Invincible Iron Man (2022) #18-20 (series finale)

WHAT DID YOU MISS? CLICK HERE

Over the course of the Duggan run, Tony Stark has been dragged deeper and deeper into the Orchis / mutant conflict. Orchis’ destruction of Krakoa’s base and the fallout for mutantkind has created a high bar for resolution. By #18–20, the story accelerates toward a reckoning: it’s not just a boardroom fight anymore, but a personal, lethal showdown. As many commentators note, #20 is being treated as Duggan’s finale on the title, tying into the end of the Krakoan era. 

In #18, Tony is already wounded but unbowed. He storms into Feilong’s stronghold, dragging the secretive rival into open conflict. Yet Duggan doesn’t lean on brute force alone — he layers in intrigue: Feilong’s A.I. entanglement, Nimrod’s insertion, and Magneto’s reluctant hand. Some reviews praise the dynamism and intensity of that action. Others (e.g. Weird Science Marvel) bristle at tonal swings and sudden plot pivots, calling the issue “corny.” 

Meanwhile, the sidelined threads (Rhodey’s frame, the Living Laser / Sandman alliance) begin to converge. Rhodey breaks out of prison by shrinking into a micro War Machine suit (a classic Stark trick) and enlists laser and sand to help. The jailbreak is tone-shifting—fun, chaotic, and a little absurd—which is precisely the sort of scene that divides readers.

In #19, Duggan pares away distractions and lines up the final confrontation: the allies, the betrayals, the logistics. It’s a connective issue, one that some critics say “ties off threads” before the emotional final push.


Then #20 moves into adjudication. Orchis is dismantled (or at least cut down), legal and extralegal consequences are meted out, and Tony must face both the personal and the structural costs of this war. Jennifer Walters removes the trumped-up charges against Rhodes; Emma offers Tony financial rescue—but in classic Frost fashion, with caveats. The twist ending sends Feilong into cosmic exile (on Mars, in a dome) and gives Tony & Emma a bittersweet break-up plus a lingering psychic bond.

The closing sequence, with Crimson Dynamo gatecrashing a book signing and Tony improvising a “gel amber” trap, feels like a postscript, but one earned through Tony’s style.

Did you like these books? Wanna buy them? Check this title and several others for sale at my ebay page at:

https://www.ebay.com/str/comicapocalypse

Incredible Hulk (2023) #11-14

WHAT DID YOU MISS? CLICK HERE for the last issues in this series.

Incredible Hulk (2023) #11–14

Reading issues #11 through #14, I kept waiting for the arc to cohere — and honestly, it never quite did for me. The story introduces Charlie (who has been traveling with Banner), only to trap her soul inside a Frozen Charlotte doll/construct, which forces Hulk/Banner to hunt for mystical help. In #12, they head to Strange Academy seeking Doctor Strange, but end up dealing with Doctor Voodoo and the dark Soul Cage ritual to rescue her. By #13, Banner and Hulk’s souls are literally separated and sent into a prison realm of magic and monsters to find Sumanguru (a sorcerer who can “weave souls into flesh”) and restore Charlie.

What worked (sometimes):
-When the arc leaned into horror, mysticism, and body/soul horror, there were flashes of promise. The concept of splitting Banner and Hulk to confront internal/mystical threats is compelling. #13, in particular, makes an effort to tie the monster hunts into a journey with stakes, rather than purely episodic slogs.


-The surprise of how Voodoo’s magic operates — forcing Banner’s soul into a cage, having Hulk hold off external threats — is an interesting twist, and gives something more than just brute force to the conflict.


-Artist Nic Klein’s return in #12 is often cited as a positive. Reviewers say his layouts and visual pacing elevate the issue.

What missed / what faltered:
-Lack of momentum / plot drift: The arc spends a lot of pages on “monster of the week” fights (Frozen Charlotte, other mystical creatures) without progressing the larger narrative thread (the Eldest, Mother of Horrors) in any meaningful way. Many reviews feel Johnson is stalling or sidetracking. Confusing magic rules & world-building: The soul cage mechanics, how Frozen Charlotte is formed or tied to Charlie’s soul, and the role of these mystical beings (Sumanguru, Flesh Weaver, etc.) often feel underexplained or dropped into the middle of fights. Sometimes the revelations come during combat, which undercuts pacing. Tone inconsistency / trying too hard: The series sometimes wobbles between cosmic/horror, monster action, and superhero melodrama in ways that don’t always mesh. Some emotional beats (Charlie’s plight, Banner’s inner struggle) aren’t given enough breathing space to land.


-Art inconsistency: The switch from Danny Earls (issue #11) to Nic Klein (starting in #12) is jarring. Issue #11 gets criticized for uneven figure work, weak layouts, and lackluster action until late in the issue.


-Emotional weight is thin: Charlie as a character hasn’t earned deep investment in many fans’ eyes, so making her soul the emotional anchor sometimes feels hollow. Some reviewers say she “feels unnecessary” in the narrative right now.
Final Word

I get why you’re struggling with this run — it feels like it’s trying to recapture the haunting power of Immortal Hulk (Ewing/Bennett) without fully committing to the consistency, pacing, or sense of dread that made that run resonate. There are good ideas here — soul splitting, mysticism, dark rituals — but they feel undercooked, episodic, and disconnected from a strong through-line.

If I were grading #11–14, I might land somewhere around a 6 to 6.5 / 10: not bad, interesting at times, but frustratingly uneven and often lacking cohesion. I hope the next few issues tighten things up (re-establish clearer rules, stabilize the creative team, and double down on stakes) so readers who want to get hooked will find a stronger foothold.

Not everyone is Al Ewing and Joe Bennett. It's ok to find your own way here. If I see a GREEN DOOR, I'm out on this series.

Did you like this book? Wanna buy it? Check this title and several others for sale at my ebay page at: https://www.ebay.com/str/comicapocalypse

Adolescence (2025)

Adolescence (2025)

(Spoilers ahead — read only after watching!)

Adolescence is a breathtaking feat of filmmaking — not just for its emotional depth, but for its sheer technical mastery. Each episode unfolds in one continuous shot, an ambitious choice that demands perfection from every performer and crew member. There’s no safety net here: every camera movement, every breath, every glance must be intentional. The result is an almost theatrical experience that pulls you into the characters’ world without interruption. You don’t just watch their pain — you sit in it with them.

The story itself is raw and deeply moving, exploring the ripples of tragedy through one family’s eyes. What makes it unforgettable is how the show balances restraint with emotional honesty. Scenes aren’t cut for convenience — they breathe, unfold, and build naturally, giving every moment a devastating authenticity.

One standout moment comes when Jamie decides to tell his father he’s changing his plea. The choice to stage this revelation during a phone call — with the rest of the family silently listening — is a masterstroke in direction and writing. The audience feels the weight of that silence; the heartbreak and shock reverberate through the car without a single line spoken. It’s one of the most quietly powerful moments in recent television, and it speaks volumes about guilt, love, and the limits of understanding.

The performances are uniformly excellent, but what elevates the series is its unity — the way the acting, directing, and cinematography fuse into one unbroken emotional current. It’s intimate and unflinching, yet tender in its humanity.

In the end, Adolescence is more than a story of a crime; it’s a meditation on family, grief, and forgiveness. Beautifully shot, brilliantly acted, and meticulously directed, it’s essential viewing for any parent — not because it’s easy, but because it asks the hard questions about what it means to love, to fail, and to try again.

Highly recommended.

28 Days Later (2002)

Danny Boyle’s 28 Days Later is one of those films that proves you don’t need a massive budget to create something unforgettable. From the very first shots of a deserted London, it hooks you with its eerie, almost surreal atmosphere. The stripped-down, indie vibe gives it a raw intensity—you feel like you’re right there, stumbling through an emptied city with danger lurking around every corner.

The film is terrifying not just because of the “infected,” but because of the way it’s shot. The use of digital video gives the movie a gritty, unsettling realism, amplifying every shadow and every movement. Boyle’s choice to lean into minimalism pays off—it’s scarier precisely because it feels so plausible.

The story itself is strong and tightly paced, blending survival horror with deeper questions about humanity, morality, and what people become under extreme pressure. The characters feel real and flawed, which makes the horror hit that much harder.

All told, 28 Days Later is a landmark horror film—scary, stylishly shot, and surprisingly thoughtful. Its indie energy and low-budget edge give it a unique personality that still stands out today.

Deadpool (2024) #1-5

WHAT DID YOU MISS?! Click HERE:

Deadpool begins the arc in rough shape, trying to reorient himself after recent traughts, and he soon builds an odd but effective mercenary team around himself: Taskmaster as muscle and tactical backup; Doug, a nerdy accountant/organizer who keeps the logistics running; and Princess, an alien-symbiote/Deadpool hybrid dog (who he treats like a daughter). From the start, the series leans into both the absurd and the emotional: Wade’s efforts to be better (or at least repair some relationships) run in parallel with high-octane combat and weirdness.

Their first major obstacle is the magical cult group known as The Touch, who wield strange and mystical powers. The series steadily escalates as Deadpool and company clash with these cultists, culminating in confrontations with the chief antagonist who wields the Miramasa blade — a weapon that grants him near-immortality or regenerative strength, forcing Deadpool to outthink more than out-blast him. Along the way, Wade reconnects with his daughter, Ellie, who reveals her own latent abilities (notably a magical healing factor) and plays a key role in overcoming the villains. In the penultimate conflicts, she helps tip the balance, but in the final battle Deadpool—and by extension his team—achieves victory at a cost: Wade loses (or is stripped of) his healing factor. The arc closes with a bittersweet payoff: they’ve won, but it’s unclear how much Wade is changed (or vulnerable) moving forward.

---

Review & Impressions

From start to finish, the arc works precisely because it leans into what makes Deadpool fun and surprising. Writer Cody Ziglar (and the creative team) balance the snark, the gore, and the heartfelt moments. The comedy is present but never undercuts stakes — the jokes serve to puncture tension rather than derail it. Early reviews of issue #1 praised that balance: the action is “swift and bloody,” the fourth wall breaks remain smart and not overbearing, and the villain (Death Grip, in #1) already shows promise. Art is a consistent plus—emotion in quieter moments, kinetic layouts in fight scenes, and clear character designs (especially for Princess and the mystical elements). 

By issue #5, the stretch of the arc is showing its strengths. Critics point out that Taskmaster gets a moment to stretch his powers (even doing a kind of “fake magic trick” by mimicking spell gestures) in a fun bit of subversion. And though some commentary (e.g. Comicon’s review) calls #5 a “mixed bag” in parts, many agree the world-building, character chemistry, and stakes are solid. One review of #5 notes Taskmaster’s grousing over budgets (humor grounded in their in-team dynamic) alongside the dramas of protecting Ellie.  Across the arc, commentators point out that this run is “definitely the best Deadpool has been since at least 2020” in its blend of humor, action, and heart. 

If I had to nitpick: sometimes the magical / mystical rules feel underexplored (how much of Ellie’s healing power comes from what source? Why exactly the Miramasa blade works the way it does?). A few emotional beats are telegraphed in advance, and the loss of Deadpool’s healing factor — while a gutsy move — is one of those bold premises where future follow-through will be crucial. But as an arc it mostly delivers.

All told, this feels like a high point. It captures the weirdness of Deadpool, the familial stakes (especially with Ellie and Princess), and the sense that in this universe, daring gambits come with consequences. On your scale, I’d land it at 9/10 too. It’s lively, surprising, and clearly sets up interesting directions moving forward — I’m excited to see where Wade goes next (especially now that he’s vulnerable).

Did you like these books? Wanna buy them? Check this title and several others for sale at my ebay page at:
https://www.ebay.com/str/comicapocalypse

Black Mirror S7 Ep 2: Bête Noire

Black Mirror S7 Ep 2: Bête Noire

“Bête Noire” stands out as one of the more striking installments of Black Mirror’s seventh season, partly because of how confidently it balances unease, spectacle, and catharsis. Directed with precision by Toby Haynes, the episode builds its tension through psychological disorientation rather than obvious horror. Subtle shifts in memory, perception, and circumstance keep both the protagonist and the viewer on edge, creating an atmosphere where nothing feels entirely trustworthy.

The performances deserve a lot of credit. Siena Kelly anchors the episode with a portrayal that’s equal parts vulnerable and defiant, while Rosy McEwen delivers a performance that is as chilling as it is nuanced. Together, they embody the clash of guilt, memory, and vengeance that drives the story. Their dynamic keeps the narrative from becoming pure sci-fi spectacle; even as reality bends, the human element remains central.

What sets “Bête Noire” apart is its ending. Without giving too much away, it’s more uplifting—or at least more empowering—than the bleak conclusions Black Mirror is known for. There’s a genuine sense of catharsis in the resolution, even if it comes wrapped in layers of ambiguity and exaggeration. For a series that often ends with despair, this tilt toward triumph feels refreshing.

That said, the final act may feel over-the-top for some, as the story moves from subtle psychological tension into high-concept, almost fantastical territory. But whether you find that shift jarring or exhilarating, it makes “Bête Noire” memorable. It’s bold, weird, and deeply Black Mirror—and it may well stand as one of the season’s highlights.

Bad Guys 2 (2025)

The Bad Guys 2 swings back onto the scene with full comedic flair and heartfelt mischief, proving itself not just a worthy sequel but in many ways an upgrade.

From the start, the animation dazzles with its vibrant, kinetic style that keeps the energy high and the laughs coming. The voice cast, led by Sam Rockwell’s effortlessly cool Mr. Wolf, once again delivers, and the introduction of a rival crew raises the stakes in all the right ways.

The story leans into bigger, crazier territory, but never loses its heart. At its core, it’s still about friendship, redemption, and the joy of choosing good over bad, even when chaos is so much fun. The humor is sharp, self-aware, and full of moments that will keep both kids and adults entertained.

If you enjoyed the first film, this sequel doesn’t just repeat the formula—it expands on it, proving that this crew still has plenty of charm and tricks left up their sleeves. The Bad Guys 2 is a wildly entertaining ride that cements the series as one of the most fun animated franchises out there.