Television: Marvel's Daredevil

The Witch Trial:
Season one of Daredevil was a massive hit for Netflix.  Season two introduces us to new characters and new mysterious enemies.  Does it continue the success or suffer from character overload?

Who:
Starring: Charlie Cox, Deborah Ann Woll, Elden Henson, Jon Bernthal, Elodie Yung, Rosario Dawson, Vincent D'Onofrio
What:
Science Fiction
Why:
Season 2
When:
Released 2016
Where:
Hell's Kitchen, New York as part of the Marvel Universe

The Case For:
Season one of Daredevil went down the tried and trusted path of establishing the origin story for Matt Murdock's alter ego Daredevil, whilst pitting him against Wilson Fisk and his machinations taking place in Hell's Kitchen.
This second season begins with Fisk safely behind bars and life in Hell's Kitchen all seeming quite rosy for Murdock and his friends and associates: Karen Page and Franklin "Foggy" Nelson.  Their law firm, although not thriving, is certainly generating clientele.  Foggy is starting to reluctantly agree that Murdock's nightly forays as Daredevil is something that he is going to have to accept.
Entering this scene is Frank Castle aka the Punisher as played by Jon Bernthal.  Castle is trying to find out who is responsible for the personal tragedy he has suffered; that has driven him to extremes and is going to stop at nothing until everyone involved is dead and buried.
For Murdock it is about catching the criminals and getting them put behind bars where they belong.  If he can't do it as part of his day job, then he will achieve this goal as Daredevil.  For Castle it is about making sure that these scumbags won't live to commit any further atrocities by putting them six feet underground.  There are no second chances or attempts at redemption as far as he is concerned.
Adding to this mix is Elektra Natchios; an old flame of Murdock's from their college days together.  Now Elektra appears to also be a crime fighter but one who follows her own set of rules.  Her motivations are more of a grey area and her relationship with Murdock looks like it will only complicate matters further.
This concept of a person's set of values and set of rules that they live by is something explored throughout the thirteen episodes.  We now have three characters all with their own agenda's and coda that they follow and which one is right or wrong seems to change from episode to episode.
One minute you will be thinking Matt Murdock is right with what he is doing and then the next you will be agreeing with Frank Castle's methods after he takes out a particularly vile strain of human being.  Similarly Elektra appears to be in the right frame of mind when dealing out death if it means her own and Daredevil's identities will be safe.
The main premise for season two is exploring these particular character traits and what exactly it means to be a vigilante.  Who gets to decide what is right or wrong?  Why is one person more entitled to do what they are doing than another?  Should the criminal element be incarcerated or is death are more suitable option?
These are all valid questions and it is left to Matt Murdock to ponder each issue and really delve into his own choices to decide if what he is doing is the right way to go about it.  While this theme is not nearly as engrossing as watching the mental and psychological issues covered in Marvel's Jessica Jones; it still makes for interesting viewing.
The inclusion of both the Punisher and Elektra prove to be great additions.  Jon Bernthal and Elodie Yung give their characters depth and feeling, neither one settles for comic book caricatures.  Bernthal in particular is excellent; you really do feel sympathy for what could be an unsympathetic person who has no compassion whatsoever towards the people he executes.  He provides pathos to a chaotic role and it's the moments when he gets to put forward his reasoning that this strength really comes to the fore.
At first Elektra appears to do what she is doing just for the thrill of it.  You get the sense that she is nothing more than a spoilt rich girl out for a good time with no regard for anyone who gets caught up in the whirlwind she leaves behind.  As the show carries on though her personality becomes more layered and Yung's performance starts to stand out as she allows us to step that little bit closer into understanding her psyche.
The returning co-stars from season one are also given their moments to shine.  Elden Henson's Foggy Nelson could be considered the comic relief.  It was certainly the impression I got from the first couple of episodes in the first series, however as that developed so too did Nelson to the point where he wasn't anywhere near as annoying as what I was expecting his character to be.
In this season Foggy really steps out from Murdock's shadow.  We saw glimpses of his expertise in the last season but here, he is front and centre in dishing out his Law know how and really gets to put people in their place; particularly District Attorney Reyes.  Foggy's coming of age if you will, was definitely a highlight of this run of episodes and I can't wait to see where he goes from here.

We get to finally see a good portion of an actual court case taking place as part of the story arc of the Punisher and Foggy gets to put his full range of skills to the test.  It is a nice change of pace to the relentless fight scenes of Daredevil as he patrols his territory during the night time hours.  Instead what we have here is normal courtroom drama unfolding which gives us more of an insight into the everyday lives of Murdock's cohorts.
Karen Page ably supports Nelson in this enterprise.  She proves to have exceptional investigative skills which she puts to good use in building the court case.  Page is given far more of a central role, instead of appearing in more of a supporting role this time around.  She is heavily involved in the Punisher's storyline throughout.  Deborah Ann Woll goes on a roller coaster ride of emotions when dealing with Castle and his back story.
We are also treated to the blossoming romance developing between Murdock and Page.  It's a relationship that feels organic as well, it doesn't come across as forced at all which is refreshing in itself.  Personally I would have liked Page to go for Foggy but I have to admit I like where they are taking this arc.
But from all the returning cast it is Wilson Fisk's brief appearances that leave the most indelible mark.  Vincent D'Onofrio embodies this role so well; his mere presence on screen draws your attention.  The vulnerability he is able to give to this person while also showing you the raging menace that is simmering just below the surface is quite intense.
When Matt Murdock decides to visit Fisk in prison we are treated to one of the best scenes from the show so far.  The whole exchange between the two balances on a knife's edge just waiting to explode.  By the conclusion of this confrontation you are left begging for the return of the Kingpin to the streets of Hell's Kitchen.
Of course we wouldn't be watching this show if it skimped on the action and was just about court cases and the morality issues associated with being a vigilante.  Season two definitely delivers when it comes to the fights.  Where as in the first season a lot of the action revolved around hand to hand combat, here we have the Punisher using all manner of heavy weaponry to get his particular brand of justice across.
That is not to say that there isn't a fair share of fisticuffs though.  When you have two martial art experts in Daredevil and Elektra as well as the brute force of Frank Castle then hand to hand fighting is going to feature prominently.
Towards the end of the second episode in the first series there is a much vaunted fight sequence all filmed in one take between Daredevil and a group of thugs set in the confines of a hallway.  It is an amazing sequence; superbly choreographed and executed that reminds me of a similar one take scene in the movie Oldboy which would definitely have been an influence.
It is one of those scenes where you wonder if they can match it again, let alone top it.  Well in season two we have not one, but two contenders that come very close to surpassing this terrific fight sequence.  Episode three features Daredevil descending a buildings stairwell while fighting off Dogs of Hell bikie members.  Later on in episode nine, the Punisher takes on a group of hardened criminals in one of the bloodiest sequences of the show to date.
Neither of these fights is filmed in one take the same as the one mentioned above but the choreography that has been arranged by fight coordinator Philip J Silvera and his crew has to be applauded.  Fist fights can become very monotonous but it is scenes such as these that really help to keep things feeling fresh and exciting.
There is definitely an emphasis on more bloodier conflicts than the first season.  Whether that's a reflection of the methods employed by the antagonists or a decision by the writers I am not too sure.  You do find yourself squirming in your seat at some of the more graphic moments.  Again though, it is another example of freshening things up a bit and shows these confrontations in a more naturalistic light; after all if someone is hit, stabbed or shot there will be blood and they are not afraid to show the after effects of these injuries.
Lastly because I didn't review season one; I just have to mention that the main title sequence and theme music that opens each episode are some of the best titles in recent memory.  They both really push all the right buttons in getting you in the mood for what is to come.

The Case Against:
There is often a bit of a misstep after the origin story has been told when it comes to the second outing for superheroes.  I am mainly talking about films here but the same thing equally applies to small screen versions too.  Daredevil is no exception as while this second run has its strengths it also has a few issues too.
This season suffers from the same problem that affected Iron Man 2 in that it wants to introduce a few different elements that will pay off in future instalments; whether that is in further outings of Daredevil or the expanded universe of Jessica Jones, Luke Cage et al.
We have not only the Punisher and Elektra but the ninja cult of The Hand as well as the bikie group Dogs of Hell introduced.  Whether the Dogs of Hell will feature heavily in the future it is hard to tell but it is strikingly obvious that The Hand certainly will.
With the introduction of The Hand we also have the Chaste who are the sworn enemies of The Hand.  Add to this the already established Yakuza enemies as well as Irish mafia and the reintroduction of an old drug dealing adversary and Matt Murdock certainly has his hands full.
While Murdock had to deal with a variety of criminal elements in the first season, they were all working for a common cause under the overall leadership of Wilson Fisk.  Each faction had their own leaders but all were unified under Fisk.  This created a more streamlined story and gave the show far more focus as to who the enemy were.
Having so many different elements to deal with this time around creates a lot of sub plots to keep track of.  Also the focus isn't solely on Matt Murdock but also Frank Castle and to a lesser extent Elektra.  That isn't forgetting the extra emphasis the storylines place on Nelson and Page who also have greater roles to play.
This certainly feels more like an episodic season as opposed to one where a main theme is playing out over the course of the show.  As each instalment ends you feel you are getting closer to a major resolution come the conclusion of the season.  Whereas here it does feel more like the writers came up with three or four different shorter stories that they could play out over a number of episodes before moving on to the next tale.
There are also plot points that don't seem to go anywhere or have much resolution.  I am sure that is because they will be cropping up in the future somewhere but it is very frustrating in relation to this season.  We literally have a gaping hole in one story which never gets mentioned again for the rest of the show and leaves you wondering what on earth that was all about!
It is to the detriment of the show as it does feel more disjointed and just as you find yourself immersed in what is unfolding it is either put on pause to be picked up later; or concludes and we are on to a new set up.  Now don't get me wrong, the actual storylines themselves are entertaining and the characters created are also interesting; it just would have been better if one theme had more emphasis placed on it which would have provided a bigger impact overall.
One of the huge strengths of season one was D'Onofrio as Wilson Fisk and this season is sorely lacking having a major villain for Daredevil to face off against.  His running battles with Castle and various thugs and ninja's are all well and good, but he doesn't really have one particular person to pit his wits against like he did with Fisk.
It is telling that Fisk's brief appearances are some of the biggest highlights.  I have already stated how enjoyable his exchange with Murdock is and it would have been so much better if an equally strong bad guy was present for Murdock to tussle with throughout the other episodes.
I did think we had already covered Foggy's disapproval of Matt Murdock's alter ego towards the close of the previous season.  I was obviously wrong as the same issues come to a head between the two of them again.  This time it is affecting their work to a greater extent and you do feel sympathy for Nelson but at the same time I couldn't help wondering haven't we done this already?
The attitude that Murdock displays aligns his sentiments a lot closer to Castle's than he would probably like.  It does paint him as a selfish person who is out to serve his own agenda and to hell with how that affects his friends and co-workers.  The characteristic is not something that makes him very appealing and you do find yourself siding against some of his actions.
Out of all the characters in the show I had a difficult time with Karen Page.  While I did enjoy the developing romance between her and Murdock, I did not enjoy her transition from a legal aide to become a researcher at the Bulletin because of the whim of the paper's editor.  This was just far too convenient for the sake of moving the story along.
I am pretty sure it takes a few years to get a degree in journalism and you can't just come along and get a job by flicking through some old back issues and stumbling across an interesting Lead.  I know anyone can type out a few words on a computer and claim to be a writer but it takes years of study to have the certificate to prove it (and before you say "those in glass houses" remember I'm an Inquisitor not a writer!).
With all the bureaucracy involved with being part of a union I am sure there would have been uproar in the offices of the New York Bulletin at Page's appointment!  But hey, this is a series based on a comic book and it does need to move the narrative along so maybe I am being too harsh.
Deborah Ann Woll does get on my nerves a little bit too so I could be a bit biased in my opinion of where they are taking her character.  I had trouble with her in True Blood and the same issues have carried over to her portrayal of Page.  I find she is often teetering on the brink of a meltdown and relies far too heavily on the same mannerisms as part of her acting.
Despite this seasons problems there is still a lot to enjoy and they have definitely laid the groundwork to take this show in some exciting new directions.  I only hope that Wilson Fisk is reintroduced sooner rather than later come season three.

Verdict:
Daredevil might not be quite as successful here in cleaning up the streets as he was last time around; but he is still performing his crime fighting duties.  Therefore I am willing to give him a chance to prove he can still be entrusted with this unenviable task and let him go free into the night.

Evidence:
https://en.wikipedia.org/wiki/Daredevil_(TV_series)
https://en.wikipedia.org/wiki/Daredevil_(season_2)
http://www.imdb.com/title/tt3322312/

Film: "Sherlock Holmes and the Voice of Terror"

The Witch Trial:
How well does Sherlock Holmes transition from early 1900's to the middle of WWII?

Who:
Director: John Rawlins
Starring: Basil Rathbone, Nigel Bruce, Evelyn Ankers, Mary Gordon, Dennis Hoey
What:
Mystery/Thriller
Why:
Adaptation of one of the Sherlock Holmes tales
When:
Released 1942
Where:
London during World War II

The Case For:
The Voice of Terror is the third entry of an incredible fourteen movie series starring Basil Rathbone as Holmes and Nigel Bruce as Dr. Watson.
The previous two entries were both productions for 20th Century Fox but they ran into problems negotiating with Sir Arthur Conan Doyle's estate and passed on making any further films.  Universal were only too happy to acquire the rights and, keeping the two stars on board, were responsible for the remaining twelve entries.
Whereas Fox had firmly set their films in the source materials era of the late 1800's and early 1900's, Universal chose to take a different path and bring Holmes and Watson right into the modern era of the time.  By way of explanation for this change at the beginning of each film we have a title sequence stating how Holmes is "ageless".  I can't help wondering if this statement triggered something in the thought process of both Mark Gatiss and Steven Moffat when it came to creating the hugely successful TV series Sherlock starring Benedict Cumberbatch and Martin Freeman.  This too brings Baker Street's most famous resident into the modern age.
By choosing to have events take place at the current point in history helped reduce costs for things like costumes and props.  Each production was therefore able to be made on much smaller budgets.  The films were also shorter; most just running slightly longer than an hour as they were released as 'B' movie pictures.
It is ironic that for their first foray into the Sherlock Holmes back catalogue that, chronologically at least; they should choose to do a loose adaptation of the last Holmes story "His Last Bow".  However the basis of the plot is completely appropriate for the setting.  Originally printed in 1917 it focusses on the machinations of a German spy trying to smuggle important information back to Germany at the outbreak of the First World War but is foiled by Holmes.
The Voice of Terror updates this premise to the Second World War and retains the German spy and also keeps the name Von Bock who proves to be the antagonist.  Instead of trying to escape with secret documents the clever twist here is that the 'Voice' is releasing radio broadcast propaganda from Germany designed to sow fear and dread in the British population and thus crushing their collective spirit.
What is incredible is that the producers used the actual events taking place at the time for the basis of the plot.  Coming out in 1942 this was smack bang in the middle of WWII.  But what is even more impressive is that Germany was actually making the type of radio programs depicted in this film with the exact intentions of scaring the Allies into submission.
Germany Calling was the true programme going out over the airwaves.  They started recording at the beginning of the conflict in 1939 and ran until 1945 when the British took control of Hamburg where the radio transmissions were broadcast from.  Lord Haw-Haw was the name given to the announcers; the nickname is rumoured to have come about due to the "Haw-Haw" laughter that could be heard at times throughout the airings.  I am sure this has had some influence on cinema bad guys ever since, especially those of Germanic origin, to indicate the moustache twirling sinister nature that inevitably gets depicted by movie villains.

Of course there is a certain element of propaganda on the Allies behalf by choosing to set the events in WWII.  Having the world's most famous detective foiling the Axis powers carefully laid out plans would have had wide appeal amongst the Allied nations.  No doubt the war office welcomed the Universal's interpretation as a welcome morale booster.  Likewise Universal would also look at it as a box office guarantee on their investment too.
I find it very inspiring when I consider the pressure and tension that must have been felt by everyone at the time this was being made.  How do you cope with making a film about a war when you have no idea how it will end?  Of course this isn't the only film made at the time to have WWII as part of the plot; Casablanca is probably the most famous example.  But I was impressed at the way they incorporated the Germany Calling broadcasts and tie it into The Last Bow story.  It really is a very clever adaptation or reimagining if you like.
Basil Rathbone was born to play Sherlock Holmes.  When I think of Holmes, Rathbone is the actor that comes to mind as I am sure he is with many other people.  He is in top form here and it isn't too far from the truth to say that in all fourteen appearances he hardly puts a foot wrong.
He is ably supported by Nigel Bruce who proved the perfect foil as Dr. Watson to Rathbone's Holmes.  Bruce has many detractors, which I will get too, but when kept in context to this series of films I find him quite enjoyable.  These are serious takes on the Holmes story and Watson provides the light relief.
One of the early Scream Queens from Hollywood, Evelyn Ankers, plays Kitty who has a prominent role throughout this film.  She is imperative to helping uncover the plot and in the apprehension of the spy.  Kitty's part is acknowledged by the men around her as well; her role is not just put aside as a minor aide to the more celebrated private detective.  Ankers portrays the heroine most admirably.  She gives a stirring speech when calling the patrons of a seedy bar to arms.  It is quite refreshing to see a film of such age having a strong female character and one who becomes very prominent once we are introduced to her character.
In what is a really tight running time, there is a lot crammed in for good effect.  We have murder, intrigue, a showdown, a daring escape and much more.  It is a credit to the writers that they manage to fit all this in and the action and intrigue keeps the film going at a cracking pace.  All the while Holmes is using his uncanny abilities to get to the bottom of who is behind this espionage plot.
The movie closes with a rousing monologue from Holmes taken directly from The Last Bow and is printed here:
    "Good old Watson! You are the one fixed point in a changing age. There's an
    east wind coming all the same, such a wind as never blew on England yet. It
    will be cold and bitter, Watson, and a good many of us may wither before its
    blast. But it's God's own wind none the less, and a cleaner, better, stronger
    land will lie in the sunshine when the storm has cleared."
Originally written in 1917 to refer to the approaching conclusion to The Great War; it has just as much, if not more, relevance to the conflict taking place at the time of filming.  America had entered the war at the end of 1941 coming to the aid of the embattled Allied forces.  Knowing that this went into production and was released in 1942 I can't help but feel the script writers knew how poignant this monologue would feel.  Again it demonstrates how appropriate the material was for the current times.  Hearing it and relating it back to these historic events, had a profound effect on my appreciation for this movie.

The Case Against:
A film that is over seventy years old is not going to appeal to everyone in this day and age.  I am sure there will be plenty put off watching it simply because it is a black & white production.  There are also certain sensibilities and mannerisms that were adhered to by a studio which are what make these movies from a bygone era appear far too tame for modern audiences.
It would be a shame if these are the sole reasons people would choose for not viewing something of this nature, but alas there would be many that do.  I admit I have a certain fondness for older films, not so many as old as this, but certainly ones created before I was even born.  Sherlock Holmes has always been a firm favourite of mine, both in print and the screen adaptations.  The Charlie Chan series that are of a similar age are also fondly remembered and I hope to cover one of those in a future article.
So setting aside any bias based on the age of the film, what else goes against enjoying this story?  Well not too much in my opinion.
As with any Sherlock Holmes tale you have to have a certain amount of suspension of belief.  Some of the deductions that Holmes comes too, based on the evidence he has at hand, often has you thinking how on earth you would arrive at that conclusion.  There is always something that will take place where you go "Oh come on!"
I touched upon people being critical of Nigel Bruce's portrayal of Watson.  Bruce did play him as a bit of a bumbling buffoon.  Often he comes across as confused by what is going on around him and would tend to mess up whenever Holmes was relying on him for some important task.  At least it would appear that Holmes would be relying on him; generally it was his intention for Watson to make a mess of things to help ensnare the culprit.
I think Bruce is a victim of circumstance.  As I stated he is a bit of comic relief and you couldn't have Holmes lightening the mood as it is not part of his personality.  It would have been nice to see Bruce play him as a straight character just once though, just to see how that would have played out.
Kitty infiltrates the spy ring far too easily for my liking.  It is needed to move the plot along but in all seriousness nothing of this nature would happen so quickly.  I felt it was a rather unconvincing way of moving the saga along to the next set piece.
Holmes is actually made a bit redundant when it boils down to solving the mystery and has to rely on others more than usual to get to the bottom of what is going on.  This does however make the story a bit more complex than your average Holmes tale.  As far as wanting to see Sherlock Holmes solving a mystery though and all the elementary deductions that come with it, this is not the perfect entry to provide that scenario.
The main thing that was annoying but required for where the story went was the German character Meade still managed to find access to a gun after his capture.  Why are the prisoners not searched and disarmed immediately by the armed forces apprehending them?  But it is an old cliché, especially from this era that a bad guy has to go down in a hail of bullets.

Verdict:
Even though the Nazi's deserve a flogging; this film certainly gets to go free.
Enjoy the full movie in the YouTube link below...

Evidence:
https://en.wikipedia.org/wiki/Sherlock_Holmes_(1939_film_series)
https://en.wikipedia.org/wiki/Sherlock_Holmes_and_the_Voice_of_Terror
http://www.imdb.com/title/tt0035318/
https://en.wikipedia.org/wiki/His_Last_Bow_(short_story)
https://en.wikipedia.org/wiki/Germany_Calling

Music: "25" by Adele

The Witch Trial:
It had been four years since the release of the much hyped, much loved second album from Adele "21".  Has she come back in a big way or is this going to start to see the decline in the chanteuse's career...

Who:
Adele
What:
Easy Listening/Pop
Why:
Album number three
When:
Released November 2015
Where:
English singer/songwriter

For (and Against) The Record: 25
Length: 48:25
  "Hello"
This is a great first single that takes a little while to grab your attention but once it has its hooks in you; you will find yourself singing along in no time.  It doesn't surprise me that they chose to open the record with this one.
  "Send My Love"
I get a Caribbean feel from the upbeat tune going on in the background of this track.  It is typical to have the second song get the album going with a bit of a party atmosphere and this one does that to good effect.
  "I Miss You"
This song reminds me the most of "Set Fire To The Rain" from "21".  It's an enjoyable tune that has single potential although the length does not adhere well to commercial radio.
  "When We Were Young"
After the previous two songs upping the tempo this tune brings the pace down a bit.  It does have a catchy chorus that will have friends reminiscing of old times.
  "Remedy"
Features a stripped back piano melody and feels more like Adele getting back to her roots.
  "Water Under The Bridge"
Has a nice backbeat and is one of the songs that grab you from the start.  I will be really surprised if this isn't released as a single.
  "River Lea"
Has a sing a long chorus to draw you in but it grates after a while with the vocal warbling between the words River and Lea.  Still not a terrible song though.
  "Love In The Dark"
This is another of the slower tunes with piano prominent throughout.  Not a standout but again Adele manages to put enough in for you to appreciate it.
  "Million Years Ago"
I got a very sombre feel from this song.  I do like the acoustic guitar; it offers a hint of flamenco.  It makes a nice change to the piano.
  "All I Ask"
This is the one song that is tonally all over the place.  it is another piano song that seems to be here to show off Adele's vocal range.  It is probably the tune I dislike the most as it goes high and low too much.
  "Sweetest Devotion"
Here we have a much more upbeat track to finish things off.  It has a toe-tapping tempo.  The chorus features some really dodgy rhyming; "what rhymes with Devotion" definitely came up during the writing process.

There is definitely more to like than dislike with this release.  I for one would much rather see a musician take their time to produce material of quality and variety.
Most artists do not have the luxury of time when recording, as pressure from their label comes into play.  They are after all in the business to make money and will therefore remind artists of their contractual obligations.  The end result of this generally means a musician releasing material that they haven't been able to put as much love and care into as they often would like.
Although in saying that there are musicians that will just procrastinate over their work too much because they have disappeared so far up their own arse thinking that what they are recording is going to be the next White Album.
Adele is in the fortunate position to have reached a point in her career where she is able to dictate back to her record label and be afforded the time she feels is necessary before releasing new material.  Knowing that they are probably onto a winner; the record company can also afford to allow her to extend her deadlines.
Having freely admitted to suffering from writers block when it came to writing this work also bought her more time to record and refine these tunes.  On top of that Adele had to deal with things in her personal life such as having a baby and handling the spotlight thrust upon her due to the overwhelming success of the previous album: "21".
The writer's block between records two and three looks to have helped give Adele the time to expand her horizons.  The subject matter covers different themes other than love and relationship break ups which were most prevalent on the previous two releases.  There are songs covering those topics here, but we also have lyrics about fame and family as well as growing up too.

25 gives Adele the chance to again show off her impressive voice.  We are provided with a variety of styles over the course of the record which highlight those vocal talents.

It starts with a terrific first single to open the album.  Then it has a couple of more standard dance songs to follow before exploring newer territory of themes and musical influences.  It finishes off the way it opens with a song that sticks in your mind leaving you wanting a bit more.
All up "25" is a well-rounded and competent album without as many hit singles jumping out at you like there was on 21.  Which isn't a criticism as overall the content and variation makes this an enjoyable listen and compliments her previous output.
Whilst this isn't breaking down new walls all the time it does try some new avenues which is refreshing.  I hate it when an artist looks to go in a completely different direction which often alienates the people who appreciated the musicians' earlier work.  I do like them trying to expand their repertoire though and for me this album does just that.

Verdict:
Adele won't be sentenced to 25 to life for this effort and hopefully we can look forward to something around say 28?

Evidence:
https://en.wikipedia.org/wiki/25_(Adele_album)
http://adele.com/

Poster Pride & Prejudice: case study THE LORD OF THE RINGS

Where we look at one Scorching piece of artwork that generates excitement for what it is advertising. 

Then on the flipside we also have a Torturous piece that makes you wonder how it ever got approval to promote the product...

Over the years The Lord of The Rings by  J.R.R. Tolkien have had many, many reissues; so many in fact that there is a website dedicated to all of Tolkien's books which you can find here.
With so many editions to choose from, where do we start...

The Scorcher

I couldn't help myself, I had to go with the book covers that introduced me to Middle Earth.

This print run came out in 1991.  These were the reissues whose artwork got me hooked.
The Fellowship of the Ring picturing Gandalf and Frodo traipsing through what is undoubtedly fantasy territory sold me straight away.  Then we have the Witch King of Angmar astride his Fellbeast flying towards Minas Morgul adorning the cover of The Two Towers.  Finally there are the defenders standing guard along the walls of Minas Tirith for The Return of the King.  Each cover has artwork that evokes the atmosphere of Middle Earth.
Of course I had no idea that these pictures were depicting characters and places that appear in the stories until after reading the books.  This only increased my appreciation for them upon completion.  The three are all linked together by the simple gold runic bands at the top and bottom of each novel making it a nice little collection when aligned together on a bookshelf.

The Torture

This series that came out some time during the 1980's definitely would not have grabbed my attention in the same way.
How very generic are these illustrations; they could be for any number of fantasy adventure stories.
Why is Gandalf already wearing the white on the first cover?  Dwarf and Elf share a scene on the cover of Two Towers, but you could easily mistake Legolas for a human with that mullet haircut!
And that crown and gown on Aragorn makes him look more like some Christian crusader type for Return of the King.  Very dodgy covers if you ask me.
Alternatively I could have plumped for any of the boring Ring editions that were issued in the 2000's but the ones above are far easier to poke fun at!

Television: Making A Murderer

The Witch Trial:
Making a Murderer caused quite a stir when it was released on Netflix back in December.  Now that the furore has calmed a little let's take a look and see whether it is worth your attention or not.

***THIS WITCH TRIAL WILL CONTAIN SPOILERS BELOW***

Who:
Directed by Laura Ricciardi & Moira Demos
What:
Documentary detailing the arrest and trial of Steven Avery and Brendan Dassey for the murder of Teresa Halbach
Why:
To present the conflicting evidence both for and against the accused
When:
We start in 2003 with Steven Avery's release from prison after being exonerated of sexual assault and subsequent arrest in 2005 for murder
Where:
America in Manitowoc County

The Case For:
Before we begin this trial I would like to point out that this is not going to be a discussion on whether or not Steven Avery and Brendan Dassey are innocent or guilty of the charges brought against them.  Both have been found guilty in a court of law and are currently serving the sentences meted out to them.
As a viewer of this show we are only shown a small portion of the 200 plus hours of evidence presented at the actual trials.  Sure we are all entitled to our own opinions on whether we believe them to be guilty or not, but here I am mainly interested in whether the actual documentary is worthy of being set free or if I feel it should be sent to the gallows.
With that out of the way let's focus on what the subject matter is all about.  Making a Murderer tells the true story of Steven Avery's wrongful conviction for the sexual assault of Penny Beerntsen back in 1985.  After serving a staggering 18 years imprisonment for this crime, he is finally exonerated in 2003 after DNA evidence clears his name.
After bringing a $36 million dollar lawsuit against the Manitowoc County for his wrongful conviction, he is then accused and arrested for the murder of Teresa Halbach in 2005 along with his nephew Brendan Dassey.  We then follow closely the events of the subsequent trial for this murder and are presented with evidence that shows enough reasonable doubt that you are left guessing which way the jury will go when deciding if the accused are guilty or not guilty.
The opening episode details Avery's origins and his first conviction for sexual assault and the battle to clear his name.  It is quite shocking, once you are presented with the evidence here that a person can wallow in prison for such a long period of time when there is so much to suggest that he was innocent of the crime.  Straight away the filmmakers have created an atmosphere of anger towards the authorities for such a miscarriage of justice.
This is definitely a powerful episode as it presents a person who definitely wasn't the most wholesome character going around.  For having a bit of an unsavoury reputation it seems Avery was prejudged without a proper investigation into other possible offenders ever taking place.  The episode then ends with the cliff-hanger that worse is to come for Avery just after he finally gains his freedom.
We then, in the next instalment, are given a bit of background about Steven Avery's lawsuit that he brings against the Manitowoc County for his imprisonment.  I got the impression at this point that Avery was feeling quite cocky in himself; possibly due to the advice he was getting from his lawyers, that he should be compensated for his lost years.  There is an element at play where I felt he appeared to be bullet proof; he has all this media attention around him and lawyers saying to get what you can.
Before the lawsuit gets off the ground though we are hit with the sucker punch that Teresa Halbach has gone missing after visiting the Avery family property and that Steven Avery is the prime suspect.  One thing is for sure, the directors sure know how to end each episode leaving you wanting more.
Over the next eight remaining episodes we then see Steven Avery arrested and put on trial along with his nephew Brendan Dassey for the murder of Teresa Halbach.  Throughout the whole series we are introduced to various family members and lawyers of both defendants as they plead their case.  There are many interviews and phone conversations where we hear the views as to why each person believes in the defendants innocence.
We are definitely presented with an interesting and intriguing courtroom drama where evidence is presented and then theories shot down leaving you guessing throughout as to what the final verdict will be.  This is a real life Law & Order episode where the people on trial are actually fighting to stay out of prison and it can be fascinating viewing.
There is intrigue aplenty as you see the incompetence of the way the case was put together and the handling of the investigation.  Is Dassey colluded into giving false testimony?  Did the cops plant evidence to guarantee a conviction?  Is it all a conspiracy to avoid a lawsuit that would cost the county millions?  These are all questions left for the jury and the viewer to decide.
There are definitely some interesting characters introduced throughout.  Not least is Steven Avery himself who definitely has your sympathy in the beginning episode, whether you hold that same opinion by the end of the series depends on what your final thoughts are regarding what has been presented to you throughout.
Ken Kratz the lawyer for the prosecution most certainly has his moments.  Personally I found him a little creepy.  I also felt he bundled a few things where he should have handled them a lot better.  One example of which is where he contradicts a media interview he gave suggesting how Halbach was murdered in Avery's trailer.  Then during the trial this version of events is altered to suit the prosecution.
At the conclusion of Avery's trial Ken Kratz then moves onto prosecuting Dassey and reverts back to the prosecutions original thoughts on how Halbach's murder was carried out because that will help their cause in getting a guilty verdict against Dassey!  I was amazed at the flip flopping and how evidence that has been clearly shown to be flawed in one case can then be viewed as correct in another.
Brendan Dassey is definitely someone I felt sorry for.  He is clearly a mentally challenged individual who just doesn't seem to know the ramifications of what is going on around him.  He is then lumped with possibly the worst court appointed lawyer he could get in the form of Len Kachinksy.
I know this is someone's freedom we are talking about here and I am a bit ashamed to admit it, but Len Kachinsky provided me with a few chuckles.  He looks like a deer caught in the headlights when confronted by the media and seems so far out of his depth with everything taking place.  I could not help but think of Ned Flanders every time I saw him on screen.  I kept expecting him to say "Gee golly" with a big goofy grin every time he spoke.
I am positive the filmmakers got wind of this story and after a bit of investigating and a few interviews later could not believe their luck at finding such a nugget of journalistic gold.  This show is quite literally one of those times where the saying "You have to see it to believe it" is totally appropriate.  You would be hard pressed to find a comparable true story with as many twists and turns as this one.
It is no wonder the show has caused so much debate amongst viewers with the way the evidence is presented to us.  To show how widespread the opinion is that justice was not served a petition was presented to the White House requesting pardons for both Steven Avery and Brendan Dassey.  Both men are still professing their innocence and trying to have their convictions overturned.
I was left to question after the conclusion of the final episode whether I thought this show was worthy viewing; or had my emotions just been manipulated by two clever directors into feeling sympathy for two guilty murderers.  I guess that is probably exactly what they set out to do when creating this show.

The Case Against:
I was so conflicted by the end of the tenth episode as to where my opinion lay.  I definitely felt the directors had tried their upmost to shape my thoughts towards a not guilty verdict.  This is helped immensely due to this not being a totally unbiased series to view.  Most documentaries of this nature will provide you with both sides of the coin.  Not so much this one.
After reading up on the case on the internet and finding out about some evidence that the directors chose to ignore showing; I was more convinced I was correct about their intentions.  A lot has come to light in the wake of this airing that points to evidence of the defendant's guilt.  These items were completely ignored during the course of the shows running time.  The only reason to ignore facts that point to a guilty verdict is because you want viewers to consider someone innocent.
There are next to no interviews with the victim's family or lawyers; their side of the story is mainly told through media interviews or courtroom footage.  The main reason for this is that the filmmakers are telling Steven Avery's story so we are looking at it from his perspective.  Of course this doesn't provide us with a neutral opinion at all as the majority of the time we are being fed information that is supposed to convince us that Avery is not guilty.
This is a show designed to show support for Steven Avery and to a much lesser extent Brendan Dassey.  You can't ignore the fact that Avery spent so much of his life wrongfully imprisoned and not think that there is a great story in there as a filmmaker.  He is then accused of another crime and the film crew are given an unbelievable amount of access to family members and lawyers to film a documentary whilst that trial is taking place.  The end product is bound to come out looking more in favour of the defendant than the prosecution.
I mentioned feeling sorry for Brendan Dassey due to his mental state but there were other factors too.  His grandparents feature prominently throughout and are adamant in their defence of their son but very little focus is placed on their feelings towards Dassey.  I am sure they would be equally convinced of his innocence but the filmmakers chose to show very little of them discussing Dassey.  It worked against them as my opinion of both Allan Avery and Dolores Avery suffered because of their lack of empathy towards their grandson's plight.
He also has a mother who doesn't seem to know what the best way of helping her son is either.  Barb Dassey, much like most of the family, appears to have a low education level and adheres to the common view of exactly what trailer trash looks like.  So many members of the Avery/Dassey family are unsympathetic characters that it was very hard for me to feel sorry for what they were going through.
I did touch upon how I thought Avery liked the limelight and attention afforded to him once he got out of prison for his wrongful incarceration for sexual assault.  The way I felt he played up to the celebrity status that he accrued really did not paint him in the best light to me.  Again I do think he is a rather uneducated person and to have all this focus on him probably was quite daunting and I might be seeing it in a completely different way than others.  But I definitely thought he enjoyed having a camera pointed at him.
My feelings would have probably been different if we were able to see more of the initial wrongful imprisonment.  Back in 1985 there must not have been the same access in courtrooms filming a case as it occurred, otherwise we would have seen more of what went on.  Only dedicating the first episode and about half of the second to this chapter of the story I felt was a misstep.
Focussing the remaining eight episodes on the trials then meant dragging the story out to longer than what is probably necessary.  The original plan to show it all in a total of eight episodes would have tightened up the production and helped cut out some of the pointless parts that were included.
For example Allan Avery takes us at one point through his vegetable garden!  I'm sorry, but what exactly does that have to do with the subject matter?  Okay so he is preparing this in the hope Steven Avery can use it if he is set free but come on, do we really need to know that there are some nice lettuce and tomatoes growing in anticipation of a release date.
There were a lot of these types of scenes that just didn't need to be there.  We get it, the family are devastated that their son has been accused of a crime that they feel yet again he is innocent of.  But we don't need an interview every five minutes repeating the same lines over and over again.  Likewise we don't need to be driven along roads with a bit of background music or have a camera sweeping through the Avery property showing us lounge rooms or the car yard just to make up time.
The biggest error on display here though is the complete lack of sorrow expressed throughout this series for the actual victims regardless of guilt.  Both Penny Beerntsen (in the brief time her case is discussed) and to a far more serious level Teresa Halbach are virtually ignored as people and really are treated as secondary characters to the real horror story going on.  I am sorry but a victim of sexual assault and another who is brutally murdered deserve far more sympathy and time spent on them than what is provided here.
The filmmakers should have exhibited some sorrow for the actual victims of the crimes committed through the footage we see.  Instead the directors contrive to move our compassion over to the people who stand accused of these atrocities.  Even now I still can't decide who I dislike more, the filmmakers for twisting my emotions this way; the Avery/Dassey family for trying to trick us into believing they are not guilty or the Manitowoc County for framing two innocent people if that be the case.
I guess without viewing all 200 plus hours of trial footage and reading the reams of courtroom transcripts we will never be in a position to pass judgement.  That decision was left up to twelve jury members in each case and they have already provided their answer.

Verdict:
Making a Murderer has its merits but I can't help calling deceiver on this one due to the direction the filmmakers chose to pursue in telling this tale.  It needs to spend some time in the stockade, until further evidence is forthcoming to clear its name...

Evidence:
https://en.wikipedia.org/wiki/Making_a_Murderer
http://www.imdb.com/title/tt5189670/

Film: "Sisters"

The Witch Trial:
One final big party for the two sisters of the title before their family home is sold.  Do you feel like partying on with them while watching their shenanigans though?

Who:
Director: Jason Moore
Starring: Tina Fey, Amy Poehler, Dianne Wiest, James Brolin, John Leguizamo
What:
Comedy
Why:
To reunite two of SNL's most popular comedians for their second movie outing.
When:
Released 2015
Where:
Some part of middle class America (specifically Orlando)

The Case For:
Both Tina Fey & Amy Poehler have had much success on the small screen.  Firstly with Saturday Night Live and then with their own individual shows 30 Rock and Parks & Recreation respectively.
Their first foray onto the big screen as headliners of their own film Baby Mama was a moderate success both commercially and critically in 2008.
Since then 30 Rock went from strength to strength and Parks & Recreation came into being and also garnered a loyal following.  Both leading ladies are close friends away from the limelight so it comes as no surprise that they would want to try giving another movie together a go.
Sisters is the story of two siblings whose family home where they grew up is being sold by their parents who are downgrading now they are retired.  Neither daughter is happy about this so they decide to throw the mother of all parties instead of clearing out the accumulated junk that most parents still have hanging around long after their offspring have left the nest.
So they get together all the old acquaintances from the neighbourhood for this one last shindig before the new owners take up residence.  Hilarity then ensues, or at least that was the idea.
To be fair both Fey & Poehler are decent in their performances and they bounce off one another well.  Neither one can really go wrong when the material they have to work with isn't really stretching anyone's acting abilities.  Some of the supporting characters are also quite reasonable too.  Dianne Wiest and James Brolin cash easy cheques as the put upon parents, again not being overly challenged by the roles they have been given.
In other minor parts are John Leguizamo and John Cena who play the unsavoury characters that have the illicit substances that will help kick start the party.  They do okay with the stereotypes that have been dealt to them.
The one scene that did raise a chuckle was when the siblings were trying on clothes for their party and the indifference shown from the sales clerk.  You have these two thirty something ladies choosing frocks aimed at people of a far younger generation and it becomes obvious they don't know exactly how to where the dresses chosen.  That was slightly amusing.
So that just about sums up what I found enjoyable in this film, i.e. not much.

The Case Against:
I have watched both of these comedians in their respective TV shows and while 30 Rock I thought was reasonable, Parks & Recreation I quite enjoyed.  I have never been a fan of Saturday Night Live, I might occasionally find something amusing but overall I find the show to be vastly overrated.  So my hopes for this film weren't high to begin with and I was looking forward to being pleasantly surprised.  Having recently seen Vacation and expecting that to be a complete travesty; but finding more laughs than expected I was hoping for similar here.
Oh how wrong could I be?
Paula Pell is a longstanding writer for Saturday Night Live and she is responsible for this sorry mess of a script.  It feels like a sketch; or series of sketches dragged out to a two hour plus running time.  How is this premise a 120 minutes plus, at best it should be a 90 minute fun ride.  There seems to be a fair chunk of adlibbing thrown into the mix; particularly when the SNL alumni are bouncing off one another but none of it seems to hit home.  Scenes appear to have had an outline and then the actors told to run with it and see what comedy they can mine from the situation.
In recent times Hollywood studios have been churning out comedies with gross out humour thanks in large to the success of films like Bridesmaids.  Sisters tries for similar themes of toilet humour too and again misses the mark completely.  Having a guy with a music box stuck up his rectum is not comedy gold.  In the same way that Family Guy will milk a joke for all its worth, this scene is stretched out to a cringe worthy length to allow you the time to finally give in and chuckle at the person's misfortune.
Give the audience some credit, if a situation is funny people will get the joke right away, there is no point in lingering any longer than necessary to try and force a viewer into finding something amusing.  This is one example from many occasions where this film tries to win laughs from scenes that go on for far too long when they should be focussing on trying to hit you with another joke.  If one misses then don't worry the next laugh should be coming up straight away.
Whilst Fey & Poehler are fine with what they have, their actual characters aren't sympathetic at all.  At no point was I sat there hoping things worked out for them.  They are completely self-infatuated with hardly any reason to root for them at all.  They are women-child's who have grown up being spoilt and who have failed at fending for themselves.  It is a point reiterated with Fey being a single mother who can't hold down a job or a place of residence.  In addition there is the mention on more than one occasion that Poehler is recently divorced, so why is there so much focus on her having sex and it is done in a way that suggests she is still a virgin?
They are stereotypes in the worse possible way because by the end of the movie they may have their moment of redemption but really they haven't grown at all.  That point fully hits home with the final scene of them synchronised dancing at their parents new home; still kids at heart but now with a bit more responsibility.
And the stereotypes, my God this film is chock-full of them.  We have John Leguizamo as the Hispanic petty criminal and John Cena as the tattooed drug dealing thug.  As already mentioned they are both okay in their portrayals but typecast due to ethnicity or physique.
There are half a dozen Asian girls who of course speak in broken English but look hot as hell, because isn't that what every Asian girl looks like in film?  According to Sisters it is.  This then leads to the obligatory racist scene where one of the sisters has trouble understanding one of the Asian girls, which in turn leads to even more racist comments due to the misinterpretation.  How often does this scenario play out for laughs in movies?  Surely we are at a stage in our evolution that using a person's heritage or colour for amusement should be way down the list of cheap jokes.
We also get the nerdy looking couple who reveal that they have a kinky sex life because all nerds do.  Maya Rudolph plays the nemesis from high school of Tina Fey's character (I can't even remember the names of who each person was playing they are that forgettable).  Rudolph of course has hardly any friends and has to be portrayed as a loser, whose focus has gone into looking successful but is still traumatised because she was never invited to the sister's parties.
Boohoo for her, but wait of course she is in luck because lo and behold what is the main premise of the film but a party that Rudolph will crash and lay all her pent up frustrations on the table.  By this stage though she is as repulsive as the two sisters so who cares how much counselling she needed and whether they will become friends again by the end (spoiler: of course they will).
There is the (good looking?) neighbour who is destined to become the love interest of one of the siblings in the form of Ike Barinholtz.  He is your typical good old, clean cut American boy next door type who only wants to do what is right.  If that means plastering up some holes that you created when falling through the ceiling IN THE MIDDLE OF THE PARTY then so be it.  Who on earth would actually do that?  But it shows us what a good guy he is and why Poehler should snap him up so hoorah!
Finally we have Bobby Moynihan as the overweight acquaintance that nobody liked when they were younger and nobody likes now because everyone hates the fat kid right.  He is the person who always tries too hard to get everyone to be his friend but fails miserably.  I wanted to punch this guy in the face and if that was a proper party and he behaved like that then someone would have!
Another example of a scene being dragged out for far more than what it was worth was Moynihan doing Scarface for a game of charades.  I was praying someone would introduce him to their little friend.  It has been a long time since I have been angered by a character in a film as much as I was by this one.  If that was the point of having him there then mission accomplished.
We can't have a middle class party happen either without resorting to illegal drug consumption from some of the partygoers.  Moynihan has to also mistake some of the drugs for an innocent substance and inhale enough to make him even crazier with a capital "C" than what he was to begin with.  It is baffling that drug taking is shown so often as being part of having a good time without considering the consequences of this cliché.  It frustrates me no end that the ramifications of what they are portraying for a wider public viewing won't have an influence on early adolescent behaviour.  Maybe I am expecting too much of a moral compass from a film which features anal penetration from a music box.
By the time the party winds down our leading ladies have had the formulaic disagreement and fight, so we have to see them kiss and make up too.  There must have been some sort of rite of passage that they went through to get to this stage in their relationship of understanding and compassion.  If there was I missed it due to not giving a damn what happened to them by the time we reached this end point.
Last but not least I always like a film having a blooper reel playing over the credits.  Quite often these little vignettes can provide more laughs than the scenes that ended up in the movie.  Sadly that isn't the case here as these bloopers don't have enough going for them to raise a smile.

Verdict:
I think these two sisters deserve to hang in a Gibbet for the next seven years.  Hopefully within that time they can come up with something that doesn't follow so many bad conventions or can at least raise a few chuckles.
I don't hold out much hope though!

Evidence:
https://en.wikipedia.org/wiki/Sisters_(2015_film)
http://www.imdb.com/title/tt1850457/

Book: "Big Damn Sin City" by Frank Miller

The Witch Trial:
The original Sin City run commenced publishing in 1991.  How well does this ground breaking graphic novel stand up today in this omnibus edition?

Who:
Written and illustrated by Frank Miller, with further illustrations from Lynn Varley
What:
Graphic Novel
Why:
It's the collected seven volumes of the original Sin City graphic novels
When:
Released in 2014
Where:
Set in the fictional town of Basin City from which we derive the nickname that forms the book title

The Case For:
The seven volumes that make up Big Damn Sin City are in order: The Hard Goodbye, A Dame to Kill For, The Big Fat Kill, That Yellow Bastard, Family Values, Booze, Broads & Bullets and finally Hell and Back.
This book is HUGE.  I can't emphasise that enough, not just in scope but in dimensions too (9 x 14.3 x 3.6 inches to be precise).  The binding is of a high quality as is the paper used for the pages.  It is typical of Dark Horse comics to produce such excellent work for this type of compendium.
For those not familiar with the events that appear in Sin City it is a group of individual stories that are told in a film noir style.  Each of the stories gets linked together with main characters from one story providing background or supporting characters in another.
Time lines overlap and when something happens in one yarn it also has effects in another.  It is a really intricately and interestingly weaved tale.  You think you are reading about an isolated storyline only for something to happen in the background that relates to one of the other six episodes.
The film noir style is accentuated by the artwork used.  Everything is done in black and white with very few exceptions, That Yellow Bastard being one of them.  Colour is used extremely sparingly throughout the series.  When it does appear it is used to dazzling effect, whether it is a splash of red lipstick or a pair of blue eyes; it really does bring your attention right into the drawings and fully compliments the art.
Sin City doesn't need the colour though for the amazing artwork on display to pop out at you.  The crispness of this paper only helps make the black and white jump off the page throughout the book.  It is incredible how just two colours can be used to such creative effects.  The brightness and contrast used helps increase the pleasure taken from admiring what you are viewing.  Shadow and light play such an important part here and they are both used stunningly.
It isn't much of a surprise that these light sources are in use when comparing it with the film noir inspiration, as it is one of the common traits of the genre.  What is surprising is how well it translates in still frames on paper.

The vast majority of all the stories are dialogue free, using only thought bubbles as the main character narrates the story unfolding.  This too is another convention often used in film noir to tell the story and is particularly effective in Sin City.  Thought bubbles are nothing new for comic strips so it shouldn't come as any surprise how well it works for these volumes.
Some of the art cells that make up some of these tales utilise a full page for maximum impact.  Due to the large format of this book it really helps bring the scene to life.  You find yourself scanning the whole page to really take in the scene being depicted.
For a graphic novel set in a fictional city with over the top situations it is surprising how relatable some of these characters can be and the situations they find themselves in.  Of course no one is going to run into a cannibalistic sadist; but finding a corrupt priest or politician is definitely not unheard of.  Who hasn't come across a person like Marv that you know can be an okay guy but if you say one thing wrong to him, he will flip out and probably cause you bodily harm!
Not everything is so simplistic but I do find myself reading these stories and thinking that some of it could be a lot closer to the truth than we would wish.  It isn't such a hard stretch to imagine similar scenario's playing out in the seedy underbelly of the crime world.  This is especially true of the things that occur in Old Town; it isn't so far-fetched to imagine that a person enters a certain area and is never heard from again.
Getting into the stories themselves, there are some that really standout for me and others that I wasn't as enthused about.  That isn't to say I dislike any particular volume.  On the contrary there is something I admire in each one just that I prefer some to others.  In most cases the ones I particularly enjoy relates to the main protagonist whose story arc the yarn is following.

I love Marv, which I don't think comes as a big surprise as he does seem to be top of many people's lists.  So it should also come as no surprise that The Hard Goodbye is one of my favourite tales.  Marv is obviously a guy with serious mental issues.  I love the fact that he is so relentless and all that matters to him is completing what he sets out to do.
I wonder if Frank Miller had Jessica Rabbit in mind when he initially came up with the idea for Ava Lord.  They both share many similarities with lots of other femme fatale's from the film noir genre.  But it is in the style they are both illustrated that I draw the comparison.  Never before have pencilled characters been as steaming hot as these two ladies!
I find Ava's seduction of Mort during A Dame to Kill For to be the best twist to this particular tale.  It also showcases her talents for getting men to follow her every whim and prove the title is well warranted.
Deadly Little Miho.  How cool is she?  It is fantastic to see one of the more frightening individuals portrayed being female.  Sure we have Marv, Dwight, Wallace and Manute bringing the brawn; but when it comes down to the finesse in the art of being deadly only Delia comes close to matching Miho.
You can certainly tell that Frank Miller must have enjoyed writing Miho's character due to the number of appearances she makes in other yarns.  It would not be beyond the realms of possibility to have other Old Town residents replace her in some of the other stories so there is an obvious affection from the author.  My personal favourite appearance has to be Family Values.  How can you not love a roller skating assassin?
Hell and Back is another story that I particularly enjoyed.  Wallace is such a badass.  At first you aren't quite sure what he is all about but he quickly turns out to be a guy that no one should mess with.  It is also the perfect way to end the series on an uplifting note proving that you can leave the city of sin and have hope for the future.

The Case Against:
Where does the book fall down though?  Well in such a massive collection the stories can get a little bit repetitive; especially if, like me, you binge read the whole lot in one go.  If you were to put this down after reading one volume and went on to something else before coming back for the next episode, then I think the repetitiveness would not be so obvious.
As it stands it is only a minor niggle and one to be expected really when trolling through such a large text there are bound to be parts which feel like they have already been seen or done already.  The fact that everything is black and white certainly adds to this feeling too.
Likewise with the storylines; some characters also seem to have many similarities when viewed together as a whole.  The film noir style narration definitely contributes a great deal to this thought as well.  When each of the main characters from each episode is narrating the story as it goes, then it is an unavoidable trait.  Of course it is also a trait that you have to expect from this style of writing so it shouldn't come as much of a surprise when considered this way.
Sin City is a very bleak setting which can feel very oppressive.  These are not uplifting tales in the main; no one here is chasing sunshine and rainbows.  This is a story of the sordid side of life and it does it very well, so no one should read this expecting the hero to live all the time.  I hate to keep harping on about it, but again it follows film noir's common themes where betrayal and death are prevalent.  We do end on a positive note however and that is not to be dismissed, but overall these tales do have a dark tone.
Speaking of dark tones we segue nicely into the actual artwork.  Now I don't have a problem with the two tones used throughout and have already stated how it is used to excellent effect.  There are a few cells however, where it can be hard to distinguish exactly what you are looking at due to the use of only black and white.
I must stress this is not a common occurrence throughout the book but you might find yourself staring at one scene for some time before finally working out what exactly is being depicted.  You also might consider it a blessing that you get to admire the craft that has gone into each frame whilst deciphering the shadows at work.  For me it was a minor annoyance and when you look at how many frames makes up the whole story I really am nit-picking.
The one final gripe about the content of the book is the lack of the single issue covers from each story.  I can appreciate that the inclusion of these during the main body of the book would have detracted from the overall flow.  But it would have been special to have these included in the end appendices.
Now as has been mentioned a couple of times this book is BIG.  This book is so big in fact that it is rather cumbersome to read.  It does weigh a considerable amount and resting it in your lap while reading can be rather uncomfortable.  Don't let that dissuade you from considering purchasing this however as it is still an excellent book, just not the most practical size.

Verdict:
Overall Big Damn Sin City is a terrific addition to anyone's library.
We cannot condone the actions of some of the criminals and miscreants that appear in this tome being members of the inquisition and all.  Owning this grimoire however, will definitely not get you burnt at the stake but may leave you spellbound by the beautiful artwork held within its pages.

Evidence:
https://en.wikipedia.org/wiki/Sin_City