Immediately, you should ask yourself, What the fuck is up with that title? Are we going after that Quentin Tarantino demographic, Warner Brothers? Because if you are, you missed your chance when you fucked up Superman/Doomsday, back in 2007.
So you look this up on IMDB, because you’re a lazy hack who made the mistake of getting a “real” job back in 2008 instead of reading comic books, which would’ve been more fulfilling anyway, both spiritually and financially. That’s when you find this is based on an Action Comics arc by now-designated wunderkind Geoff Johns. And your heart sinks at the sight of his name. Or it should. Mine certainly does, because Johns is a mixed bag of a comic book writer if ever there was one.
My more conservative colleagues (the ones who still recoil in horror whenever Precious Bodily Fluids appear in comic books – after all, The Children might be watching, and these people can’t go a day without patronizing The Children – all of them, everywhere, including you; yes, you, because you are A Child if you don’t immediately agree with them and submit to their preferred proto-fascist Strong Father archetype) like to criticize his lack of restraint and habit of killing or sidelining characters he doesn’t like. Every writer does this to some degree, but Johns captured himself a fan base by deliberately doing it in the name of “fixing” certain excesses of the 1990s. Especially when it came to Green Lantern. Continue reading Superman: Unbound (2013)
Part 4: More Comic Book History You Don’t Care About But Need to Know in Order to Understand What the Hell’s Going On in This Review:
Since Warner Brothers insisted on adapting this story into two, one hour and twelve minute movies, I made a point of not revisiting The Dark Knight Returns, Part 1 in preparation for this review of Part Deux. If it’d been up to me, I would’ve adapting Frank Miller’s four-issue story arc into one movie, and I might just edit these two together at some point, when I get some spare time. Even with everything here, it’d still be at least an hour shorter than the last two live action Bat-films. And make no mistake – the WB’s straight-to-video animation department threw in a lot.
They had no choice. These are adaptions of one of the best-loved Batman stories in history. Find me a Bat-writer and, with a little help from my friend Google, I’ll probably be able to find you a choice quote about how 1986’s Dark Knight Returns either got them into Batman in the first place, or brought them back after a period of apostasy. Current Batman/Superman writer Greg Pak just provided me a perfect example in this interview, dated February 27th, 2013:
I dropped out for a little bit, and I was still picking up indie comics like Cerebus and Usagi Yojimbo, but it was Batman that got me back into superhero comics when I was in college. Specifically it was Dark Knight Returns and Batman: Year One, which then led me to other stuff. It was basically Frank Miller who dragged me back in, and I was hooked. I was obsessed with Batman. Continue reading Batman: The Dark Knight Returns, Part 2 (2013)
Introduction: Comic Book History You Don’t Care About But Need to Know in Order to Understand What the Hell’s Going On (with apologies to Linkara).
Yes, friends, it’s time once again to examine the hilariously over-praised work of comic book writer Frank Miller, whose slow slide into insanity, inanity and irrelevance has provided amusement to comic book fans for the last fifteen years. Before that, though – and still to this day in some corners of Bat-fandom – Miller is/was considered a godhead, the wellspring from which all modern conceptions of Batman flow.
This is patent bullshit, ignoring at least fifteen years of hard work by other creatives. My favorite Batman editor, Dennis O’Neil, started out as a front-line writer in 1969, and made the conscious choice to move Bats away from the campiness of his by-then-canceled TV show. Together with writer/artist Neil Adams, inker Dick Giordano and editor Julius Schwartz, O’Neil returned The Bat to his roots in the pulpy Crime Dramas of the 30s and early 40s. The SF elements common in American comic’s Silver Age either shuffled off to the background…or were not-so-subtly twisted to reflect the changing (or “evolving”…and I’d dare say “improving”) tastes of the 70s. This culminated in Steve Englehart and Marshall Rogers 1977 run on Detective Comics, now sold under the title Batman: Strange Apparitions.
For my cash, that marks the first appearance of a truly “modern” Batman, complete with all the baggage and angst that define him still today. O’Neil sent the First Robin, Dick Grayson, off the college, leaving Bats and Alfred alone in their mansion, just the way filmmakers (apparently) like it. Englehart and Rogers introduced the first of many Bruce Wayne love interests, inevitably moving him to question his crusade and its end game…before just as inevitably departing his life, leaving him with even more to brood about. Put those elements together, shake ’em up, add villains to taste, and you’ve got every (good) live action Bat-film to date…and through Batman’s influence, most of the Superhero sub-genre.
Whenever I get sick of dealing with live action superhero films and the all-but-inevitable disappointment that entails, I look to animation and shout, “Save me.” Specifically Warner Brothers, who’ve looked down and whispered “No,” more times than not. That’s what happens when the marking department dictates what we’ll get, and when. Given there’s a new (live action) Superman movie in production at the time of this writing, here comes the latest animated one, Superman vs. The Elite. Will it rescue us from the crushing mediocrity of things like Justice League: Doom or Batman: Year One? Or will it become what it hates in the name of The Greater Good?
Oh hell, you guys know me, I can’t keep a secret. Not only is it better than Doom and Year One, it’s the second best piece of Superman animation we’ve seen since the cancellation of his last cartoon series…the first being All-Star Superman, of course.
Not that you could tell from the fan reactions. The happy few who stoop to view animated features might be shocked to learn this, but some of my fellow Superfans found All-Star wanting. Few outright hate it, but it’s still a too-short adaption of an twelve issue miniseries, large chunks of which were excised to fit the marketing-mandated 76-minute run time. If you want to “premiere” your film on the Cartoon Network, seventy-six minutes is the perfect length. But as I’ve been saying for five damn years (at this point) arbitrary length restrictions won’t make your film any better. If the WB wanted to do that they’d tell Cartoon Network’s ad-buyers to fuck themselves and make something feature length. It’s not the 40s anymore, guys. You can have a Third Act that isn’t rushed. Continue reading Superman vs. The Elite (2012)
…is the thirteenth straight-to-video DC animated superhero movie and the last one credited to Eisner Award-winning writer/producer Dwayne McDuffie, who passed beyond the Source Wall to join the fundamental forces of the multiverse on February 21, 2011. He will be sorely missed.
Especially since Doom is far from his best work, that being all those episodes of Cartoon Network’s Justice League show that weren’t written by Stan Berkowitz, Rich Fogel, or Bruce Timm. Together, that team did more to introduce superheroes to “normal” people than the last thirty years of comic book company presidents, all while working withing the constrictions of network television censorship regime. Their movies…I don’t know. They’ve been okay…but I’d only recommend four out of the thirteen to you fine people with any degree of seriousness. Doom could’ve been number five, and it almost was…until I made the mistake of thinking about it for more than two seconds at a stretch. Continue reading Justice League: Doom (2012)