I saw the movie in a sneak preview last week. It's pretty darn bloody and earns its R rating. However I liked it a lot, and Dafne Keen, the actress who played the young girl, did a fantastic job. Any movie with Shane in its DNA is ok in my book.

In 'Logan,' one enemy is time [in print as Before sunset: In 'Logan,' the years take their toll]

By Kristen Page-Kirby

Express March 3 2017, p. 24
https://www.washingtonpost.com/express/wp/2017/03/03/in-logan-one-enemy-is-time/

'Logan': Hugh Jackman, as the Wolverine, goes out fighting [in print as The 'X-Men' grown up, and brooding].

By Michael O'Sullivan
Washington Post March 3 2017  , p. Weekend 27
https://www.washingtonpost.com/goingoutguide/movies/logan-hugh-jackman-as-the-wolverine-goes-out-fighting/2017/03/02/af7a6380-fb72-11e6-9845-576c69081518_story.html

Aw, heck, here's the NYT too -

In 'Logan,' a Comic-Book Stalwart Turns Noirish Western

By MANOHLA DARGIS

A version of this review appears in print on March 3, 2017, on Page C1 of the New York edition with the headline: A Noirish Western With Comic-Book Claws.

https://www.nytimes.com/2017/03/02/movies/logan-review-hugh-jackman-wolverine-x-men.html

James Mangold Narrates a Scene From 'Logan'

Anatomy of a Scene

By MEKADO MURPHY MARCH 2, 2017

https://www.nytimes.com/2017/03/02/movies/james-mangold-interview-logan.html

‘Suicide Squad’ is as bad as you’ve heard
By Michael O'Sullivan
Washington Post August 3 2016
https://www.washingtonpost.com/goingoutguide/movies/suicide-squad-is-as-bad-as-youve-heard/2016/08/03/590a949e-5987-11e6-9aee-8075993d73a2_story.html

‘Suicide Squad’ is perfect for 2016. Which means it’s absolutely terrible.
[in print as 'Suicide Squad': Perfect for 2016. But terrible.
By Ann Hornaday August 4 2016, p. C1, 4
online at https://www.washingtonpost.com/lifestyle/style/suicide-squad-is-perfect-for-2016-which-means-its-absolutely-terrible/2016/08/03/6df78956-5992-11e6-9aee-8075993d73a2_story.html
https://www.washingtonpost.com/lifestyle/style/suicide-squad-is-perfect-for-2016-which-means-its-absolutely-terrible/2016/08/03/6df78956-5992-11e6-9aee-8075993d73a2_story.html

by Mike Rhode

Baltimore Comic-Con is one of the best and friendliest of the mid-size superhero focused cons. Under the leadership of Marc Nathan and Brad Tree, it's grown quite a bit in a decade and a half, but still remains enjoyable for all ages and interests. Hang Dai Studios is based in Brooklyn, but as usual will have a big presence at Baltimore. My friend Dean Haspiel (and Hang Dai Studios founder) will be there with the whole studio, a week after he, Christa Cassano and Gregory Benton attended the Small Press Expo. We hope to have interviews with everyone in the studio throughout the week. Our first interview is with writer Jonathan 'Swifty' Lang (because he sent his answers in first. We're egalitarian that way).

Where does 'Swifty' come from?

For my comics exploits, I use Swifty. There were a lot of serious-minded Jonathan's in Brooklyn who were writers at the time (Ames, Lethem, Saffron Foer) and I needed something unique. A college nickname did the trick.

What type of comic work or cartooning do you do?

 I am a writer and am working with genre. Predominantly horror, but am also exploring crime. I am interested in using genre as a lens to explore contemporary social issues. I am also working on a weekly three-panel Tijuana Bible because the current comics environment is suffocating expression in the name of egalitarianism. My current book is Plunder (Archaia 2015). I am the writer on this project and all the art is by Skuds McKinley (and the panels shown here are his work).

As a writer, why have you joined a studio? Historically in the comics field, studios have been organized around artists who had a pile of equipment and who also could pitch in and work on each others assignments.  

 While the mechanics of writing and drawing are certainly different, those of storytelling are not. I am surrounded by a trusted group who will always serve as readers, offer input, and be critical of my work. I am also encouraged by the sheer productivity of what is happening around me. How could I not be inspired when I look to over and see what studio mates are working on? Also, I have a trusted group I can seek advice from when it comes to working with publishers and other artists. Their experience in the industry is greater than any class I could have taken. When it comes to sharing inspiration, whether that be a movie I could recommend or a great podcast I may have missed, we are all there to share ideas. Collaboration goes beyond equipment. It is about respect, support, and I'm not afraid to say it, love. 

When (within a decade is fine) and where were you born? 

I was born in Liege, Belgium in 1976, but moved when I was two and a half. I grew up in South Florida (Miami then Hollywood, FL) I went to school in Boston (Brandeis) and then Film School in Amsterdam. I have lived in Brooklyn now for 14 years. I have done some bouncing,

What is your training and/or education in cartooning? 

My background is in English Literature and Film.

Who are your influences?  

David Cronenberg, John Carpenter, Charles Wileford, Roman Polanski, Bernard Malamud, Henry Miller, Luis Bunuel, Alejandro Jodorowski, Luther Campbell, my studio mates.

I notice you cite mostly movie directors as influences. Why are you working in comics as opposed to film?

I work in comics because the way I work, there is overlap. It is visual story telling built on collaboration. I enjoy telling stories and exploring the medium has made me a better writer in terms of film as well. I consider myself a student of the medium rather than an expert. I think that not growing up with a strong comics background (my love was Mad magazine) has allowed me to tell stories that are not necessarily referential or homages to existing properties. It is vital to know the history of medium as it allows for another layer of storytelling. I think it is the equivalent to someone who is a fine artist making films. I think a broad range of influences makes for diverse storytelling. I do have writers I really admire right now (Ed Brubaker, Scott Snyder etc.) but I can't cite them as influences as much as people who I think are doing fantastic work. Colleagues would be weird as well since I don't know them personally. I think in some ways I have tried some stuff I wouldn't have had the courage to otherwise if I had been more schooled in the history. I rarely feel a "you can't do that" in the same way I do for film when there are restrictions like time and budget. I am still trying to figure it out each day. 
 

What work are you best-known for? 

Feeding Ground.

What work are you most proud of? 

All of them. I am all about process. 

What would you like to do or work on in the future? 

I would like to direct a feature film.

What do you do when you're in a rut or have writer's block? 

I take a shower. I do a tarot reading then I get back to the keyboard. 

Why are you at the Baltimore Comic-Con this year? 

To celebrate the hard work of those I care for. To meet new people to inspire me and collaborate with.

What monument or museum do like to take visitors to? 

The Film Forum. It's not really a monument, but it's monumental to me.

Do you have a website or blog? 

Slangentertainment.com It's the website of the production company I share with my wife. 

Captain America: The Winter Soldier continues to be seen around DC, and the DCist has the story today.

Actually, they pulled the story from NBC - 'Captain America' Closes Some D.C. Streets
By Megan McGrath
May 14, 2013 

DCist has the story about the pre-movie premiere visit of the Batmobile to our fair city.

Griff The Invisible C+
 by Alison Willmore

Onion (online August 18, in print September 1 2011): 14
http://www.avclub.com/articles/griff-the-invisible,60576/

Griff the Invisible: Yet another film about a wannabe superhero with a heart of gold [in print as Caped Copycats, p. 38]
By Tricia Olszewski 

Washington City Paper September 2, 2011
http://www.washingtoncitypaper.com/articles/41410/griff-the-invisible-reviewed-yet-another-film-about-a-wannabe/

Zadzooks: Road to Perdition, Rambo and Kick-Ass
'Perdition' magnificently rendered on Blu-ray
By Joseph Szadkowski
The Washington Times, August 9, 2010

Glen Weldon invests more time than I'm willing to in this - Thirteen Ways of Looking at the Scott Pilgrim Movie Trailer. National Public Radio's Monkey See blog (March 31 2010).

I'm not really looking forward to this movie, but Big Planet Bethesda has a pile of free Kick-Ass movie posters today.

Using the Web to adjust the color on TV
Minorities find a warm reception through online channels
By DeNeen L. Brown
Washington Post Sunday, November 15, 2009

THE BACK STORY: A 'Dark' Day When His Business Was Booming, Washington Post (February 22, 2009): M8, is about the movie's special effects.

This came over the e-transom today, presumably due to that bibliography of comics and film that I'm selling over there on the right.

PRESS RELEASE:

Are you a fan of the X-Men storylines that led to the blockbuster movie trilogy?

Mutant Cinema: The X-Men Trilogy from Comics to Screen examines the history of X-Men comics and how they were adapted and changed for the screen. The book is written by Thomas J. McLean (Variety, Newsarama), a life-long X-Men fan as well as a Hollywood insider.

Published by Sequart Research & Literacy Organization, Mutant Cinema is now available exclusively from Diamond Comic Distributors and the Previews catalog (order code FEB094600). Also, it sports a cover by award-winning artist Kevin Colden (Fishtown).

The book is the definitive unauthorized study of the popular movie saga, including:
• The history of X-Men comic books;
• Detailed scene-by-scene examinations of each film and the comic book stories that infuse every aspect of the movies;
• The development process for each film, including behind-the-scenes stories, interviews with the screenwriters, and details on omitted scenes and storylines;
• Previous adaptations, including early cartoon appearances, the successful 1990s animated series, and initial attempts to bring the mutants to the big screen;
• Critical and fan receptions of each film, plus box-office performances; and
• What the future may hold for the franchise.

"The films gave Tom a great reason to examine some of Marvel's best-known comics," says editor Mike Phillips. "He didn't disappoint. Almost every scene in the trilogy was spawned by some classic storyline, and Tom brings all of those connections to light."

Not only is Mutant Cinema (softcover, 6x9 in, 320 pgs, B&W) accessible to comics and movie fans alike, it's the essential guide to the films for both die-hard fans and newcomers.

Again, the book is available only through Diamond Comic Distributors and the Previews catalog (order code FEB094600). Any comic book store can order one for you, but don't assume that your store will order a copy unless you ask.

Note: The author is available for interviews. If you're interested, please reply to this email.

Legal Disclaimer: X-Men and related characters are trademarks of Marvel Comics. This book is not endorsed by either Marvel Comics or 20th Century Fox.

About the Publisher: Sequart Research & Literacy Organization is a non-profit devoted to the study and promotion of comic books as a legitimate art.