CHRISTOPHER NOLAN'S DARK KNIGHT TRILOGY: Can There Be a Best One?

Alright, now that we've had some time to absorb the awesome epicness of THE DARK KNIGHT RISES (see my review HERE), there is but one question to ask, one that I have asked myself and I'm sure fans of Nolan's Batfilms have been debating since the day after the film's release: Is there, in fact, a "best" film in CHRISTOPHER NOLAN'S DARK KNIGHT TRILOGY?

To answer this question, lets take a look at each film individually, starting with the film that started it all.

BATMAN BEGINS may be the least known to modern Batfilm enthusiasts -- who more than likely jumped on the "In Nolan We Trust" wagon with (and perhaps because of) Ledger's performance in THE DARK KNIGHT (more on that later) -- but Nolan's 2005 Batman opus literally rewrote the book on superhero films as we know it. Nevermind the fact that fans were still trying to wash out the bitter taste of Joel Schumacher's Batnipple double-fiasco, but Warner Brothers trusted Nolan, who up until this point had done only small budget films like MEMENTO & INSOMNIA (both were critically acclaimed though), with undertaking a reboot of their most profitable franchise outside HARRY POTTER. Nolan was a left-field choice, but he delivered. The basis of BEGINS' acclaim was its focus on the man behind the cowl, Bruce Wayne himself, and how Nolan convinced Christian Bale to take on the mantle of the Bat we may never fully know. But Nolan chose to not only focus on Bruce Wayne, but gave the entire film a primary theme which the Burton/Schumacher films lacked: fear. Everything that Bruce Wayne goes through in this film, every shot, revolves around some form of fear, whether emotional, psychological or even physical (talk to Flass about that last one). Bruce Wayne had to conquer his own fear (of bats) in order to be able to turn it on and use it against the criminals who seek to prey on the fearful of Gotham. In turn the villain, Ra's al Ghul, intended to use fear to destroy Gotham itself.

BEGINS also took on Batman's origin, something many comic book aficionados deem their favorite of all superhero origin stories, and yet one that had not been tackled in the Burton/Schumacher films. But Nolan did it, and in doing so allowed Bruce Wayne himself to be as engrossing or (in my opinion) more so than his cowled alter-ego.

We didn't have a Ledger-level performance, we had a Bale-level performance, and it's some of his best work to date, including his Academy Award-winning role in THE FIGHTER. In fact, all of the performances in BATMAN BEGINS are above-par when compared with other superhero trilogies, even the ones that followed it. Liam Neeson gives an inspiring performance as Henri Ducard/Ra's al Ghul, and Gary Oldman's Jim Gordon is THE JIM GORDON. Argue with me, I dare you. And Michael Caine has forever been indelibly embedded in the moviegoing subconscious as Alfred Pennyworth. And let's not, please let's not forget Cillian Murphy as Jonathan Crane/Scarecrow.

It's by far the most "low budget" of Nolan's DARK KNIGHT TRILOGY, but in many ways it's the most introspective. But we can only go bigger from here...

Ok, let's get one thing straight: THE DARK KNIGHT had an X-factor, and that was Heath Ledger. He died, he gave an Award-winning performance, and people have been raving about it ever since. But let's just -- not out of disrespect -- look at the film as if Ledger hadn't died. Is the Joker in fact the edge that THE DARK KNIGHT has over both its predecessor and successor?
This is a tough question to ask, and even tougher to answer because, like you, I loved THE DARK KNIGHT, and for many reasons outside of Ledger's performance. First off, before this film was there ever a Batman film without Batman in the title? Unless you need to be hit upside the head with a Batarang, the answer is an emphatic no. But, once again, the studio decided to take a chance on Nolan, who put his faith in the Bat-faithful to know their beloved superhero's nome de guerre to put two and two together. And in my opinion, it was a brilliant move. On a side note, will MAN OF STEEL be as innovative as its choice of title? We'll see..
Now that we've gotten through the superficial genius of Nolan's second entry, let's look at the heart of this film: chaos. The Joker, as the self-proclaimed "agent of chaos" (which may or may not be a Get Smart pun, knowing the Joker's sense of humor or, even more eerie, a foreboding of a certain actress's appearance as a certain feline fatale in the following film) permeates Gotham with it, with the sole intention of proving, as in the comics, that all it takes is "one bad day" for someone to go off the deep end as he did. His guinea pig for this twisted mad-science experiment? Gotham's "white knight," District Attorney Harvey Dent. And this is where Nolan's genius as a writer lies. The core of THE DARK KNIGHT is not in fact the Joker, or even Batman himself, but the fall from grace of Harvey Dent. In this respect, THE DARK KNIGHT is a postmodern, neo-noir crime-thriller tragedy, one of a great man's struggle with what is "just," what is "right" and, ultimately, what is "fair."
While we certainly see a lot more Batman in this film than in its predecessor, we don't see as enough of Bruce Wayne, which I felt was one of the strongest points of the series. Don't get me wrong, the scenes in which Bale is cowl-less are top-notch at every turn, but in the end, Nolan recognizes that this is a Batman film, but the way in which he plays it is far more sophisticated than any other in the comic-film genre. And in the end, Batman cannot truly beat the Joker and chooses to take on Harvey's fall as his own, racing into the night as a murderer and a fugitive.
Nolan also showcased his maturation as a filmmaker, utilizing a linear (for which he was heretofore unaccustomed to doing, a la MEMENTO & THE PRESTIGE), briskly paced story that nonetheless holds on to each moment in the story. And it emphatically does not end with the Joker, but with Harvey Dent and the culmination of the Joker's true purpose in the story. It is a brilliant melding of multiple genres into one great film that rises above the restrictions of a "summer movie" and makes us think about our own morality and how breakable it really is.

So how does Nolan end his magnum opus? With a bang, that's how. THE DARK KNIGHT RISES is unequivocally the most ambitious film in the Trilogy, for good reason and indeed more than one. If BATMAN BEGINS was the "psychological thriller" of CHRISTOPHER NOLAN'S DARK KNIGHT TRILOGY (that's the title, no matter what the Blu-Ray box set says when it comes out) and THE DARK KNIGHT was the "crime drama," then THE DARK KNIGHT RISES is most certainly the "dystopian epic" of the Trilogy. From it's surprising choice of villain (Bane) to highly controversial ending, it puts an emphatic end to what many (myself included) deem a perfect trilogy of films, a rarity of cinema to which we are all witnesses.
What this final film gives us is a truly diverse yet simultaneously complete story of Bruce Wayne's journey as Batman. Having faced his fears in BATMAN BEGINS and defeated chaos in THE DARK KNIGHT (albeit with a lie), RISES begins with Bruce Wayne as a recluse, refusing to look beyond the mission. Commissioner Gordon is weighed down by his part in "the Lie" and yet all seems to be well in Gotham, with the exception of Wayne Enterprises which has fallen into disrepute.
Enter Bane. Tom Hardy gives a performance on par with Ledger's Joker, a truly frightening mishmash of villainy ranging from Hannibal Lecter to King Kong, with a dash of Napoleon thrown in for good measure. Many of RISES' most powerful lines are delivered by him, and Bane vs. Batman Round 1 should forever go down as one of the most brutal fistfights in cinematic history. Nolan also took it to a place I honestly didn't think he'd go, recreating the very imagery of Knightfall and having Bane literally break the Bat.
THE DARK KNIGHT RISES brings to the trilogy a hybridization of the first and second installments of the trilogy, and while Bane has some of the best lines in the film, the scene-stealers of the Trilogy go to Bruce's time in the Pit. We've all been at our lowest point, but we've never seen Bruce Wayne in an equivalent place, and in this film we literally see him at his lowest point, which makes his reascendance even more stirring on a pure emotional level. Everyone's on their game for the last installment, even the newcomers. Anne Hathaway is at her sexiest and fiercest as Selina Kyle, and Marion Cotillard can really do no wrong (well, she actually can, but you get the point). And am I the only one who enjoyed the hell out of Matthew Modine?! But JGL, Joseph Gordon-Levitt, is just so great as John Blake (or Nolan's Robin as I call him). Nolan is a master wordsmith, and so it should retrospectively come as no surprise that he'd be a master wort-twister as well. After declaring that Robin would never, ever appear in his films, with Christian Bale going so far as to refuse to return should the Boy Wonder make an appearance, Nolan took a believable turn with Batman's sidekick by, well...not making him Batman's sidekick. Instead, Blake shows us a different facet of what I call the "Bruce Wayne archetype", whereby the hero figure isn't solely driven by vengeance, but out of a desire to do what's right, fulfilling a story arc begun by Harvey Dent but never completed. Blake is us if it were possible, and he gives a very believable and rousing performance.
RISES is without a doubt Nolan's most "comic-booky" film of the trilogy, but by now we've earned that, and he's earned that. From the "tight-geometry urban pacification" vehicle known to us as "the Bat" (but to me as the Bat-Lobster -- let's face it, the thing looks like a flying lobster!) to a fusion-reactor-turned-4 megaton-neutron-bomb, this is the type of gaudiness we love about comic books. But in any other film, with any other director, it would come across as gaudy and ridiculous. Nolan's use of source material (Knightfall, which was already mentioned, and The Dark Knight Returns by the incomparable Frank Miller) lends surprising credibility to the aesthetic of the story.
THE DARK KNIGHT RISES isn't without its flaws, though. So before you start decrying me as a Nolan fanboy (which I am, by the way, and I fully intend to pursue him as director of the MATHION film adaptation, mark my words!!), I am not above having my gripes with this film. For further proof, see my review (link above). But what I want to get at now is the ending, so if you for whatever reason haven't seen it, get off your computer/iPhone/iPad and GO SEE IT. Then come back and read the rest.
I wanted Bruce to die. Not stage his death, actually die. That is my single biggest gripe with the conclusion. In my opinion, Bruce Wayne cannot live without Batman, because they are one and the same. Screw all the "realism" crap, that is the single most believable quality of Bruce's character, and it is more of a fitting end for him to die a hero, sacrificing his life for the city he set out to save, and then to allow his mantle to be passed on. But we have the ending we have, and I see why Nolan would want Bruce to go out that way. Regardless, this is my own personal opinion of the ending. And while we're on the topic, I have to, have to, give credit to Joseph Gordon-Levitt. Any man who can keep a secret like that deserves to be Batman, and kudos to you, sir.

So we've dissected the Trilogy, but do we have an answer? In fact we do: the best film of CHRISTOPHER NOLAN'S DARK KNIGHT TRILOGY is your favorite of the three. They're markedly different from each other, too different to be directly compared despite the fact that they're all about the same character. My personal favorite is TDKR because, for all its flaws it is a perfect melding of its predecessors, but many will choose TDK for Ledger's performance alone. Others still will choose BB as it portrays Batman as he should truly be. But the point is that no one is wrong.

So what's your favorite installment of CHRISTOPHER NOLAN'S DARK KNIGHT TRILOGY? Comment below, and let the fanboyism/fangirlism ensue! Ladies, if you're going to insist on going full fangirl, please do your best to restrain your squee, whether over Bale, Ledger, Hardy or Levitt. I do, however, give full squee permission for Gary Oldman.

IN NOLAN WE TRUST. LONG LIVE THE DARK KNIGHT.

HE IS RISEN: The Dark Knight Rises Review

This is the most anticipated film of the year. The one we've all been waiting for. And it's finally here. But before I begin my review I'd like to extend my personal condolences to the families of the Aurora shootings. For someone to calculatingly carry out such a heinous and senseless deed is the height of depravity and shame, and I hope that this man, James Eagan Holmes, suffers for his crime.
Alright, so many of you have heard me talk about this film for God knows how long and now you finally get to hear what I think. And in a word? Genius. Christopher Nolan is the only director who could take an ending like this one and really make it work. But I'm getting ahead of myself, so let's start at the beginning:
It's been 8 years since Batman took the fall for Harvey Dent's (aka Two-Face's) murders, and now Gotham is at peace. But the lie that allowed that peace to take shape has eaten away at both Bruce Wayne and Commissioner James Gordon. Bruce has shut himself away in his stately Wayne Manor, and rumors circulate that he's decrepit and disfigured, Gotham's hunchback of Notre Dame if you will. Enter Selina Kyle.
If Heath Ledger's Joker stole the show in The Dark Knigt, Anne Hathaway literally steals it in TDKR. I'll try to avoid spoiling the film for anyone who hasn't yet seen it (and if you haven't—really?) but she basically does an Inception style acting job in here. This Selina Kyle makes you forget about Michelle Pfeiffer's Catwoman, and she is just brilliant.
Meanwhile, we're introduced to Joseph-Gordon Levitt as John Blake, and this movie is just as much about him as it is about Bruce Wayne. The man known as JGL gives a rousing performance as Blake, and is as much the heart of this film as Alfred is. If you take away the wealth, his story is as intriguing as Brice Wayne's. I can't spoil it for anyone who hasn't yet seen the film, but he is one to watch out for.
And then there's Bane. I like many people were soundly disgusted by his treatment in The Film That Shall Not Be Named, but he gets justice in this go-round. Tom Hardy is gold in this. He is ruthless, calculating, pure evil in this film. And his performance is driven through his eyes—those EYES!! My God, he scared the living daylights out of me. He really gives Batman the fight of his life, and it was heart-wrenching to say the least. I did have some issues with his voice, especially in the prologue, but you really tune into it, especially in repeat viewings.
Gary Oldman, Morgan Freeman, Mighael Caine and Marion Cotillard round out the rest of the supporting cast in TDKR, and every one of them brings their A-game. Caine has some of the most tear-inducing scenes in this film, and he really makes you feel Alfred's heartbreak for Bruce. Oldman gives his finest Gordon performance yet, as does Freeman as Lucius Fox. But Marion-oh, Marion!-she's a surprise. It's really her that brings everything full circle. In addition, the man who will be Azgharáth makes a return, and I squee'd like I've never squee'd before. Also, congrats to Cillian Murphy who becomes the first Bat-villain to make an appearance in all three films.
Now, the performances were fantastic and I was happy with the ending, but it wasn't what I personally wanted. Nevertheless you could really see the influence Nolan took from Charles Dickens' A Tale of Two Cities, and rumor has it that Jonah Nolan originally crafted a 400-page epic of a film. And honestly, I felt this could have been a longer film. At two hours and forty-five minutes it's definitely long, but Nolan's storytelling efficiency is such that at no point do you feel that it's too long. But if there's a director's cut of this film, I have only four words for Mr. Nolan: GIVE IT TO US!
In short, The Dark Knight Rises is a masterful conclusion to the definitive cinematic portrayal of Batman, and in my mind Christopher Nolan has done just as much for the character as Bob Kane himself. I encourage everyone to see this film multiple times, and to celebrate Christopher Nolan's Dark Knight Trilogy. As a Batfan I could not be happier. Indeed, he is risen. Thank you, Christopher Nolan for giving Batman the treatment he deserves. Long live Batman.

WELCOME BACK WEBHEAD: The Amazing Spider-Man Review

I am first and foremost a comic book fan. And while Batman is my all-time favorite superhero, Peter Parker aka Spider-Man is a close second. So naturally, I had seen Sam Raimi's take on the wall-crawler—yes, even the lackluster SPIDER-MAN 3—when they originally came out over 10 years ago. And, naturally, I was highly dubious of a Spidey reboot, especially given how fresh Raimi's final installment in the original trilogy really wasn't all that long ago. But I'm glad to say that after seeing the aptly-named Marc Webb's ("(500) Days of Summer") debut foray into both the big-budget and comic book movie universe, all I can say is that he outdid Sam Raimi. And Joss Whedon. And outdid them DIRTY. Yes, that's a bold statement. And yes, "THE AMAZING SPIDER-MAN" has its flaws (I'm looking at you, guys who did the CG effects on The Lizard!!) but the pros vastly outweigh the cons. TASM is a visually stunning and emotionally gripping film, spectacularly cast and magically written (yes, that pun was intended for legendary Harry Potter screenscribe Steve Kloves). I have no problem saying that it was better than THE AVENGERS, and I know many people would disagree with me, but while I give every movie the benefit of the doubt, my hat has to tip in Spider-Man's favor. I liked THE AVENGERS, make no mistake. But I wasn't able to take the journey WITH those characters. In TASM, I got to take a journey with Peter Parker, and a very believable one (now, if only I had a genetically enhanced spider to nip me on the neck, we'd be all set). Andrew Garfield is a self-professed Spidey fanboy, and man does it show onscreen. He gets EVERY aspect of both Peter and Spider-Man, and I could believe him much more easily than I could believe Tobey Maguire. Garfield plays every maskless scene as Parker with nuanced awkwardness so befitting of the character, and it was a joy to watch his development from zero to hero. His real-life love interest (the lucky bastard!!) Emma Stone shines as Gwen Stacy, and it's great to watch their natural offscreen chemistry translate seamlessly onscreen. Stone gives Gwen equal parts strength and sensitivity, and her natural charm and humor places her firmly as one of the most irresistible comic book movie female leads to date. Webb was very wise in making their relationship the core of the film, a solid foundation to build the story on. But surrounding these trailblazing up-and-comers is a great veteran cast led by Martin Sheen as Ben Parker, who is (in my opinion) a far more relatable Uncle Ben than the late, great Cliff Robertson. That's not to knock Robertson's overall performance in the Raimi trilogy, but Sheen plays a far more transparent Ben, which makes his (*SPOILER!!*) inevitable death all the more tragic. Sally Field is marvelous as Aunt May, and there is a far different and interesting dynamic between her and Peter in this go-round. And of course I couldn't NOT mention Dennis Leary, who gives a surprisingly stirring performance as Capt. Stacy, Gwen's father. I've always enjoyed Rhys Ifans' acting, so I was excited to see him back on the screen. His portrayal of Dr. Curt Connors is very good, although not the best villain this summer (Tom Hiddleston's Loki holds that spot until July 20th) but overall he gave a very good performance. For a first-time action director, Webb shows that he can indeed handle a perfect balance between emotionally engaging small scenes and great action setpieces. The film flows at a pace comparable to "Batman Begins" and is, in my overall opinion, far better than "The Avengers".

Closing the Book

So today I took Mathion off all major self-publishing ebook sites. In addition, I have cancelled the planned release of the Revised & Expanded Edition. This was for a very specific reason.

I want to be traditionally published. MATHION was written with the intent of being represented by a literary agency and then distributed by a major publishing house. Many of those who have read and reviewed the initial edition of MATHION have expressed similar sentiments, and for that I thank you. The simple fact of the matter is I don't have the time or resources to properly market MATHION as an independent book, and for an agency, in this business, it's all about sales. And I understand that. But in a market that has already been capitalized on by many others who HAVE those resources, I can only do so much. Sadly, that is reflected in my sales. I have every confidence in myself and my work, and I will continue to write.

I will NOT give up. And I already know there are a few out there who refuse to let me. And I thank each and every one of you.

All those who've read my work, thank you so much for your support. It really means a lot to me when I read reviews from people I don't know expressing their enthusiasm for my work, and I promise that MATHION will live up to your (and my) expectations when I am finally published.

Not Your Grandma's Fairytale: The SNOW WHITE & THE HUNTSMAN Review

Every summer we're treated to a smorgasbord of slam-bang action epics, especially of the comic book and science fiction variety. This year alone we've already had THE HUNGER GAMES and MARVEL'S THE AVENGERS, with plenty more on the way in the form of PROMETHEUS, THE DARK KNIGHT RISES (which of course I'm most looking forward to) and THE AMAZING SPIDER-MAN. With the exception of Hunger Games and Prometheus the vast majority of these are established franchises or reboots.

SNOW WHITE & THE HUNTSMAN is neither. Helmed by Rupert Sanders, himself an unestablished commercial director, this film is quite an extraordinary accomplishment. It is a visual marvel on the level of LORD OF THE RINGS and brings a fresh approach to the "fairy tale" we're all so familiar with (mostly thanks to Disney). But there is nothing whimsical about this story. On the one hand it is a fable of vanity as power, and how one woman's insatiable lust for her own personal glory became her downfall. Flip the coin over, however, and it is a much younger woman's tale of innocence as strength and the courage to hope, and how there are different forms of love in the world that give us the drive to come back from the brink of despair.

I'll be the first to admit, I was cautious at best upon hearing that Kristen Stewart had been cast as the titular apple-biter. But she won me over and reminded me of how good she was before Twilight skewed her acting career (yeah I said it, deal.). Not only is her British accent very good but she conveys a hell of a lot over the course of two hours. It's really a joy to watch her redeem herself, as an actress she seems much freer. For a part of the film she is very subdued, a shut-up girl seeing the world for the first time, but right at the beginning of the third act she lets loose and takes control of the movie with a freaking vengeance.

Equally as jarring is the fantastically evil performance delivered by Charlize Theron as Queen Ravenna, Snow White's stepmother (and her father's murderer). When we first meet her she seems very scared and timid, but that is quickly thrown out the window after the wedding (sound familiar fellas?) Ravenna is aided by her creepy brother Finn, and that's putting it nicely. Filling the role of the "Queen's dog," he is far from a simpleton, and their connection runs deeper than we know. But whereas Stewart's Snow White carries herself with a quiet grace and innocent serenity, Theron's Ravenna lashes out with violent, borderline madness and abject volatility. She really does loose herself in this role, and she has a ton of fun doing it.

Rounding out the top three stars is THOR's Chris Hemsworth as Eric, the also-titular Huntsman of the film. This is a precarious role. Hemsworth has a natural knack for a Scottish accent and an ax, but before you go and say that this is a carbon-copy Thor rehash, let me say that Hemsworth gives his most powerful performance to date in his young and rapidly burgeoning career. There's actually not much more I can say about Eric without giving away any spoilers, so I'll hold off on that. But rest assured he rounds out an impressive starring lineup for Sanders' directorial debut.

The design of this film is fantastic. Part medieval, part fantasy, part gothic noir stonemasonry and ethereal supra-Disney creepiness and bliss, this film is without a doubt beautiful. Whereas the castles are, well, castles, the lands outside their walls are characters in and of themselves, and more. The Dark Forest, home to the impressive Troll, is something of a really bad, nightmarish acid trip--indeed, there is a patch of flora that expels smoky spores which, when inhaled, turn the gnarled, brooding branches into true horrors, unleashing the horror of the woods which even had me on edge as I watched. On the other hand the Sanctuary (where Snow, Eric and the Dwarves--more on them in a second!!--find rest after a run-in with the Queen's men) would be more akin to a euphoric shrooming: vibrant greens and bright sunlight, lots of primary colors, and even a mossy snake that I now want! Also, sadly, the now-famous Mirror Man needs a movie of his own, because that guy was just too awesome to have such little screentime. Christopher Obi's deep baritone really hits you.

There are a few things I take issue with, but they are few and very far between. The relationship between Snow and Eric plays a much more central role than the relationship between Snow and Sam Claflin's Prince William, but this is in many ways a strength. I may be a stickler for tradition in storytelling adaptation, but I think Sanders made the right call on this one. Snow White hasn't had a friend all her life, locked away in a tower, and she and Eric bond without things getting complicated. It's played beautifully well from both actors, and adds a new dynamic to the story that wasn't there before. The climactic confrontation at the end is somewhat short-lived, but resonates with a philosophical and moral confrontation between Ravenna and Snow White that takes precedence over the bloodshed. There is a recurring motif of three drops of blood throughout the film, and really that's all that's needed in this battle.

And now, to finish off this review let me say a little something about eight short, hairy, persnickety little bastards that people are going to come out in droves to see this film for: the Eight (you heard me right) Dwarves. I'm a long-time Bob Hoskins fan, and I have to tell you it was a delight to watch him share the screen with the likes of Ian McShane (Pirates of the Caribbean: On Stranger Tides), Eddie Marsan (Sherlock Holmes), Toby Jones (Captain America), Ray Winstone (The Departed) and Nick Frost (Hot Fuzz). There is a great sense of camaraderie among the veteran actors, and you can tell they just loved the heck out of getting to be mischievous while still kicking serious amounts of ass. Six dwarves against a whole army? I quite like those odds.

All in all, SNOW WHITE & THE HUNTSMAN is the dark-horse best movie this summer. I won't start any flame wars by saying it's better than THE AVENGERS, they're two totally different movies (besides, we all know THE DARK KNIGHT RISES is going to be better anyway!), but I will say that Rupert Sanders has one hell of a career in front of him if he decides to keep doing features. I for one hope he does, because he knocked this one out of the park.

Journal Entry from Prof. CRK - 4 September, 1955

4th September, 1955 According to the ancient texts which I have been able to translate, Mathion was a descendant of the Clan of Eredôn, one of the seven Royal Clans of the Wolven (Várna Iktirvandon). These seven clans are descended from the first High King of the Wolven, Hâr-Etheôn, who had seven sons. They became the forefathers of the most powerful Wolven clans.  The Wolven were governed by a cyclical hereditary monarchy of agnatic primogeniture, but in many cases the wives of the Kings were just as powerful and influential as their husbands. Each clan sat on the Ánovénean High Throne for up to seven generations, after which the Crown was passed to the next clan from eldest to youngest. This "Cycle of Kings" was set to begin after Etheôn's natural death with the ascension of his eldest son Eredôn, but owing to circumstances in the Battle of Degos Enath, Eredôn elected to put his line at the end of the Cycle, for both personal reasons and reasons of what the Wolven referred to as "naeróndu", which roughly translates as "sight of the mind." As a result his younger brother Erios became the first of the brothers to ascend the High Throne. The other six aided Erios in the early years of his reign, creating the tradition of the "Council of Elders," a body that was not made official until the reign of Hâr-Valaxor II.   What follows are descriptions of the colors and mottos of each of the Wolven Royal Clans.  WOLVEN ROYAL CLANS- colors and mottos •EREDÔN- blue and gold banner, sigil of a white wolf's head lined with gold above the Lost Sword of Eredôn on a blue field; "Power Through Honor." •ERIOS- first of Etheôn’s sons to ascend the High Throne after his death; purple and yellow banner, sigil of a black wolf's claw within a yellow diamond; "Answer the call." •ARUVAI- called "the Grim" (sometimes "the Grim Smith" in reference to his chosen trade), spent a century in wordless mourning after Hâr-Etheôn's death; banner of black and gray with a wolf-headed hammer sigil; "United by silver." •DÚREVON- first Regent, banner of red and white and black, sigil of a black quill within a white wolf's pawprint on a red field; "Words inspire action." •LAROS- "the Watcher"; green banner lined with silver, sigil of a green wolf's head lined with silver and a silver eye; "Unsleeping vigilance." •ÚREVOS- orange, black and grey banner, sigil of a black wolf's head encircled in orange flames on a grey field; "The fire burns bright." •ATHION- black, blue and white banner, sigil of a closed blue fist within a white wolf's claw on a black field; "Uninhibited."

SOME ASSEMBLY REQUIRED: The Avengers Review

It's 3:33am as I write this review, I've just gotten home from the summer blockbuster movie season kickoff, and I find myself...whelmed. Not overwhelmed, not underwhelmed, simply whelmed. It's been an arduous, epic four- year journey for Marvel Studios, and now here we get to see how all the planning and hype has turned out. I won't deny that "The Avengers" is a phenomenal achievement. I won't refute the fact that what the filmmakers and actors have done is extraordinary. And I am NOT a biased DC fanboy, so if you're expecting me to rip on this film, you may as well stop reading now because I found it very entertaining. Flawed, but entertaining. No film is without its flaws, no film is perfect. But with "The Avengers", the flaw is inherent: it is simply TOO BIG. I don't say this in a negative way. Simply as a fact, this is a massive movie, even for a comic book movie. Much like the Avengers themselves, this film simply should not have worked. But it did, and in this case I think the film's greatest flaw might actually have simultaneously been its greatest strength as well. I won't go into much spoilerish territory in this review, mostly because if the rumors are true just about everyone's seen this thing so there's really not a whole lot to spoil anyway. Although I am very proud to say that I started the thunderous applause for the final DARK KNIGHT RISES trailer. Let's start with the director, Joss Whedon. A legend among fanboys everywhere, I could honestly think of no one better to handle this much chaos. Even when nothing is blowing up, Whedon keeps everything moving, down to the camera. Which means you hang on every moment that passes. As far as the Chitauri Battle in Manhattan goes, well, let's just say he divvied up the theaters of war quite well. Whedon is a fanboy as well, let's not forget, so he made damn sure to give every one of these larger than life characters their moment. My hat goes off to him, and he did a damn fine job. Now, it's Loki's turn. I love, absolutely LOVE Tom Hiddelston in this film. I was a bit unsure about using Loki as the villain for this film, but in the end it was a perfect choice. Hiddelston really gets to have fun with his character in this one. And what made it great was his relationship with Thor (Chris Hemsworth), playing on their "false" brotherhood and in turn having a go at each of the other Avengers in one form or another. And he serves a great setup for a potentially apocalyptic villain for the sequel! But the highlight of this movie, and the person I'm sure everyone will be talking about soon enough, was Mark Freaking Ruffalo. Yes, his middle name is Freaking, because he did the most with his character out of any of the other actors in this film (no disrespect meant). Following Ed Norton's turn as Dr. Bruce Banner, I was dubious at best about the studio's decision to go with Ruffalo. But he brought such a weight to Banner (NOT the Hulk) and his inner conflict with "the other guy" made every moment he was on screen so watchable. If there is an emotional heart to this film, it's in Mark Freaking Ruffalo's big green hairy chest. Not to mention he gets two of the greatest moments of the film. Having established their characters in their solo films (with the exception of Robert Downey Jr., who got a bit more of a head start on account of IRON MAN 2), it was very interesting seeing all these people interact on screen. There was great chemistry all around, and I think fans will really enjoy how their camaraderie develops throughout the film. Now, this would be WAAAAAYYYYY too long a review if I went over every little detail of the film, so I think I'll just say this: Marvel has a behemoth on their hands, and I just hope they don't let it get too big. THE AVENGERS is a great way to kick start the summer, and  think that fanboys all over will be nerdgasming repeatedly while it's in theaters. However, this film was exactly what I expected it to be: big, loud and fun. And that's not a bad thing at all.