Possibly the worst comic to film adaptation ever. Terrible dirtection, badly recorded and dubbed sound, a lack of acting ability from any member of the cast save the lead, and an aparant lack of either t budget or the will to faithfully adapt the character lead to disappointment on every level.  Only to be watched as an illustrative 'how not to' demonstration.

Less enjoyable than prior seasons, in hindsight probably due to backstage drma about the firing of the lead actress and subsequent pending cancelation. Many featured characters fro mprior season return for a cameo goodbye, but the rush to tie together loose ends and wrap up the overarching mysteries felt forced and unbelievable.

Short and to the point and best described as an outline for a lost episode of the series, this fits right in with the established style and content one has come to expect in the Buffy-verse.

Fun from beginning to end with a book I barely put down and finished in less than a day. extremely similar to the first novel by Weir, but formulaic isn't necessarily bad. This one gives you a crash course in welding rather than the Martian's instructions in potato farming, but a bit of learning never hurt a good story.

A collection of one-shots which is nice, a bit more risque than the normal storylines which is nice, but with a few overtly political clunkers that tear a reader out of the story, which is not.

For all the problems Superman has in the rebirth, at least he doesn't hold Earth in contempt while being presented as a hero like his cousin.

Ridiculous filler issues about a mind controlling robot are actually less ridiculous than Aquaman referring to himself as a progressive leader 137,000 times while pitying the poor backward citizens of Atlantis who don't want to fundamentally change the nature of their world. (Aquaman is then stupidly surprised when a coup occurs)

If you're doing a solo Aquaman title and pushing the theme of 'I'm a big boy now and not just a filler member of the Justice League', it really undermines your credibility when the JL is required to come save you from your terrible decisions.

Like most Maul stories, it is hemmed in by his short arc in the films, and actions here contradict and undermine elements of the prequel trilogy, but if you can ignore that its a decent story.

When the title character takes a backseat to a droid acting completely against established continuity, your comic has problems.

It isn't til an author has established rules that they can break them. Collins waited long enough to throw in a twist that earlier in the series would have come across as a cheap betrayal, and the payoff is worth it.

Godfather III is no longer the worst unnecessary third act of a trilogy.

A few excellent moments overshadowed by Mopey Rick. Kill him off and let the series grow, there is no more arc in the character.

Three volumes in to the reboot and the new 52 run is looking better and better.

Giant robots vs. giant monsters, and you get exactly what you expect. The only weakness is in a few of the cast members who's characters are either cartoonishly protrayed or never developed. 

An excelent start to a new series set centuries before his Lost Fleet work. Not beholden to knowledge of the previous books to enjoy, but with a few easter-eggy references to the themes of the predecessors that reward the long-time reader. 

Exceedingly slow and ridiculously plotted but with a few interesting twists on the series' established material to be worth it for diehard fans. 

Rehashed concept of dangerous aliens on a space station, but with a great cast. 

A decent idea - exploring the people accidentally hurt by vigilante operations - is overpowered by the emotional FEELZ of what-if and hindsight. This mopey garbage is not why one reads superhero comics.  Follow that with a tacked on lead-in to further adventures with over-sized monsters and the whole volume is disappointing.  

Two separate arcs, neither one memorable or well done. A serious fall-off for the series.