


I'm not much of a James Bond fanatic; I can take him or leave him, and have tended towards the latter for the past 20 years of installments. I grew up on the Roger Moore version, but the problem with the
franchise started there, only getting worse with each new Bond film. Too many gadgets and too many one-liners were used to cover the fact that Sean Connery had been replaced with a bunch of pantywaists (except George Lazenby, but his reign ended after one film). Not that there's anything wrong with wit, it's just that in an action film it should be backed with the assurance of brawn. That's why Christian Bale makes for a better Batman than Michael Keaton or George Clooney. No matter how editing might be able to slice and dice the action sequences, there's always going to be an aesthetic flaw in any machismo-centered film where the physiognomy and somatotype of the lead don't meet the iconic demands of the hero. (Just consider two recent examples: fresh-faced fratboy Matt Damon playing a badass in the Bourne Trilogy and pipsqueak Freddy Rodriguez as a renegade secret ops soldier in Planet Terror.) 

ecial relation to the Iron Man comic; it was my first. Due to Uncle Skeeter giving me issue 52 as a Christmas present, I developed a lifelong obsession with the graphic narrative form (i.e., it made me a comics nerd, but never
shoots beams from his forehead would probably look pretty stupid on the big screen, giving the screenwriters and production designers migraines trying to come up with some phony explanation for why his head doesn't snap back when he fires. 

