![]() ![]() In terms of pure stunt work, the Vienna State Opera scene doesn’t belong this high. Opera assassination, Mission: Impossible–Rogue Nation I’ve seen Dead Reckoning Part One only once thus far, and this is the sequence I’m most eager to rewatch. The latter is almost like a video game, as Ethan and Grace face unique obstacles in each car-a grill that catches fire, a heavy piano-that require different acts of athleticism to navigate. ![]() And Ethan and Grace still need to climb through falling train cars-in a slow-motion tumble over an exploded bridge-in the most gripping action of the newest M:I film.Įven in an oeuvre that prizes inventiveness, this ending is especially creative, with both the conception of Cruise’s cliff dive and the vertical train escape. Ethan still needs to make another dangerous parachute jump. Ethan and Gabriel still need to fist-and-knife-fight atop the train, even as it speeds through a tunnel. But at the point when Ethan initiates a BASE jump by riding his motorcycle off a cliff-that’s worth repeating: he initiates a BASE jump by riding his motorcycle off a cliff-the action isn’t even halfway over. If it included only the “biggest stunt in cinema history,” this climactic sequence would rank comfortably within the top 10. Battle on the Orient Express, Mission: Impossible–Dead Reckoning Part One Now formally known as Earth-19, the Gaslight universe has made recent in-continuity appearances in Countdown Presents: The Search for Ray Palmer: Gotham by Gaslight, Convergence and Booster Gold: Futures End.3. The Elseworlds imprint has waxed and waned over the years, but it seems that the universe of the Victorian-age Batman first established Gaslight has achieved something few of its subsequent stablemates have managed: carving out a place for itself in the current DC Multiverse. RELATED: 12 DC Comics Elseworlds We Want to Revisit ![]() Over the years Elseworlds books, each emblazoned with a stylized star logo encircled by the "Elseworlds" name, have featured a wide range of heroes from across the DC Universe in such acclaimed works as Kingdom Come, a deconstructionist tale about changing tastes in superhero values, and Superman: Red Son, which imagines a world in which the Man of Steel landed on Earth in the Soviet Union rather than in rural Kansas. Moreover, the reception of Gaslight actually prompted DC in 1991 to found its Elseworlds imprint as a home for high-quality out-of-continuity tales. I pored over page after page for hours as I read and reread the book, developing a particular soft spot for "Inspector Gordon" and his pince-nez glasses in the process, as well as Gordon's description of the proto-Joker as a "happy-looking Jasper." ![]() Mignola's distinctive angular style commands every page, and is greatly enhanced by both the high quality of the book's paper and its masterful coloring, which emphasizes flashbacks with shades of gray, well-lit dramatic and action scenes with striking yellows and the grime of the city with muddy browns, smoky purples and dark reds that contrast with the brilliant scarlet of Batman's own blood.Īside from the artist's dynamic figure work, what really continues to draw my eye, just as much now as it did when I first read the story back in the early 1990s, is Mignola's eye for historical detail the statues and architecture, replete with all manner of Victorian advertising the horses, with their nostrils flaring with exertion from of weight of carriages they are pulling. ![]()
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