Iron Man is in a weird place as a character where, after the original movie, his appearances in the teamup movies and other people’s movies feel much more significant than his own sequels.

I continue to detest the bit where he tosses around Thor’s hammer like it’s nothing, thus invalidating the whole cool buildup where nobody else is worthy to handle the thing.

This was totally a worthwhile comment.

I’m about finished with Terry Pratchett and Neil Gaiman’s Good Omens, after previously reading The Winter of the Witch by Katherine Arden. Next up will be Black Leopard, Red Wolf.

That was my point, hence, I called it a cultural landmark. Both in terms of representation and its significance to the DCEU (are they still calling it that?), it was more important to the genre than Logan, even if I think Logan is overall a better film.

Every column up to this point has been about a male-centric superhero film (or a male-driven ensemble), so I think it’d be hard not to do WW now.

Logan is the best superhero film released that year, but if the aim is to document the evolution of the superhero movie, then I don’t think there are any alternatives to Wonder Woman, which was a cultural landmark.

Batman v. Superman has a lot of interesting stuff to talk about, though arguably it would be a bit redundant after just doing Man of Steel (plus, Wonder Woman is presumably going to be the 2017 entry).

Guardians was really a landmark in terms of Marvel Studios showing that they could make genuinely obscure and very recent properties (this iteration of the Guardians was less than ten years old at the time the film was made) into mega-hits.

I wouldn’t go that far.  The Abnett/Lanning run was very popular in the second half of the 00s.  Hardcore comics fans definitely knew them.

Unsure about what came as a bigger shock during Toni Topaz’s college interview, that her actual name is Antoinette (did we know that already?!)

I completely disagree with the article’s take on the musical sequences in Chicago. Those are masterpieces of editing, making the interplay between the fantasy sequences and what’s “really” happening feel effortless.

That version completely loses the moral conundrum.

Yeah, it’s definitely not a cold action on his part.

Quitely’s work is easy to spot because everybody looks like a potato.

While understanding Man of Steel does require you to analyze Snyder’s personal philosophy, etc., I think an often overlooked factor is, simply put, this is the WB massively overcorrecting for the problems people had with Superman Returns. People thought it was too much a retread of the tone and style of the Donner…

Many cinephiles don’t exactly help the case, as the comparatively few times in recent memory that they have gone for a comedy tend to be among the more criticized wins — consider, for instance, the uproar when Shakespeare in Love beat Saving Private Ryan.

That’s also what I’m currently reading.

I personally don’t think X3 is that bad. It’s basically two plotlines mashed together — the Phoenix stuff is bad, but the mutant cure plotline has a lot of good moments. It’s not Origins, which is consistently terrible.

It’s been a common belief in fandom that Ledger would have been a big part of TDKR had he lived, but personally I’ve always struggled to see where that would have fit.  TDK takes it’s version of the Batman/Joker dynamic to its logical conclusion -- there’s no new ground to explore there unless you’re going to have…