David Lloyd

Wasteland 9 (August 1988)

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For lack of a better word, this issue is dippy. It’s not particularly bad–nowhere near Wasteland‘s worst–but it’s definitely dippy.

As usual, the fault tends to lie with the writers. The first story is a Close autobiographical, again scripted by Ostrander. In it, Close goes to L. Ron Hubbard for therapy. The beautiful David Lloyd art–until a way too long fencing match–makes it palatable. It’s lame.

The second story (Ostrander writing solo) is about a guy in the ghetto challenging God to a street fight; it seems a tad racist. I’m sure it’s not, but it’s not in that guilty white liberal “not racist” way. The Simpson art, however, is an absolute joy.

The final story, another one starring Close (co-scripting with Ostrander), is another flop. Messner-Loebs, usually great on art, fumbles here. Without good art, it’s inane filler.

Just like the issue itself.

CREDITS

Del & Elron; writer, John Ostrander; artist and colorist, David Lloyd; letterer, Dunina Rush. Raoul; writer, Ostrander; artist and letterer, Don Simpson; colorist, Lovern Kindzierski. Subtext Salad; writers, Del Close and Ostrander; artist and letterer, William Messner-Loebs; colorist, Kindzierski. Editor, Mike Gold; publisher, DC Comics.

Dark Horse Presents 83 (March 1994)

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Lloyd’s got a very well-illustrated story here. It’s a thriller–con artist out to murder his rich wife–told after the fact (guess what, the husband gets busted through a very Hitchcockian twist). The art’s more important than the story. Lloyd gets the tone perfect. If it were a longer piece, with more characterization, it might be more significant. As is, it’s just a fantastic little exercise.

Speaking of good art, Lopez finally improves on this installment of Buoy 77. It’s the same style, but he really gets more fluidity in his action here. It doesn’t hurt Boyd’s writing is stronger too. The writing approach is different from the second installment, more like the first (it’s no longer following one person in close third-person).

And Campbell’s wrapping up Hermes. Not as many awesome developments, just solid storytelling. The battle scene’s got some great panels this issue; very grandiose.

CREDITS

Lasting Impression; story and art by David Lloyd; lettering by Vickie Williams. Buoy 77, Part Three; story by Robert Boyd; art by Francisco Solano López; lettering by Williams. Hermes versus the Eyeball Kid, Part Eight; story by Eddie Campbell and Wes Kublick; art by Campbell, Peter Mullins and April Post; lettering by Campbell. Edited by Randy Stradley.

V for Vendetta (2005, James McTeigue)

V for Vendetta is a film made by Americans about London. I mean, I can see how it’s all right, given it’s a big budget nonsense blockbuster, but there’s something so incredibly lame in the last scene of the film–I’m going to ruin it for you–the dead people, those murdered by the evil British state, are all united with the living people as the events of the film lead them into some glorious new future. Or some nonsense.

It’s obvious and lame. The scene could have been shot so it wouldn’t have been noticeable, possibly even have been subtle… instead, it’s like the end of Kiss Kiss Bang Bang but without the joke.

There’s a lot of okay stuff about the film. Natalie Portman isn’t terrible. She isn’t any good, but she isn’t terrible. Rose Byrne would have done a great job (a rewrite would have helped too). Stephen Rea and Stephen Fry are both fantastic. John Hurt is fine. Rupert Graves is good. I’m not sure why Hugo Weaving got the part of the titular character, since it’d have been a stuntman for most of it and there’s a mask and no performance, but whatever. His voice acting is clearly dubbed in, regardless of whether he had to wear a stifling outfit.

The script’s got some awful moments–as a police procedural starring Rea in the lead, it would have been great. McTeigue’s occasionally okay. The visual style is all flash, no substance.

It’s really quite bad.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by James McTeigue; written by Lilly and Lana Wachowski, based on the comic book by Alan Moore and David Lloyd; director of photography, Adrian Biddle; edited by Martin Walsh; music by Dario Marianelli; production designer, Owen Paterson; produced by Joel Silver, Grant Hill and Lilly and Lana Wachowski; released by Warner Bros.

Starring Natalie Portman (Evey), Hugo Weaving (V), Stephen Rea (Inspector Finch), Stephen Fry (Deitrich), John Hurt (Adam Sutler), Tim Pigott-Smith (Creedy), Rupert Graves (Dominic), Roger Allam (Lewis Prothero), Ben Miles (Dascomb), Sinéad Cusack (Delia Surridge), Natasha Wightman (Valerie), John Standing (Lilliman) and Eddie Marsan (Etheridge).


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