Sep 17, 2020 In an email to The Post, Griffin said that she had information pertinent to that story. Project editing by Courtney Kan. Legal review by Jim McLaughlin and Jay Kennedy.
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Dinah Lance hits the road! After years as a soldier and vigilante, the LAST place Dinah saw herself is on stage…but she’s quickly learning she’d die to protect the gang of misfits she’s fallen into. And she just might have to – for some reason, the newly rechristened band Black Canary seems to be a magnet for trouble…and Dinah’s not gonna believe it when she finds out the reason why!
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Martial arts, super-spies, and rock ‘n’ roll combine in Black Canary #1 courtesy of writer Brenden Fletcher and artist Annie Wu. Going into this first issue, I didn’t know what to expect. We know Dinah joined a band from her time in Batgirl (of which Fletcher is a writer), but can you make a series just from that? Fletcher proves you can, but it’s also fun to add in all kinds of fighting, aliens, a mystery, and a lot of humor.
The great is folks can pick up the first issue and need to know absolutely nothing. Dinah’s past is a mystery in this series, and whether you know it or not, it doesn’t matter, and both old an new readers will be able to go into it and enjoy it in different ways because of that. But, it’s that humor and action that will get people hooked. Black Canary #1 to me feels a little like Scott Pilgrim, but with a much more kick-ass lead singer.
Part of that Pilgrim vibe is the art which might be the one that most breaks from what I’d consider DC’s house-style that was prevalent during the New 52. Annie Wu’s art is very cool to check out matching a rock and roll vibe. It’s something I’d expect on a flyer advertising an underground rock concert. It’s very unique, and just cool to check out.
Black Canary seems to be another break from the DC mold, helping the publisher diversify their line and most importantly do that with fun, entertaining comics. When I was done reading the first issue I not only wanted to read the second, I also wanted to hear the album that’d been produced by the band within.
Story: Brenden Fletcher Art: Annie Wu
Story: 9 Art: 9 Overall: 9 Recommendation: Buy
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DC Comics provided Graphic Policy with a FREE copy for review
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The Cat and the Canary (1978) is a superb and stylish murder mystery and dark house horror film that delivers equal amounts of thrills and amusement.
The Cat and the Canary, starring Carol Lynley as Annabelle West and Wilfrid Hyde-White as Cyrus West, is one of four adaptions known to me (the other three being the 1927, 1930, and 1939 versions) of John Willard’s extremely popular black comedy play of the same name.
In the 1978 version, directed by Radley Metzger, a plethora of colorful (not to mention kinky) cousins gather at their rich relative’s estate to hear the reading of his will (sounds like that Scooby Doo episode with the galloping green ghosts, right?).
What follows is a stormy night of mischief, murder and madness.
There’s a killer on the loose who believes he’s a cat. There’s a beautiful young woman who has just inherited a vast sum of money, and there’s a rogue gallery of shifty, money-hungry, cousins all eager for her demise — lest they be the second heir and get ALL the money.
This dark house horror film has a lot going for it, including a moody and macabre atmosphere, taboo trysts, equal amounts of chuckle and chill worthy scenes, and a superb cast to bring it all to life (or is that death?).
Death hangs like a noose over all of those who find themselves spending a night in the old West mansion. Well, almost all. One man with sharp nails, like a cat’s talons, is prowling the estate.
“A house is not a cage” Mrs. Pleasant, the estate’s caretaker and servant (played wonderfully by Beatrix Lehmann) points out.
No indeed.
Even if it were, you can bet this cat would know where to find a key.
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