynamic gives the film a winsome spurt: a big relief since there's lots riding on "Homecoming'"s success. In fact, I had stated last year that if "Homecoming" adhered to "The Legend of Tarzan" format, it could succeed. However, “Tarzan” had several drawbacks that went against its hero's grain. "Homecoming" at least stays truer to its source, again retelling a tale that doesn’t need to be retold, but due to its faithful delivery, rises above expectations to retake its core audience. That’s not to say "Homecoming" is flawless or presents the perfect place and time for its hero, but even so, it respects the dutiful traits that Stan Lee/Steve Ditko invested in their creation. 

All the same, there must come a point when Spider-man truly becomes a man. Tobey Maquire and Andrew Garfield lost the chance to mature in their roles. With Holland, we’ll have to wait a decent spell for sure, due to the actor's overwhelmingly youthful guise. Will there be enough sequels for the new Spidey to reach logical adulthood? One can only hope...presume. Keep in mind, Kal-El didn’t remain Superboy his entire life. The same goes for Spidey, and this should be addressed on the big screen, just as it was on the short-lived (and inexplicably shamed) CBS television series.

If those now attached to the saga wish to do right by this character (i.e., get him ever closer to his symbolic home base), they must set forth a progressive path and maybe along the line implant some seriousness to the cause. More sophistication would allow the movies to improve, thus making the ongoing adventure more than a coming-of-age rehash and finally a franchise where the only costumed entity our hero needs to impress is himself. 

Collectible Time #43: Polar Lights Alien/Kane Kit and Dragon Iron Man 3 XXLII Prepainted Model

Got a real elusive one, thanks to my pals at Z&Z Hobbies...

It's Polar Lights' "Alien/Executive Officer Kane" diorama kit!!! Here we have John Hurt's ill-fated explorer, kneeling before the ominous egg that will discharge that ferocious facehugger, in one of the film's most startling scenes.

This doom-to-be masterpiece measures roughly 6" x 14". Be warned: it's a high-end, resin kit and designed for experienced modelers only, but any "Alien" aficionado should consider it a must-have!!

...And as a classy supplement to the above procurement, Z&Z also supplied me another pre-painted Dragon "Iron Man 3" model: the Mark XXLII. 

This 1:9 scale piece is oh-so-slick, but then that's always the case with Dragon's Tony Stark tributes. The pose (rendered through minimal assembly) is superb, making it a dynamic companion piece to the pre-painted Midas XXI (see "Collectible Time #34: Aug '15). 

Dragon is producing some real sharp ones, and its Marvel series remains one of the best going. Sure hope the company continues its regal spree.

I saw Ultron come of age...

Joss Whedon's new Avengers adventure, "Age of Ultron", has arrived, and our favorites are back: Captain America/Steve Rogers (Chris Evans); Iron Man/Tony Stark (Robert Downey, Jr); Hulk/Bruce Banner (Mark Ruffalo); Thor (Chris Hemsworth); War Machine/James Rhodes (Don Cheadle); Hawkeye/Clint Barton (Jeremy Renner); Black Widow/Natasha Romanoff (Scarlett Johansson); the Falcon/Sam Wilson (Anthony Mackie)...and a special appearance by SHIELD's fatherly force, Nick Fury (Samuel Jackson). 

New to the mix is Quicksilver/Pietro Maximoff (Aaron "Kick-Ass" Taylor-Johnson), though not to be confused with Evan Peter's hero in "Days of Future Past"; the Scarlet Witch/Wanda Maximoff (Elizabeth Olsen) and the majestic android, the Vision (Paul Bettany, who also voices Stark's digital butler, JARVIS). 

The computer angle is big in this sequel, with a robot army on the loose, led by the power-hungry Ultron (voiced by James Spader). However, the concept of fickle technology isn't new in science-fiction/fantasy fables. We've seen it depicted in "Terminator", "2001: a Space Odyssey, and "Colossus: the Forbin Project". As far as acrobatic robots dominating the landscape goes, we've seen that, too, thanks to the RoboCop and Transformers sagas, but "Age of Ultron" somehow manages to keep things fresh, despite the recycled trimmings. 

On the flip side, as significant as the mechanical infiltraton is, it never dominates our heroes' presence or their sense of family. Sure, the members possess enough variance to be dysfunctional, but they also subscribe to a common cause: keep Earth safe.

As seized from Hydra's Baron Wolfgang von Strucker (Thomas Kretschmann), the technology involved is culled from Loki's scepter: its harbored "artificial intelligence" deemed worthy of implantation in Stark's defense project, designed (ironically) to protect us from villainous penetration.

Ultron, a creation fashioned as a learner/watcher of sorts within the expansive program, develops an egomaniacal consciousness, which then constructs a body and breaks free to take over the world with a league of his own. He's also quite a sight to behold: a towering cross between Superman's Brainiac and a pumped-up Terminator prototype. 

Stark is, perhaps, the most adversely affected by the robot rebellion, for having activated the computerized Frankensteins, which leads Rogers to push further toward the Avengers forefront. Considering that Ultron and his army are equivalents to Nazis, Commies, and any other variety of on-and-off-again evil-doers, Cap's prominent presence feels right. After all, this is a war-time mission, and through his cordial relationship with Agent Maria Hill (Cobie Smulders), he increases the Avengers' chance for victory with his stalwart perspective. 

With this established, the movie advocates that we, as cognitive, freedom-loving creatures, have full right to combat and destroy such cold, calculating monsters. To fight is essential and all-out war (particularly under the film's harrowing circumstances) a non-debatable necessity. 

All the same, this staunch angle will likely unsettle negotiation advocates, but as the turmoil mounts under Whedon's emotional script and tense direction, "Age of Ultron" can't help but inspire one's righteous angst: the need to shout out a hardy "action not appeasement". Its message, though seemingly simple, should prove profound for anyone with any sort of practical, moral conviction. 

Philosophy aside,the movie is jammed with vivacious action sequences. The prelude is one of the best rendered (and that's saying a lot considering how sleek the Bond intros have been), and the battle between a confused Hulk and Stark's Hulk Buster is a grand feast in it own right, guaranteed to rattle one's senses with rumbles and roars, heightening the adventure to near Wagnerian proportions. 

I can't yet say that "Age of Ultron" surpasses the original "Avengers", which had the charming novelty of bringing the gang together, and it's certainly nowhere near as politically intricate as "Winter Soldier". It does, however, soar consistently high, never losing its momentum even when it dares to spotlight the relationships between Hawkeye and his wife, or the burgeoning one between Widow and Banner/Hulk. (The latter scenarios surely could have derailed the film, as had the superfluous romance in "Amazing Spider-man 2".)

Regardless of what the future holds for the Avengers, this current chapter does an admirable job of nurturing the traditional comic-book format. That should certainly please purists. The movie is also a terrific way to start the spring/summer blockbuster season, delivering thrills, chills and above all, a sense of wonderment. So, don't delay; jump on board and join the fun!!!