#28DaysofBlack Review: "HARRIET" and Cynthia Erivo Are Magnificent

[A powerful historical Black woman deserves to have her story told powerfully.  Harriet Tubman, the face of the Underground Railroad, gets that in director Kasi Lemmons' 2019 film, “Harriet.”]

TRASH IN MY EYE No. 21 of 2021 (No. 1759) by Leroy Douresseaux

Harriet (2019)
Running time:  125 minutes (2 hours, 5 minutes)
MPAA – PG-13 for thematic content throughout, violent material and language including racial epithets
DIRECTOR:  Kasi Lemmons
WRITERS:  Gregory Allen Howard and Kasi Lemmons; based on a story by Gregory Allen Howard
PRODUCERS:  Debra Martin Chase, Gregory Allen Howard, and Daniela Taplin Lundberg
CINEMATOGRAPHER:  John Toll
EDITOR:  Wyatt Smith
COMPOSER:  Terence Blanchard
Academy Award nominee

BIOPIC/DRAMA/ACTION/HISTORICAL

Starring:  Cynthia Erivo, Leslie Odom Jr., Joe Alwyn, Clarke Peters, Vanessa Bell Calloway, Vondie Curtis-Hall, Jennifer Nettles, Janelle Monáe, Omar Dorsey, Tim Guinee, Zackary Momoh, Henry Hunter Hall, Deborah Olayinka Ayorinde, and Rakeem Laws

Harriet is a 2019 biographical film and historical drama from director Kasi Lemmons.  The film is a fictional depiction of the life and work of Harriet Tubman (1822-1913), a black woman who was an American abolitionist, a suffragette, and the most famous conductor on the Underground Railroad.  Harriet the movie tells the story of the runaway slave who transformed herself into one of America's greatest heroes by helping to free other slaves.

Harriet opens in Bucktown, Maryland, the year 1849.  A black female slave named Araminta “Minty” Ross (Cynthia Erivo) is newly married to a freedman, John Tubman (Zackary Momoh).  Minty is a slave on the farm of Edward Brodess, along with her mother, Rit (Vanessa Bell Calloway), and her sister, Rachel (Deborah Olayinka Ayorinde).  Minty's father, a freedman named Ben Ross (Clarke Peters), approaches Edward Brodess about gaining freedom for Rit and the children she bore based on an agreement made by Brodess' father, but Brodess rudely declines.

Shortly afterwards, Brodess dies, and his son, Gideon Brodess (Joe Alwyn), decides to sell Minty down the river, which mean down into the deep south, the worst place for a slave.  Minty suffers “spells” since being struck in the head as a child, but they are also visions from God.  The spell that Minty suffers after Gideon decides to sell her is the vision that Minty believes is telling her to run away before she is taken to the slave auction.

Fearing that she could endanger her husband and family, she leaves them behind and, after a long journey, makes her way to Philadelphia, Pennsylvania.  A year later, Minty has renamed herself Harriet Tubman and makes her first journey back to Maryland.  There, she will either take her first steps to free other slaves, or she will be returned to a cruel fate at the hands of an evil owner.

In Harriet, writers Gregory Allen Howard and Kasi Lemmons fashioned a story that captures the horrors of slavery in a manner similar to that of the 2013 film, 12 Years a Slave.  However, 12 Years a Slave is the tale of a free black man trapped in hell of chattel slavery who is determined to survive until a miracle arrives.  Harriet is the tale of a black woman born into slavery who takes her fate into her own hands and runs through a hell's gauntlet to find freedom.

To that end, Kasi Lemmons as director creates a film that moves that narrative via action and opportunity.  Characters take action and take advantage of the opportunity to gain freedom.  As Harriet says at one point in the film – “God was watching me but my feet were my own.”  Harriet's lead character is a pistol-packing, action movie heroine every bit as stalwart as Captain America and as ruthless as actor Clint Eastwood's most famous roles in Westerns.

Actress Cynthia Erivo, as Harriet Tubman, is the center of this film's holy trinity.  Erivo's Harriet is a force of nature and the wrath of God against slavery.  In the film's quiet moments, Erivo presents Harriet as thoughtful and contemplative, but she maintains the roiling storm within, the elemental forces that drive her to return to the land of slavery time and again to free other slaves.  Erivo seems to transform Harriet's spells and visions into a living thing that devours fear and cowardice and the evil that is slavery.  One can believe that this Harriet was the star of the Underground Railroad, the network of secret routes and safe houses in the United States used by enslaved black people to escape from slave states and into free states and Canada.

Erivo's almighty performance earned her an Oscar nomination for “Best Actress.”  It is a shame that she did not win, and it is a shame that Harriet did not receive more Academy Award nominations than it did.  This film has good supporting performances, an excellent musical score, and costume design that created costumes for the cast that look like the real deal.  However, it is Gregory Allen Howard, Kasi Lemmons, and Cynthia Erivo that drive Harriet into being what may be the best film of 2019.

10 of 10

Wednesday, February 24, 2021


NOTE:
2020 Academy Awards, USA:  2 nominations: “Best Performance by an Actress in a Leading Role” (Cynthia Erivo) and “Best Achievement in Music Written for Motion Pictures-Original Song” (Cynthia Erivo and Joshuah Brian Campbell for the song “Stand Up”)

2020 Golden Globes, USA:  2 nominations:  “Best Performance by an Actress in a Motion Picture – Drama” (Cynthia Erivo) and “Best Original Song - Motion Picture” (Joshuah Brian Campbell music/lyrics and Cynthia Erivo-music/lyrics for the song “Stand Up”)

2020 Black Reel Awards:  6 nominations: “Outstanding Actress, Motion Picture” (Cynthia Erivo), “Outstanding Director, Motion Picture” (Kasi Lemmons), “Outstanding Supporting Actress, Motion Picture” (Janelle Monáe), “Outstanding Cinematography” (John Toll), “Outstanding Costume Design” (Paul Tazewell), and “Outstanding Production Design” (Warren Alan Young)

2020 Image Awards (NAACP):  7 nominations:  “Outstanding Motion Picture,” “Outstanding Actress in a Motion Picture” (Cynthia Erivo), “Outstanding Supporting Actor in a Motion Picture” (Leslie Odom Jr.), “Outstanding Supporting Actress in a Motion Picture” (Janelle Monáe), “Outstanding Breakthrough Performance in a Motion Picture: (Cynthia Erivo), “Outstanding Directing in a Motion Picture-Film” (Kasi Lemmons), and “Outstanding Writing in a Motion Picture-Film” (Kasi Lemmons and Gregory Allen Howard)


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

------------------------

Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).

#28DaysofBlack Review: "THE BROTHER FROM ANOTHER PLANET" Still Out of This World

[Outside of television, no white filmmaker has presented the depth, diversity, and scope of African-American characters on the big screen to the extent that writer-director John Sayles has.  For years, I encountered black people who thought that Sayles' fourth feature film, “The Brother from Another Planet,” was a “black film.”  Why is that?  Sayles has the ability to create characters and stories from outside the mainstream of society or of storytelling, but his directorial approach is more observational than dictatorial.  The result is a film like The Brother from Another Planet, in which no one can say of those black characters, “they all look alike” or act alike.]

TRASH IN MY EYE No. 20 of 2021 (No. 1758) by Leroy Douresseaux

The Brother from Another Planet (1984)
Running time: 108 minutes (1 hour, 48 minutes)
MPAA – R for language, some drug content and brief nudity
WRITER/DIRECTOR:  John Sayles
PRODUCERS:  Peggy Rajski and Maggie Renzi
CINEMATOGRAPHER:  Ernest R. Dickerson
EDITOR:  John Sayles
COMPOSERS:  Mason Daring; Denzil Botus; Martin Brody; John Sayles and others

SCI-FI/DRAMA

Starring:  Joe Morton, Daryl Edwards, Steve James, Leonard Jackson, Carolyn Aaron, Bill Cobbs, Tom Wright, Minnie Gentry, Dee Dee Bridgewater, David Strathairn, John Sayles

The Brother from Another Planet is a 1984 science fiction and drama film from writer-director John Sayles.  This low-budget, independent film focuses on a mute alien that looks like an African-American man as he navigates the streets of Harlem and avoids the aliens hunting him.

The Brother from Another Planet opens inside an alien space craft of some kind that is in distress.  The pilot struggles with the controls of the ship that eventually crashes in the water near Ellis Island.  The alien emerges from the water, and other than his three-toed feet, he looks like a black human male.  He makes his way to New York City, specifically Harlem.

In a way, he successfully blends with the denizens of NYC, and makes his way into a bar owned by a man named, Odell (Steve James).  There, Odell and the regulars:  Fly (Daryl Edwards), Walter (Bill Cobbs), and Smokey (Leonard Jackson) begin to refer to the alien as “The Brother” (Joe Morton).  The Brother has the ability to heal his wounds and to heal or fix machines, and he soon lands a job as a technician and repairman.  Meanwhile, two men in black (David Strathairn and John Sayles) are hunting for The Brother … because he is a slave.

It has been over a decade since I last saw The Brother from Another Planet, but there was a time period when I saw it several times.  Every time I saw it, I loved it as much as I did the time before, if not more.  Before I watched it recently, I wondered how I would feel about it now, and it turns out that I am still in love with this film.  I once described The Brother from Another Planet as one of my all-time favorite films, and it must remain so.  As a low-budget, independent science fiction film, it is ripe for a remake.  However, the truth is that even with its seat-of-the-pants film-making and bare-bones special effects, The Brother from Another Planet seems to be perfect the way it is.  At least, that is what my mind keeps thinking.

Writer-director John Sayles has described The Brother from Another Planet as being about the immigrant experience of assimilation.  In a way, both The Brother and the denizens of Harlem and NYC, in general, are aliens, depending on the perspective and point of view from which they are viewed.  In fact, Sayles' Harlem in a grimy, funky alien world of people and places.  Somehow, Sayles makes every person and every thing unique; nothing and no one is like anything or anyone else.

For all that the cast brings to the film, The Brother from Another Planet's strength is in its creator, John Sayles, and in its star, Joe Morton as The Brother.  Sometimes, the film seems like a series of documentary or anthropological vignettes – as erratic in their presentation as they are inventive in the conception.  In that he is a most imaginative filmmaker, Sayles is a genius at creating characters that the viewer will want to observe.

Joe Morton's performance, exploratory without being penetrative and aggressive, brings the disparate parts of this film together into a whole, although it is not a seamless whole.  Perhaps that is the point; very little of this film's setting should seem connected.  On this planet that is our Earth, Joe Morton's Brother explores the strange worlds within the strange world.  Morton's is one of the greatest film performances that I have ever seen.  Without saying a word, Morton becomes like the actors of the silent film era, using physicality and facial expressions (or lack thereof) to tell The Brother's story, doing so in vivid colors and with rich texture.

The Brother from Another Planet is indeed an immigrant story, focusing on a being forced to be an immigrant and to find a new place in which to live because he is a slave.  The film is not about slavery, although the fact that The Brother is a runaway slave waits patiently on the periphery of this film and its narrative.  But, then again, The Brother from Another Planet gives the viewer so much to think about, and its seems like a chapter in a larger narrative.  Perhaps, that is why every time I watch this film, I feel like The Brother, always discovering something new.

10 of 10

Tuesday, February 23, 2021


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

------------------------------

Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).

#28DaysofBlack Review: "LILIES OF THE FIELD" Feels Timeless and Spiritual

[For his performance in Lilies of the Field, Sidney Poitier became the first Black man to win the “Best Actor” Oscar.  Poitier received his Oscar at the 36th Academy Awards ceremony, held in April 1964.  It would be 38 years later, at the 74th Academy Awards in March 2002, when the second Black man won a “Best Actor” Oscar, Denzel Washington.  That night, Halle Berry also became the first, and of this writing, only Black woman to win a “Best Actress” Oscar.]

TRASH IN MY EYE No. 19 of 2021 (No. 1757) by Leroy Douresseaux

Lilies of the Field (1963)
Running time:  95 minutes (1 hour, 35 minutes)
PRODUCER-DIRECTOR: Ralph Nelson
WRITER:  James Poe (based on the novel, The Lilies of the Field by William E. Barrett)
CINEMATOGRAPHER:  Ernest Haller (D.o.P.)
EDITOR:  John W. McCafferty
COMPOSER:  Jerry Goldsmith
Academy Award winner

DRAMA

Starring:  Sidney Poitier, Lilia Skala, Lisa Mann, Isa Crino, Francesca Jarvis, Pamela Branch, Stanley Adams, and Dan Frazer

Lilies of the Field is a 1963 drama film from producer-director, Ralph Nelson.  The film is based on the 1962 novel, The Lilies of the Field, written by William Edward Barrett.  Lilies of the Field the film focuses on a traveling handyman and the nuns who believe that he is the answer to their prayers.

Lilies of the Field opens somewhere in the Arizona desert.  Homer Smith (Sidney Poitier), an itinerant jack-of-all-trades, stops at what he assumes is an ordinary farm to obtain some water for his car, a station wagon.  There, he sees a group of women working around the farm.  These women turn out to be five nuns:  Mother Maria (Lilia Skala), Sister Gertrude (Lisa Mann), Sister Agnes (Iro Crino), Sister Albertine (Francesca Jarvis), and Sister Elizabeth (Pamela Branch).  The nuns, who speak very little English, introduce themselves as German, Austrian and Hungarian nuns.

Maria, the “Mother Superior” (the leader of the nuns), persuades Homer, whom she calls “Homer Schmidt,” to do a small job of roofing repair on the main building.  He stays overnight, assuming that he will be paid in the morning.  The next day, Smith tries to persuade Mother Maria to pay him by quoting from the Holy Bible, but she responds by asking him to read a Bible verse from the “Sermon on the Mount” (“Consider the lilies of the field...).  This won't be the last time that Mother Maria stonewalls Homer on the payment she owes him, but his strengths and skills are apparent to her and her nuns.  Mother Maria believes that Homer has been sent by God to fulfill their dream of building a chapel (which they call a “shapel”) on their land.

If people remember Lilies of the Field, it would be for Sidney Poitier's performance, which earned him the “Best Actor” Oscar, and for the film's historical relevance.  Poitier's win for portraying Homer Smith was the first time a black man had won the “Best Actor” Oscar, and it was also the first time a black actor had won an Academy Award in a lead acting category.  To date, Homer Smith is my favorite performance of Poitier's.  Poitier presents Homer as a man full of skill, grit, and determination, with plenty of sly wit and humor.  Most of all, through Homer, Poitier makes the audience believe in man's capacity for kindness and in a man having a sense of duty and honor that he does not use to place himself above other men.

The film is blessed with several good performances.  Lilia Skala, who earned a “Best Supporting Actress” Oscar nomination for her performance, can convince the audience that Mother Maria is a real person and not just a character in a movie.  Skala makes Maria's faith seem genuine, and it is Maria's faith in God that in turn makes this film feel like a religious movie, or even a Christian movie, for that matter, without Lilies of the Field specifically being either religious or Christian.

Faith in God and faith in the goodness of man are at the heart of this film.  James Poe's screenplay and the way that director Ralph Nelson presents this story combine to send a simple message of faith in God over worrying about the things one wants to happen.  Lilies of the Field is not a Christmas movie, but I think it could be a wonderful entry in people's “Happy Holidays” playlist.

I found myself often very emotional while watching this film.  At a little more than a hour and a half of run time, Lilies of the Field seems like a fairy tale, a folk tale, or even a Biblical story.  It is magical.  It is wonderful.  And it makes faith seem like a very good thing, indeed.  When people speak of the magic of Hollywood films, I think that there is plenty of that magic in Lilies of the Field.

10 of 10

Tuesday, February 23, 2021


NOTES:
1964 Academy Awards, USA:  1 win: “Best Actor in a Leading Role” (Sidney Poitier); 4 nominations: “Best Picture” (Ralph Nelson), “Best Actress in a Supporting Role” (Lilia Skala), “Best Writing, Screenplay Based on Material from Another Medium” (James Poe), and “Best Cinematography, Black-and-White” (Ernest Haller)

1964 Golden Globes, USA:  2 wins:  “Best Actor – Drama” (Sidney Poitier) and “Best Film Promoting International Understanding” and 2 nominations:  “Best Motion Picture – Drama” and “Best Supporting Actress” (Lilia Skala)

1965 BAFTA Awards: 2 nominations: “Best Foreign Actor” (Sidney Poitier) and “UN Award” (USA)

2020 National Film Preservation Board, USA:  1 win: “National Film Registry”


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

----------------------------

Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).

#28DaysofBlack Review: "A WRINKLE IN TIME" is Wonderfully Weird

 

[I imagine that The Walt Disney Company had to make “A Wrinkle in Time” an accounting write-off.  The film under-performed at the box office, which is a shame.  It is one of the most original science fiction and fantasy films of the 21st century.  I also honestly believe that this film is such a unique vision because it was directed by an African-American woman, Ava DuVernay.]

TRASH IN MY EYE No. 18 of 2021 (No. 1756) by Leroy Douresseaux

A Wrinkle in Time (2018)
Running time:  109 minutes (1 hour, 49 minutes)
MPAA – PG for thematic elements and some peril
DIRECTOR:  Ava DuVernay
WRITERS:  Jennifer Lee and Jeff Stockwell (based on the novel by Madeleine L'Engle)
PRODUCERS:  Catherine Hand and Jim Whitaker
CINEMATOGRAPHER:  Tobias Schliessler (D.o.P.)
EDITOR:  Spencer Averick
COMPOSER:  Ramin Djawadi

SCI-FI/FANTASY/ADVENTURE/FAMILY/DRAMA

Starring:  Storm Reid, Oprah Winfrey, Reese Witherspoon, Mindy Kaling, Levi Miller, Deric McCabe, Chris Pine, Gugu Mbatha-Raw, Zach Galifianakis, Michael Pena, Andre Holland, Rowan Blanchard, and David Oyelowo

A Wrinkle in Time is a 2018 science fiction and fantasy-adventure film directed by Ava DuVernay.  The film is based on Madeleine L'Engle's 1962, A Wrinkle in Time, the first book in her “Time Quintet” series.  A Wrinkle in Time the movie follows a young girl, her brother, and a school friend as they set off on a quest across the universe to find the girl's missing father.

A Wrinkle in Time introduces 13-year-old Meg Murry (Storm Reid).  She continues to struggle to adjust at school four years after the disappearance of her father, Alex Murry (Chris Pine), a renowned astrophysicist.  Meg and her gifted younger brother, Charles Wallace (Deric McCabe), have also been in trouble with their school's Principal Jenkins (Andre Holland).  Even their mother, Dr. Kate Murry (Gugu Mbatah-Raw), struggles in the wake of the disappearance of her husband.  However, Meg has made a new friend, her classmate, Calvin O'Keefe (Levi Miller).

Then, the Murrys and Calvin start to get unusual visitors.  They call themselves “the Misses.”  They are Mrs. Which (Oprah Winfrey), Mrs. Whatsit (Reese Witherspoon), and Mrs. Who (Mindy Kaling), a trio of astral beings who claim that the “tesseract,” a method of space travel that Alex Murry was studying, is real.  These astral travelers reveal that they have come to help find Alex, who has transported himself across the universe.  They need Meg, Charles Wallace, and Calvin's help, and they need them to be “warriors.”  However, Meg doubts her own abilities and really doesn't like herself all that much, and that will make her vulnerable to the powerful enemy that awaits them, “The IT.”

The cinematography by Tobias A. Schliessler, the costume design by Paco Delgado, and the production design by Naomi Shohan come together to create one of the most visually beautiful science fiction films that I have seen in a decade.  The film editing by Spencer Averick and the gorgeous score by Ramin Djawadi make that beauty move and feel vibrant, creating a film like no other.

Beyond the high production values, director Ava DuVernay has fashioned a big-hearted film that is one of the most ambitious science fiction and fantasy films in recent memory.  I have never read Madeleine L'Engle's now legendary novel, so I assume that screenwriters Jennifer Lee and Jeff Stockwell (and any other writers that contributed to the final product) condensed the character drama in order to focus on Meg Murry.  However, DuVernay and the writers, through Meg, tell a story in which love and imagination and determination and fortitude can send humans on a voyage that traverses not only our galaxy, but also the universe.

Young actress Storm Reid as Meg Murry is poignant and engaging as the young hero who must learn to both love and accept herself and to believe in herself.  Her teen (or 'tween) struggles seem honest and genuine.  In a movie full of offbeat performances of odd characters, Reid makes Meg seem solid and the driving force of this narrative.

Young Deric McCabe seems supernaturally self-assured as Charles Lawrence Murry, making the young brother an important counterpart to Meg.  Levi Miller is a pleasant addition as Calvin O'Keefe whose main role is to believe in Meg even when she doesn't believe in herself, but the story also gives Calvin his own poignant journey.

I get why adults, especially film critics, had mixed feelings about the film.  I think young viewers will get it, and this film adaptation of A Wrinkle in Time is important because Ava DuVernay, once again, reinvents what a black female can be on screen in a Hollywood film.  A Wrinkle in Time may be a fantasy film dressed in the many multi-colored robes of science fiction, but this film introduces new kinds of warriors in service of the universe.  And one of those new colors is a young black girl, and that makes A Wrinkle in Time an exceptional film for this time.

9 of 10
A+

Monday, February 22, 2021


2019  Black Reel Awards”  3 nominations: “Outstanding Cinematography” (Tobias A. Schliessler), “Outstanding Costume Design” (Paco Delgado), and “Outstanding Production Design” (Naomi Shohan)


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved.  Contact this blog or site for reprint and syndication rights and fees.

-----------------------------

Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).

BOOM! Studios Shipping from Diamond Distributors for February 24, 2021

BOOM! STUDIOS

DEC201001    BUFFY THE VAMPIRE SLAYER FAITH #1    $7.99
OCT200975    FAITHLESS II TP (MR)    $17.99
DEC201062    FIREFLY #26 CVR A MAIN    $3.99
DEC201063    FIREFLY #26 CVR B DOE    $3.99
DEC208723    FIREFLY #26 UNLOCKABLE VAR    $3.99
DEC201071    SOMETHING IS KILLING THE CHILDREN #15    $3.99
DEC208724    WE ONLY FIND THEM WHEN THEYRE DEAD #1 5TH PTG    $3.99
DEC208725    WE ONLY FIND THEM WHEN THEYRE DEAD #2 4TH PTG    $3.99
DEC208726    WE ONLY FIND THEM WHEN THEYRE DEAD #3 3RD PTG    $3.99
DEC208727    WE ONLY FIND THEM WHEN THEYRE DEAD #4 3RD PTG    $3.99
DEC208728    WE ONLY FIND THEM WHEN THEYRE DEAD #5 2ND PTG    $3.99

Dark Horse Comics Shipping from Diamond Distributors for February 24, 2021

DARK HORSE COMICS

DEC200254    CRIMSON FLOWER #2    $3.99
DEC200255    CRIMSON FLOWER #2 PATRICK REYNOLDS VAR ED    $3.99
AUG200457    MASS EFFECT ALLIANCE NORMANDY SR2 SHIP REPLICA REMASTER    $49.99
SEP200272    SKULLDIGGER & SKELETON BOY #6 (OF 6) CVR A ZONJIC    $3.99
SEP200273    SKULLDIGGER & SKELETON BOY #6 (OF 6) CVR B CHIANG    $3.99
DEC200267    TALES FROM THE UMBRELLA ACADEMY YOU LOOK LIKE DEATH #6 (OF 6    $3.99
AUG200446    WITCHER 3 WILD HUNT GERALT HEART OF STONE FIGURE    $49.99

Dynamite Entertainment Shipping from Diamond Distributors for February 24, 2021

DYNAMITE

AUG200842    BETTIE PAGE #4 FEDERICI HOMAGE LTD VIRGIN CVR    $50.00
SEP200803    BETTIE PAGE #5 KANO LTD VIRGIN CVR    $50.00
SEP200804    BETTIE PAGE #5 LINSNER LTD VIRGIN CVR    $50.00
SEP200802    BETTIE PAGE #5 YOON LTD VIRGIN CVR    $50.00
NOV200797    GEORGE RR MARTIN A CLASH OF KINGS #11 CVR A MILLER (MR)    $3.99
NOV200798    GEORGE RR MARTIN A CLASH OF KINGS #11 CVR B RUBI (MR)    $3.99
SEP191166    JOSEPH MICHAEL LINSNER DAWN LTD ED PROMO CARDS SGN    $60.00
DEC208690    RED SONJA #24 CASTRO FOC BONUS VAR    $3.99
DEC200890    RED SONJA #24 CVR A LEE    $3.99
DEC200891    RED SONJA #24 CVR B LINSNER    $3.99
DEC200892    RED SONJA #24 CVR C STOTT    $3.99
DEC200893    RED SONJA #24 CVR D COLAK    $3.99
DEC200894    RED SONJA #24 CVR E LYONS COSPLAY    $3.99
MAR201265    RED SONJA WORLDS AWAY TP VOL 05 END OF ROAD    $19.99
OCT200846    SACRED SIX #6 PARRILLO LTD VIRGIN CVR    $50.00
FEB201244    VAMPIRELLA SEDUCTION OF THE INNOCENT VOL 01    $19.99
DEC208683    VENGEANCE OF VAMPIRELLA #15 CASTRO FOC BONUS VAR    $3.99
DEC200948    VENGEANCE OF VAMPIRELLA #15 CVR A PARRILLO    $3.99
DEC200949    VENGEANCE OF VAMPIRELLA #15 CVR B OLIVER    $3.99
DEC200950    VENGEANCE OF VAMPIRELLA #15 CVR C SEGOVIA    $3.99
DEC200951    VENGEANCE OF VAMPIRELLA #15 CVR D COSPLAY    $3.99