“Remember, remember, the fifth of November….” Alan Moore’s dystopian tale of a masked vigilante - that Guy Fawkes visage would soon become the default visual symbol for 21st century political-underground activists - is a radical re-imagining of superhero mythology, in which a costumed crusader becomes the fly in the fascist alt-future ointment. Image Credit: ©Walt Disney Co./Everett Collection It’s a dark take on superhero stories before it was the fashionable thing to do (to put this in comic-nerd terms: Imagine a Marvel B-title getting a full-blown Vertigo makeover.) But you can tell del Toro is both reverent of the pulpy source material and clearly having fun playing around in this sandbox, from way the Reapers’ mandible-like jaws pop open to the tough-guy banter to his staging of Blade slicing through a trio of bad guys like it was a splash panel. A new breed of bloodsuckers known as “Reapers” are decimating both the human and creatures-of-the-night communities Blade must team up with a group of undead renegades known as “the Blood Pack” to take these extremely viral vamps down. It was not lost on Guillermo del Toro that Wesley Snipes’ vampire hunter was a character who originally had one foot in the superhero world and one foot in 1970s horror comics - and his superior sequel to the 1998 pre-MCU-renaissance Marvel movie makes sure to give both genres equal time. Image Credit: ©2011 Marvel Entertainment, LLC
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