Everyone knows that Wednesday is new comic book day. While picking up your new issues consider looking at some of the trade paperbacks and hard covers of past issues and story lines. But which ones should you choose?

That’s why every Tuesday, The Flickcast will recommend a collection of comics that are just as good, if not better, than the issues you are currently buying. Books that deserve to be read, and bought the next time you walk into your local comic book store.

Preacher is The Godfather of comics. Its brazen, over-bearing, and loud tone leave a distinct aftertaste when you finish reading. The characters are mean and hateful. The locations are gritty and gross. Preacher is the sum total of all the dark corners of America combined into a tale of the problems of religion. It is a series that is not for everyone, and will turn some people off of comics forever. However, if someone asked me what my favorite comic book series of all time was, I would be hard pressed to not choose Preacher.

Preacher was a mature and violent comic book series published by Vertigo in 1995. It lasted sixty-six issues as the main characters blasted and hunted their way through America on their quest to find God. Oh, by the way, their quest was not metaphorical; it was literal.

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W.E. is the last of our Golden Globe nominated scores, perfect timing as the show airs this Sunday, and by far the most unexpected. In fact before this nomination I didn’t even know this movie existed. The film is actually directed by Madonna, which is interesting but not all together important for a review of it’s score.

The composer is Abel Korzeniowski and I can see why his excellent work was recognized by the Hollywood Foreign Press. The score is very well put together with an emphasis on large, sweeping strings in a few very choice places. Listening to the music gives me the sense that it probably dominates much of the movie. While I appreciate that sort of heavy handed musical touch, I can also see where it might have played a role in the films less than stellar critical reception.

I am happy to see it nominated though, as there has been a recent trend of nominating more subtle and subdued scores in the last few years. This is far from it, and it plays very nicely to my personal film musical tastes. Strong string work always has a tendency to grip me, and this score delivers that in spades.

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2011 might go down as the year Hollywood finally figured out how to make a great prequel. Between the “X-cellent” X-Men: First Class and Rise of the Planet of the Apes we have seen two high profile franchises recieve a much needed quality boost back into the lime light.

The most impressive part of this movie is the performance of Andy Serkis as Caesar the ape. Millions of words have been written on the subject of his brilliant digital performance, and every single one of them speaks the truth. We are seeing the line between animation and performance blends so much that it is almost impossible to tell the difference.

This Blu-Ray presents the film, and a whole bunch of features that help you understand what exactly went into the astonishing effects work on the film. Of all the films that have come out in the last few years, this is one of the most worthy of a great set of features.

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Superman’s origin story is one of the most well-known stories in pop culture. Almost everyone on the street knows the basic details of his beginning. Dying planet, desperate scientists, loving farm couple, leads one to become Superman. The story has been re-told so many times, that many people prefer just to skip it.

Action Comics #5 is the DC New 52 version of his origin story, and it has all the familiar elements. Jor-El, Martha and Jonathan Kent, and even the Legion of Superheroes all make an appearance.

The exception of this re-telling is that it was written by Grant Morrison and complimented with dynamic art by Andy Kubert. This re-telling is anything, but stale. Action Comics #5 turns everything old new again by making Superman’s origin exciting, epic, and engaging.

When re-telling an old story, one can add a new element to it by simply switching the perspective of who tells the story, which is exactly what Morrison does. We get to see the origin through the eyes of a character that has never been voiced before in any version of the Superman mythos. We get to see the Superman origin through the perspective of his ship, the one that flew him to Earth.

In Morrison’s origin, Superman’s ship has A.I., and it generally cares for the young Kal-El. Its dialogue comes off as alien and machine like, but through the small paragraphs of prose, the ship expresses its duty to carry out its mission. It’s this fresh element that truly makes Krypton for the first time ever truly alien, and not just an Earth-like copy.

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The third score from this year’s Golden Globe nominated set that I have the pleasure to review is from The Artist. The film is an interesting one, a silent film shot in black and white, set during Hollywood’s golden age. The film goes through great lengths to simulate the style of films the movie is about, and one of it’s biggest assets is it’s score.

Musically this could have come right out of the late 20s, it has a timeless quality, that allows it to feel fresh at the same time it transports you back to film music of a long passed era. Silent films used to rely heavily on music to help convey emotion, and as a result the music would often tell you as much of a story as the pictures did. It is exciting to hear that style of music in cinema again.

There is also a tremendous positivity abound in the music. Ludovic Bource has crafted a musical composition that damn near forces you to smile. One of the things that we too often hear these days is dark, monotone notes played for a mildly uncomfortable effect. This score excels at the exact opposite, and is incredibly fun.

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Family Guy is a popular show. It has legions of fans who have made it an institution. Once it gets dark outside you can almost certainly find an episode on TV somewhere, and it’s popularity doesn’t seem to be waning. I personally feel it’s hit and miss style of throwing everything on the wall and seeing what sticks makes for an inconsistent show. But credit where credit is due I watch the show all the time, and digging into this set was a generally very pleasant experience.

The show continues on in this ninth volume, which is anchored by one of the better episodes Family Guy has ever produced. ‘And Then There Were Fewer’ is clearly the gem of this collection as it is the inspiration for the box art and menu screens. The set also has some pretty solid special features and, annoyingly, an episode from The Cleveland Show.

Interestingly though this set doesn’t follow along with any typical season order. It includes the end of the eighth season and the beginning of the ninth. I am not sure when the show jumped off of season based sets, but this odd organizational decision makes for a rather frustrating time when looking for specific episodes from specific seasons.

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It’s been said that if you screw up once, it’s a mistake, but if you do it three times it’s a style.

Don’t get me wrong, Submarine is a good film with a strong voice, but that’s not to say it’s not without pros and cons.  With a unique tone, interesting characters, and distinctive editing, director Richard Ayoade obviously had a strong vision for this film from the beginning.  The only problem was with the main character, Oliver Tate, who was written as such an offbeat character that there were times at which he was hard to relate to.

Submarine is a film full of feature film newcomers.  Ayoade makes his narrative feature debut as writer/director, a departure from his career as a TV actor and director.  Both of the young actors, as well, come fresh to the big screen.  Craig Roberts, playing Oliver Tate, takes on his first feature lead in this film (he has since starred in Jane Eyre), and Yasmin Paige, coming only from small parts in obscure films, gives a surprisingly beautiful performance as his love interest, Jordana Bevan.

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Alberto Iglesias is a fantastic composer. He has two Oscar nominations under his belt, and now that he is getting higher profile work it wont be long before this Spanish composer gets a win. His most recent score is for the spy drama Tinker, Tailor, Solider, Spy, starring a who’s who of the best British actors working today.

The music for a thriller like this is essential in selling the mood and tension. A great score can be all the difference a movie like this needs to really breakout. So it is with great excitement that I take a listen to the Iglesias’ music, knowing that if he nails it this could be one of the best scores of the year.

My first reaction to this score is that it’s simple, piano heavy tones are perfect for a hard boiled spy thriller. I appreciate the minimalist approach which really heightens the moments of suspense in the score. The music is also not afraid to get big and exciting, most notably on the titular final track. There is a great since of intrigue in this music, really capturing the vibe you what to hear in a movie such as this.

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Capcom are the kings of frenetic, carpel-tunnel inducing fighting games. They are also the kings of selling you those games multiple times. Ultimate Marvel vs Capcom 3 is a super-sized revision of one of the best fighting games of the last few years. The original Marvel vs Capcom 3 came out earlier this year, but that proximity doesn’t do anything to lessen the impact of its brand new counterpart.

Ultimate Marvel vs Capcom 3 brings a dozen new characters to the fun, as well as opening up several new levels to fight on and addresses a whole mess of balancing issues. The whole package is available for the lower price of forty bucks, and offers the most complete version of the game possible.

This sort of re-release might seem odd in the age of the DLC, but the additions to the game and the refinement of its engine are so robust that they needed to send the game back out as a new disc. Thankfully, Capcom had mercy on us by giving the game a budget rate, but the lowered retail price is only one of the game’s many high points. All twelve of the new characters offer some sort of exciting game play gimmick or interesting in-game look, with Rocket Raccoon being one of the most oddball and Hawkeye providing the most fun.

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Never underestimate the power of experience.  Fresh off directing a couple episodes of King of Queens, Michael J. Weithorn make his feature film debut with A Little Help. I’m all for new talented writer/directors (Mark Webb), but unfortunately, while I do see potential for some creative ideas in this film, he probably should have tried out a few shorts before diving head first into a feature.

It felt like highly produced sit-coms episodes strung together.

In the film, Jenna Fischer plays Pam…. sorry, Laura, a dental hygienist who must deal with the aftermath of the sudden death of her unfaithful husband.  With her family almost forcing comfort and support down her throat, she soon discovers that her son has been lying about his father’s death to his friends at school to make him sound cooler.  The film has all the elements in place, a solid story with good casting, but ultimately fails to come together as a cohesive unit that keeps the audience engaged the whole time.

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This past weekend Cartoon Network aired a one-hour special showcasing their next DC animated series, Green Lantern. Cartoon Network has a long history of eclectic and generally fantastic shows based on DC characters, and 2012 looks to be a banner year for Warner’s Super Hero stable.

Green Lantern: The Animated Series begins with this new special, setting up a  plot that sees Hal and Kilowog in deep “frontier space” fighting against the Red Lanterns. The show itself will air regularly in 2012 as a marquee show in Carton Network’s new DC Nation programming. It joins Young Justice and a slew of shorts, news and other fun DC tidbits next year.

The most interesting thing about this series is that for the first time ever a Bruce Timm produced show is animated in full CG. Timm’s artistic style is clearly the inspiration for the designs and despite the full CG animation there is clearly an effort to make this show fit alongside the others in the pantheon of Timm-verse shows.

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Often times a filmmaker and a composer find a shared voice, a common approach that allows both to make the project they share truly remarkable. One of the highest profile partnerships is that of Steven Spielberg and John Williams, arguably the two greatest artist in their chosen fields. This winter brings us not one, but two brand new collaborations between these two heavyweights, and today we are going to dig into the first of the two, War Horse.

I was extremely excited when I began listening to this music, every time Williams composes music for a Spielberg film there is a good chance he is crafting something remarkable. The first 25 seconds of the War Horse score immediately let me know this music would be no exception. The score is classic Williams, with a somberness that is just subtle enough to be noticed, but not get in the way of the idealistic sheen that Williams uses so well.

The main theme of War Horse is beautiful, Williams is the greatest theme writer in the history of ever and some how he manages to still do it to this day. The theme is simple, but evocative of early 20th century hopes and dreams as well as the nobility of the soliders fighting in the first two world wars. Which makes sense due to the fact that the film is about the incredible journey of a boy, too young to enlist going to the war torn trenches in France to save his friend, the titular horse. 

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