Overall a good film.  A bit of a whiplash in emotional tone, a bit unbalanced between the characters, a bit unnecessary with one or two of the subplots; but all togetherer an interesting, thought provoking, and entertaining look at the nature of love and family. 

Things that should be included in historical naval adventures: naval adventures.

Things that can be included to break up the action and add tension: interesting details about 19th century debtor laws.

Things not needed: mopey, piney, whiny, and chaste romance sideshows.

Far to much of the third and not enough of the first two drag down this second volume of the series. If it wasn't so highly regarded by people who's opinions I respect, I'd not be moving on to the next entry.

The only interesting character is the titular one, all others are derivative, formulaic, retreads, or Mary Sues.

Ohhhh...how edgy and shocking. Look ,we killed a character you know....Oh, wait, of course we didn't. Constant resurrections and plots to fake deaths rob any tension from the series, and this premise is laughably reinforced in the final filler episode when 'new random teammate no one has ever seen before' suddenly has their head explode (a ridiculous trope that also helped to sink the movie as well). Additionally, having two separate Harley Quinn characters running around in the DC comics is ridiculous, annoying, contradictory, and cheap. Nothing that happens in the Suicide title can be reconciled with her headliner volumes, making a mockery of the united comic universe.

A great idea but something in the execution was off. Mysterious super-villain - check. Terrifyingly plausible science hook - check. Globe spanning adventure in exotic and interesting locations - check. But...no consequences to any named character from said terror plot - unlikely. manufacturing and delivering millions of doses of a miracle cure in only a few hours - even more implausible. Dragging an elderly Hispanic woman along who - despite an implied education and years of experience in the public sector takes offense to the concept of a 'black market' as racist - ignorant and unbelievable.

Like Big Trouble in Little China and Escape from New York, this is another universe extension for a classic 80s film that works wonderfully.

I'm hoping it is just a poor translation or perhaps a cultural divide, but there are far to many continuity gaps and unexplained story jumps for this to be enjoyable.

Anytime the answer or explanation for your central plot point is "Because....the Force" it's a weak story.

The expected problems of a small press are present, but the details of the subjects and the storytelling of the authors shines through. Particularly interesting is the chapter on John White Geary, a figure I'm surprised never to have been exposed to before.

No insight, no analysis, and little that could be considered humor. Easily the worst book O'Rourke has ever had published.

Weighty, intense, and amazing. The author delivers exactly what the title promises - examinations of ten restaurants that - for whatever reason - changed America.  Not the ten historically best, not the ten most famous, not the ten most influential, yet nevertheless ten fascinating stories.  

Every chapter not only looks at the restaurant in question but places it in context for its place and time. No PR puff pieces here. 

Capped with an Epilogue that explores in more depth five themes of modern dining that were touched on individually throughout the book, we see how concepts that we now take for granted were once innovated and ideas we now find innovative were first being espoused over a century ago.  

A must read for any historian, sociologist, chef, or fan of fine dining. 

Let's start with my note from the New Suicide Squad Vol. 4  which had a 'special sneak preview' of this rebirth title- the series begins when  "we see an unnamed [but obvious] president being oh so tough, making vows to do the right thing and lamenting how sometimes yous gots to lie to the people for their own good. But it is nice to know that the writer for the new series Rob Williams is essentially a weak whore longing for the strong arm of a pimp."  Yep.  All of that stil applies after reading it a second time. 

And It gets worse.

We get a two issue arc where they try and be edgy by killing a name character...a character I just saw alive and well in the Flash Vol 3, so that was a big lie.  Then two more issues of rehashed, repetitive, unnecessary origins for characters we already know. Followed by 22! pages of alternate cover art and concept drawings; meaning that out of six issues worth of pages, only two of them were new material.  

Anyone who paid for this volume got stole from. 

Despite the title the Rogues are only the antagonists for about half the volume. After that the series once again descends into the morass that is the revolving door of ethnic clone speedsters. 

Flash has never had good villains outside the rogues, and that weakness shows here. Also, way to much unnecessary Kid Flash junk gumming up the works - that unfortunate sidekick belongs with the equally sub-par Titans, not dragging down a premier title.

Conclusion to the New 52 that sets the stage for Rebirth. Consistent with the preceding volumes and a well paced introduction for the Deadpool ripoff character.

A volume of one-shots, but none of them is a hit. Plotting, pacing, characterization - something is off in ever issue of the collection. That makes for a slightly better read than a single bad overarching story - you can constantly hope the next one will be better - but it's slim praise to say so.

A collection of one shots, all of which have individual problems. Aquaman is essentially absent, Batman given nothing to do, and Superman ignored; while the two worst Green Lanterns are featured issue after issue.  Until the title goes back to group adventures rather than under-performing title promotion you might want to skip it. 

Cussler and his coauthors continue to impress - especially since rooting out plot points that he hasn't used in 50+ previous books is a daunting task. The central conceit is hopefully fictional, but all of the associated materials and locations are spot on for both historical interest and cutting edge tech.

The art is a little cluttered, but the stories are good and told in the Gotham Central vein of circling about a famous character but focusing on minor figures who exist in their orbit. Also, you'd never know it was a story told in translation, having originally been published in French.

Yet another origin story, but one that doesn't bog down in rehashed material - a hard line to walk with such an established icon.