Edgar Colt

Vitor Miguel

Prisma Soulstorm

Serena

Jordan

Bruna Guedes

Husain Kothari

FRNK

Uendi Prifti

Abdul Hasib

Loughlin Sullivan

Delaney Knopp

This masterpiece of modern comics storytelling brings to vivid life a dark world and an even darker man. Together with inker Klaus Janson and colorist Lynn Varley, writer/artist Frank Miller completely reinvents the legend of Batman in his saga of a near-future Gotham City gone to rot, ten years after the Dark Knight's retirement. Crime runs rampant in the streets, and the man who was Batman is still tortured by the memories of his parents' murders. As civil society crumbles around him, Bruce Wayne's long-suppressed vigilante side finally breaks free of its self-imposed shackles. The Dark Knight returns in a blaze of fury, taking on a whole new generation of criminals and matching their level of violence. He is soon joined by this generation's Robin—a girl named Carrie Kelley, who proves to be just as invaluable as her predecessors.But can Batman and Robin deal with the threat posed by their deadliest enemies, after years of incarceration have made them into perfect psychopaths? And more important, can anyone survive the coming fallout of an undeclared war between the superpowers—or a clash of what were once the world's greatest superheroes?Over fifteen years after its debut, Batman: The Dark Knight Returns remains an undisputed classic and one of the most influential stories ever told in the comics medium.Collecting Batman: The Dark Knight Returns #1-4

Once, when my middle child was 7 or 8 years old, I was listening to the usual rhythm of her saying her evening prayer, when she surprised me by adding, “And Lord, please remember, when I die, I want to come back as a horse. Amen.”I laughed out loud at her prayer, but then I immediately realized my mistake, when I saw her face. She wasn't joking. I switched gears quickly, got serious, and said, “Honey. I don't get it. Why are you asking God to bring you back as a horse?”She answered very matter-of-factly, “Being a person is too hard. I don't want to come back as one, next time. Horses know exactly what to do and they have more fun.”Well, how can anyone argue with THAT? She's right. A horse eats, it drinks, it sleeps, it plays, it procreates, it eliminates, it dies. The horse's trajectory is ruled by nature. It does what a horse does. The end.But, humans. Sigh. Humans. Humans have strayed so far from the caves, our code for being human has become lost to us. Gone are the days of “Ugga, Ugga, Ugga” and all of our problems were solved. Gone are the days of the finger point to the vagina, the penis, the fire, the meat, the water, the baby, the sky, the ground. Our fingers used to do the talking, and I bet we were a HELL of a lot happier, too. (I've pointed my finger at Viggo Mortensen's penis in an earlier review, and nothing happened. It's like all the magic's gone.)But, I digress.Now, depending on culture, religion, geography, and social and economic status, the code can be completely different for each person, and chances are, the human code for YOU is close to impossible anyway, and you feel as though you're failing every day.Nobody's role is simple, these days. Not even a kid's. It used to mean minding your manners, respecting those who were bigger than you, treating each day as a surprise package, waiting to be opened. . . this is the age of perfection, kid. Everybody try their emotional and physical damndest. Strive, strive. Correct all defects.Correct all defects. Don't show weakness. The code for humans is so complicated now, it seems based on a pursuit of perfection we sought for ourselves, but had no realistic basis. We have holy texts that guide us to be good, but none that I'm aware of that ask us to be God.But we ain't Divine, people. And most of us are doing a lousy job of being perfect, but an excellent job of being miserable.And no make-up or yoga pants or juice cleanse or private college or grad school or Paleo diet or test scores or attractive spouse or clever children or 2-car garage or 4,000 square foot home or Mercedes Benz or colored hair or bank account or successful career or skinny ass or perpetual smile is ever going to make us PERFECT.Because we're ORDINARY, people.And as far as I'm concerned. . . the sooner we head back to the caves, the better. I'm headed to mine right now. (I'm trading in my overpriced yoga pants for leopard skins, and Viggo M's ass better be waiting for me).My daughter says she'll carry me on her back.

Meet David Boring: a nineteen-year-old security guard with a tortured innner life and an obsessive nature. When he meets the girl of his dreams, things begin to go awry: what seems too good to be true apparently is. And what seems truest in Boring's life is that, given the right set of circumstances (in this case, an orgiastic cascade of vengeance, humiliation and murder) the primal nature of humandkind will come inexorably to the fore.

Craig Thompson, for all the lack of works in his bibliography, is one of the best creators working in comics today. Apart from Blankets, he has only released one other major work of fiction. (His third, \
  Habibi\
, will be released this Fall.) [The cutest of meet-cutes.]There are any number of reasons that Thompson's work should be lauded. His art is gorgeous and his brushline expressive. He treats personal topics with a sense of both whimsy and honesty. He writes true experiences, even when they're fictional. And as great as all those things are, there is one idea that stands out in his work that I've yet to see another creator tackle (let alone master) as Thompson has done.His sense of the sacred and his ability to convey it in ink is breathtaking. He offers his readers these holy moments, these frozen, fluid, organic treasures. These sacramentals. Whether he intends to lead the reader into a religious experience or not, his work really is very spiritual. As spiritual as an atheistic holy experience can actually be at any rate. There may be moments in Miyazaki that approach the wonder of the sanctuaries that Thompson builds in Blankets. It's for this reason (among others) that Thompson's second book remains one of my favourites, even years after having first encountered it.The sweetly disturbing sentimental journey that was seeded years earlier in Thompson's Goodbye Chunky Rice finds pregnant fruit in his nearly-600-page opus, Blankets. Semi-autobiographically chronicling (via chrono-thematic structuring) his early life—from his establishment in faith and his discovery of love to his abandonment of that love and his subsequent abandonment of faith—Thompson plays honestly at all times with his story elements, thereby lending his tale an uncanny credibility. And while flashbacks and tangents proliferate, the overarching chiastic structure verifies the reader's intuition that Thompson knows well where he is headed and is going to take you there whether you like it or not.[Kinda want to punch this lady right in the breadbox.]Thompson's illustrated avatar acts, at all times, with striking realism and the chaos of his thoughts is entirely believable—if not exactly illustrative of the average meditative development. The Thompson that frets and plays in Blankets—we'll call him Craig— is highly introspective and acts often in the heat of his youthful emotional turmoil, rather than from a simple, sensible motivation. And though one may often wish to chastise him for such sillinesses, his youthful passion and pendular over-reactions will more than likely endear Craig to readers as they recognize more than a little of themselves in him.This book is a masterpiece of form, symbol, and structure. Tokens bend and writhe and carry narrative significance throughout. Thompson's art here is fluid and is of that less-polished variety found also in Goodbye Chunky Rice and serves well to establish the variety of moods described in his several vignettes.From the perspective of one who grew up both in a faith-community that was friendlier to the arts and in a home whose high standards weren't as strictly enforced, I found his story particularly compelling and tragic. Surrounded by hypocrisy and a weak-kneed, moralistic fundamentalism, the source of his disillusionment is not difficult to see. Perhaps Blankets' greatest quality is the empathy it exerts from the reader. I pitied and cared for Craig. I felt the same for his brother, his parents. I mourned for Raina, Craig's love interest in the book. I grew despondent for her family. More than anything, I wanted to hug each of these characters and make it all right and sensible again. [Man, how brutal to be Thompson's parents, years later to read this panel and think: "Oh crap. I did that to a child? I wanted to surprise him and all he could think about was whether he had sinned? And not even whether he was in trouble but whether he had sinned?"]And the whole while, my anger kindled toward an institutionalization of faith whose expression was not compassion, not mercy, not love. That Craig lived in a locale whose cutural acumen was bent toward a fear and persecution of that which skewed from the status quo is a horror that can be understood (while still remaining a horror). That his subculture should behave identically, built on a foundation of fear when it ought to be built on joy, peace, and love is terrifying. Thompson's work engaged in me a fury for a people and place with which I have no experience. They may not even exist as he portrayed them, but at the least, it is a challenge for me to not hate these characters who actively tear down Craig's life even from a young age. And as someone who actively tries not to hate anyone, consider this a testament to the veracity with which Thompson draws out Craig's life and circumstance.Blankets is an evocative work that should not be missed by any who would appreciate a serious, heartfelt, and magical telling of the tragedy and wonder of what it means to come of age.[review courtesy of Good Ok Bad]

The Chumscrubber starts out with Troy, a normal teenager who supplies "feel good" pills to everyone in his high school (this way he spreads happiness all around). But when his friend Dean pays him a visit, Dean discovers Troy has hanged himself in his bedroom during one of his mother's pool parties. After the death, three local teens: Billy, Lee, and Crystal, want what's left of Troy's stash of pills and they know that Dean is the only one who knows where they are. But when Dean refuses to get the pills, the three teens kidnap Dean's little brother, until they realize they've kidnapped the wrong kid.

Following the death of his father from cancer, Stéphane - Mexican on his father's side, French on his mother's side - agrees, despite his less than proficient use of the French language, on his mother's request to move back to France from Mexico, she not only letting him live in her apartment in his old bedroom in the building she owns while she stays with her current boyfriend Gérard, a magician, but she having found him a job using his graphic art skills at a calendar shop. The job ends up not being quite as she had made it out to be - it more a dead end menial job - but Stéphane is still able to eke out a friendship of sorts with his new coworkers, especially Guy, the senior employee, a bully of a man-child who obsesses about sex and who becomes Stéphane's confidante. Concurrently, Stéphane strikes a friendship with his neighbor, Stéphanie, and her friend, Zoé, Stéphane and their friendship stemming out of some mistruths, including the two artistically inclined women not divulging they, like him, lead dead end nine-to-five jobs, and Stéphane also not divulging that he is actually Stéphanie's neighbor and the son of her landlady which allows him to spy on Stéphanie's apartment without notice. While Stéphane is romantically interested in Zoé, he believes Stéphanie in turn is interested in him. Regardless, Stéphane forms a special bond with Stéphanie, their similar names only one of the many factors which may indicate that the cosmos meant for them to have this bond. Despite what Stéphanie may feel for Stéphane in return, their friendship/relationship will be affected by Stéphane often not being able to differentiate between reality and what are, to him, his very vivid dreams.

Amélie is a story about a girl named Amélie whose childhood was suppressed by her Father's mistaken concerns of a heart defect. With these concerns Amélie gets hardly any real-life contact with other people. This leads Amélie to resort to her own fantastical world and dreams of love and beauty. She later on becomes a young woman and moves to the central part of Paris as a waitress. After finding a lost treasure belonging to the former occupant of her apartment, she decides to return it to him. After seeing his reaction and his new found perspective - she decides to devote her life to the people around her. Such as, her father who is obsessed with his garden-gnome, a failed writer, a hypochondriac, a man who stalks his ex girlfriends, the "ghost," a suppressed young soul, the love of her life and a man whose bones are as brittle as glass. But after consuming herself with these escapades - she finds out that she is disregarding her own life and damaging her quest for love. Amélie then discovers she must become more aggressive and take a hold of her life and capture the beauty of love she has always dreamed of.

Paris, je t'aime is about the plurality of cinema in one mythic location: Paris, the City of Love. Twenty filmmakers have five minutes each; the audience must weave a single narrative out of twenty moments. The 20 moments are fused by transitional interstitial sequences and also via the introduction and epilogue. Each transition begins with the last shot of the previous film and ends with the first shot of the following film, extending the enchantment and the emotion of the previous segment, preparing the audience for a surprise, and providing a cohesive atmosphere. There's a reappearing mysterious character who is a witness to the Parisian life. A common theme of Paris and love fuses all.

Seventeen year old Jason Slocumb, Jr. - Igby to most that know him - comes from east coast old money, the second son of self-absorbed and controlling Mimi Slocumb and medically-diagnosed schizophrenic Jason Slocum, Sr., the latter who has for several years been institutionalized in a Maryland psychiatric facility. While Igby's economics-studying Columbia-attending older brother Ollie Slocum has embraced and aspires to continue their wealthy life, Igby has rebelled against it, considering his brother a fascist (although he could soften that label to Republican). Because of Jason's situation, Mimi has largely left the role of male role model for Ollie and Igby to their godfather, D.H. Banes. Igby's rebellion has led to him being kicked out of one prep school after another, the latest, a military academy, from which Igby escapes before he can graduate. As such, Mimi and D.H. arrange for Igby to live in New York with Ollie for the summer while working for D.H. renovating some of his properties, before Mimi arranges for yet another strict school for the fall so that Igby can at least graduate. Igby is largely able to hide out for most of the summer with the help of Rachel, D.H.'s younger heroin addict mistress, and Sookie, a slightly older waitress with who he falls in love. An issue with Sookie and the aftermath of a joint mission with Ollie leads to Igby having a clearer picture of what his immediate future will look like.

Dreams. What are they? An escape from reality or reality itself? Waking Life follows the dream(s) of one man and his attempt to find and discern the absolute difference between waking life and the dreamworld. While trying to figure out a way to wake up, he runs into many people on his way; some of which offer one sentence asides on life, others delving deeply into existential questions and life's mysteries. We become the main character. It becomes our dream and our questions being asked and answered. Can we control our dreams? What are they telling us about life? About death? About ourselves and where we come from and where we are going? The film does not answer all these for us. Instead, it inspires us to ask the questions and find the answers ourselves.

Enid and Rebecca after they finish the high school. Both have problems relating to people and they spend their time hanging around and bothering creeps. When they meet Seymour who is a social outsider who loves to collect old 78 records, Enid's life will change forever.

Andrew Largeman is a semi-successful television actor who plays an intellectually disabled quarterback. His somewhat controlling and psychiatrist father has led Andrew ("Large") to believe that his mother's wheelchair-bound life was his fault. Andrew decides to lay off the drugs that his father and his doctor made him believe that he needed, and began to see life for what it is. He began to feel the pain he had longed for, and began to have a genuine relationship with a girl who had some problems of her own.

Max Fischer is a precocious 15-year-old whose reason for living is his attendance at Rushmore, a private school where he's not doing well in any of his classes, but where he's the king of extracurricular activities - from being in the beekeeping society to writing and producing plays, there's very little after school he doesn't do. His life begins to change, however, when he finds out he's on academic probation, and when he stumbles into love with Miss Cross, a pretty teacher of the elementary school at Rushmore. Added to the mix is his friendship with Herman Blume, wealthy industrialist and father to boys who attend the school, and who also finds himself attracted to Miss Cross. Max's fate becomes inextricably tied to this odd love triangle, and how he sets about resolving it is the story in the film.

Three grown prodigies, all with a unique genius of some kind, and their mother are staying at the family household. Their father, Royal had left them long ago, and comes back to make things right with his family.

Early thirty-something American Jesse Wallace is in a Paris bookstore, the last stop on a tour to promote his best selling book, This Time. Although he is vague to reporters about the source material for the book, it is about his chance encounter nine years earlier on June 15-16, 1994 with a Parisienne named Celine, and the memorable and romantic day and evening they spent together in Vienna. At the end of their encounter at the Vienna train station, which is also how the book ends, they, not providing contact information to the other, vowed to meet each other again in exactly six months at that very spot. As the media scrum at the bookstore nears its conclusion, Jesse spots Celine in the crowd, she who only found out about the book when she earlier saw his photograph promoting this public appearance. Much like their previous encounter, Jesse and Celine, who is now an environmental activist, decide to spend time together until he is supposed to catch his flight back to New York, this time only being about an hour. Beyond the issue of the six month meeting, what has happened in their lives in the intervening nine years, and their current lives, they once again talk about their philosophies of life and love, this time with the knowledge of their day together and how it shaped what has happened to them.

American tourist Jesse and French student Celine meet by chance on the train from Budapest to Vienna. Sensing that they are developing a connection, Jesse asks Celine to spend the day with him in Vienna, and she agrees. So they pass the time before his scheduled flight the next morning together. How do two perfect strangers connect so intimately over the course of a single day? What is that special thing that bonds two people so strongly? As their bond turns to love, what will happen to them the next morning when Jesse flies away?

In the Initech office, the insecure Peter Gibbons hates his job and the obnoxious Division VP Bill Lumbergh who has just hired two efficiency consultants to downsize the company. His best friends are two software engineers Michael Bolton and Samir Nagheenanajar, that also hate Initech, and his intrusive next door neighbor Lawrence. He believes his girlfriend Anne is cheating on him but she convinces Peter to visit the hypnotherapist Dr. Swanson. Peter tells how miserable his life is and Dr. Swanson hypnotizes him and he goes into a state of ecstasy. However, Dr. Swanson dies immediately after giving the hypnotic suggestion to Peter. Peter, in his new state, starts to date the waitress Joanna and changes his attitude which results in his being promoted by the consultants. When he discovers that Michael and Samir will be downsized, they decide to plant a virus in the banking system to embezzle fraction of cents on each financial operation into Peter's account. However Michael commits a mistake in the software on the decimal place and they siphon off over $300 thousand. The desperate trio tries to fix the problem, return the money and avoid going to prison.

Italian-born Swedish DJ and record producer

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English musician (1946–2006), co-founder of Pink Floyd

Four female New Yorkers gossip about their sex lives (or lack thereof) and find new ways to deal with being a woman in the late 1990s.

A 15-year-old girl and her trials and tribulations of being a teenager and dealing with friends, guys, parents, and school.

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