Word: comicly
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Chris Oliveros is about what you would expect for a publisher of literate comic books. Friends refer to him as "self-effacing," "long-suffering," "the quiet type who stands aside." But the founder and owner of Montreal publisher Drawn & Quarterly is blessed with a sharp eye, a strong sense of what he likes and a commitment to making beautiful, if unconventional, books. For the past 14 years, Oliveros has attracted top cartoonists from Canada, the U.S. and elsewhere to make Drawn & Quarterly the classiest comic publisher in North America...
...With their hardcover bindings, thick paper stock and clean design, D&Q's long-form graphic novels defy preconceptions of what a comic should look like. These are keepsakes, not comics to be thrown away. Indeed, Oliveros, 38, has published nearly all of today's top talent, including Chris Ware, Joe Sacco and underground legend Robert Crumb. By showcasing national artists, he has almost single-handedly turned Canada into a major source of cartooning talent...
...Oliveros got hooked on comics as a kid in Montreal, reading American superhero strips when that was about all one could get. At age 18 he attended art school in New York City but lacked focus. After two years he returned to Montreal, earned a liberal-arts degree and held a series of odd jobs. At age 23, inspired by RAW, a comics magazine published by Art Spiegelman and Fran?oise Mouly in the 1980s, Oliveros dreamed up a forum for short stories in comic-book form that he hoped would be, he says, "like Harper's or the New Yorker...
...buzz but that it's a bad film. Several bad films, actually. First it's a comedy of desperation, with lots of sight gags (a machine that spits quarters in Viktor's face, too many people slipping on a wet floor) in the style of French comic actor-director Jacques Tati. Then it's a love story, as Viktor romances a flight attendant (Catherine Zeta-Jones). Finally the uplifting and heart tugging kick in. The Terminal is Spielberg's shortest feature since the first Jurassic Park, yet it drags, plods, piling one lifeless situation atop another. For all the effort...
...does some of Sex's character, encapsulated in that now condensed credit sequence, in which Carrie wanders awestruck through Manhattan--then gets drenched by a bus that hits a puddle. It's part fantasy, part dirty reality--the chaos of city life, the comic messiness of sex. Even a judiciously censored version will inevitably tilt toward the fantasy. TBS's Sex is a fine, perceptive comedy; it's just not quite the same fine, perceptive comedy. The difference is the difference between making love and a certain gerund I can't write here. Both are wonderful things...