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  • Youngblood & My Ratner Rant

    By | February 9, 2009


    I guess it wasn’t enough that Brett Ratner murdered the X-Men series…now someone thought  it was a good idea for him to ruin the lesser known series, Youngblood.

    Youngblood is a fictional superhero team that starred in their self-titled comic book, created by writer/artist Rob Liefeld. The team made its debut as a backup feature in the 1987 one-shot Megaton: Explosion before later appearing in its own ongoing series in 1992 as the flagship publication for Image Comics. Through out their publishing history, they were originally published by Image Comics, and later by Awesome Entertainment.

    Youngblood was a high-profile superteam sanctioned and overseen by the United States Government. The members of Youngblood include Shaft, a former FBI agent and archer whose bow uses magnets to propel its arrow instead of a string; Badrock, a teenager transformed into a living block of stone; Vogue, a Russian fashion model with purple-and-chalk-white skin; and Chapel, a government assassin.

    Youngblood is said to be in development as a franchise series should the first film end in success. Ratner, who is claiming “Passion Project” with Youngblood, is not shy to remakes, sequels, or even prequels. He is responsible for the entire Rush Hour 1-3, Red Dragon (prequel to Silence of the Lambs), X-Men: the Last Stand, in talks to do a new Conan film. 

    Comics were once that cherished untapped resource of in depth written material that was just waiting to be unleashed. With the success of several well developed franchises (Batman, Spider-Man, 300, Sin City), the studios are now scooping up the property development rights by the dozen and teaming up some of them with directors and production teams that have no business touching its universe. I fear this is the case with Youngblood. 

    Spawn, the Punisher, X-Men 3 (the Last Stand), and the Fantastic Four have all fallen victim to less than stellar writing and poor directorial attachment. These are examples of very adored titles that were put in the hands of the people that brought you such films as TAXI (2004), Barbershop, and the Rush Hour sequels. Unacceptable! I know that at the end of the day Hollywood is a business and needs to turn a profit, so why don’t they do themselves a solid by treating the material with respect.


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