Comedy is hard. Knowing this, Hollywood has a bad habit of stocking its comedies with professional comedians. Who better, so the thinking goes, to help bring in the funny? But comedians are not necessarily actors. As such, they fall into an unfortunate habit of playing themselves. That’s the paradox of most comedies, and its a paradox Mystery Men cannot avoid. Its greatest strengths are also the very things that destroy its universe. Its great cast flits about like lost children, playing the Greek Chorus of their own damn story. Based on one of the great indie comics of the 90s, it extracted a perfectly good premise from a source it had no earthly idea how to properly handle. Having gained a cult following in the days since it spectacularly bombed at the box office only means it’s attracted my not-so-tender attentions. If I were Godzilla, cult superhero movies would by my nuclear power stations. So let’s strap on the latex monster costumes and get to stomping this Tokyo, shall we? Continue reading Mystery Men (1999)
Tag Archives: Superheroes
The Phantom (1996)
A lot of people have trouble taking superheroes seriously, what with the tight suits and the underwear on the outside of their pants. But I challenge anyone to walk down a dark alleyway at night, hastily turn around, and not soil yourself in fear when you find the goddamn Batman standing there, right behind you. Sure, your rational mind would soon take over and you might remind the costumed fool that “Halloween ain’t ’til manyana”…giving him the perfect opportunity to perform some amateur dental surgery on you with his boots.
Unfortunately, Batman was far from the first costumed hero of the 1930s. Created for the daily newspaper strips of 1936, The Phantom represents one of the last costumed mystery-men to make the scene before Superman came along and changed everything. Four months separated the two hero’s debuts in their respective magazines. Can you guess which one won more culture cache? Here’s the hint: the only man in a purple suit who’s going to frighten me is the Joker. And even I have trouble taking the Phantom seriously. Continue reading The Phantom (1996)
Dick Tracy (1990)
Most people have no idea how their movies are made, lacking even the faintest clue as how much of a Hell on Earth the process can become…especially once money’s involved. Throw in a well-known “property” (Hollywood-ese for an “idea”), a multibillion dollar movie studio, and a legend-in-his-own-time actor/director known for ball-busting levels of perfectionism and the irresistible compulsion to sexually harass anything that walks by him with breasts…and welcome to the Ninth Circle of Development Hell. Pull up a pot of boiling pitch and stay yourself awhile.
It took a little-known Tim Burton film called Batman to break the logjam between Disney, who put up the money (and own the film through their subsidiary, Touchstone Pictures), Tribune Media, who owned the idea, and legend-in-his-own-mind Warren Beatty, who secured the chance to direct himself in the lead role as every self-styled tough guy’s ultimate author-insertion fantasy persona, a man appropriately named Dick. Continue reading Dick Tracy (1990)
Steel (1997)
In 1993, the death of Superman caused an entire generation who’d grown weary of the character’s cinematic incarnations to perk up and start paying attention to comics. It’s the sad fact of our sad age that cynical marketing ploys (like killing off your flagship character just so you can bring him back to life) work more often than they fail. It certainly got me on board, and by the time Superman’s reappearence was all-but-upon-us I was loyally begging my parents for all four (at the time) of DC Comics’ Superman titles.
In an even more cynical ploy to hook we ignorant readers, the creatives behind Superman’s books trotted out four super powered pretenders to the throne, each of whom attempted to carry on the Man of Steel’s Never Ending Battle in their own, inept way. Steel was my favorite of the bunch because, unlike those three other sad sacks, he never pretended to be Back from the Great Beyond. We first met him as an anonymous construction worker whom Superman saved from a thirty-story fall. By way of a thank you, Big Blue instructed him to “live a life worth saving.” The rest is confusing comic book history. Continue reading Steel (1997)
Green Lantern: First Flight (2009)
I’ve always liked Green Lantern in theory, but I’m one of those annoying bastards who only started paying attention to the title after annoying bastard de jure Kyle Rayner began leaving a trail of dead and depowered girlfriends across the DC Universe. For the longest time I only knew Hal Jordan, the Silver Age Green Lantern of the 1960s and still (apparently) a fan favorite to this day, in his Darth Vader persona, Parallax.
Then Hal died and came back to life again, as popular characters are so wont to do, and by 2005 he’d returned to his former role and his own book with nary a “Sorry about that little attempted genocide.” Gotta love those Cosmic Reset Buttons. Couldn’t have happened at a better time. Back in 1994, when Hal first went power-mad, superhero movies were a punch line…especially if they stared Alec Baldwin. The year after Hal died (that first time) Joel Schumacher killed Hope itself with a little atrocity called Batman and Robin. Ah…but today… Continue reading Green Lantern: First Flight (2009)
Iron Man 2 (2010)
Given that Iron Man 2‘s already a Designated Hit of the Year, nothing I can say will make the least bit of impact on the film’s bottom line. I find that rather freeing, because I don’t have to pretend the film is some amazing stand-out example of its genre. It’s not bad, but it’s still a fuzzy-headed rehash of tropes that should be familiar to anyone who’s watched a superhero sequel. The Villain Hypertrophy, the mawkish sentiment, the origin of A Sidekick, the Hero striving against his Fate, trying to shore up his Legacy against Death’s inevitable encroachment while simultaneously learning how to play well with others – it’s all here. And it’s all so mind-numbingly safe I had to slap myself with a Netflix envelope just to recall why I was here. Continue reading Iron Man 2 (2010)
Superman/Batman: Apocalypse (2010)
Well bisect me with a light saber. Here I am, ready and willing to take a break from hating everything and review another superhero cartoon before the October Horror Movie season and DC Animation, in their infinite (sarcastic airquotes) “wisdom,” gave me this one. I really couldn’t be happier. Because its exactly half-bad.
Apocalypse is the direct sequel to last year’s Public Enemies, as you’ll hear from the Gotham City talk radio DJ in the precredit sequence. “A rash of meteor showers has lit up the country from coast to coast this week following the destruction of a giant Kryptonite asteroid by our own Dark Knight.” {More}
Superman/Batman: Public Enemies (2009)
As you’ve no doubt guessed by now, my personal political views fall somewhere to the left of Mikhail Bakunin. So, as you’d expect, I experienced quite the nerdgasam back in the year 2000 when (through a convoluted story line tonight’s film rightly jettisons without the slightest nod) Lex Luthor became President of the D.C. Universe’s United States. Finally, I said to no one in particular, given that at the time I had no friends, someone in comics understands the f-ed up mess we’re in.
But all good things must come to an end, and since this is D.C. Comics, that “end” must engulf the entire world in some form of world-engulfing peril, preferably one stolen from the plot of a popular summer sci-fi/action movie. Because you can’t throw D.C.’s most insanely-powerful superheroes at just any-old idiotic inhabitant of the White House.
Or can you…? Here again, the Justice League TV series captured my heart by daring to actually ask this question several times to continually ass-kicking effect, only chickening out when it looked like their show might be canceled, necessitating the Climactic Battle restore the status quo. I’ve waited three years for a cartoon that dares to look into the actual nuts and bolts of superheroing during the Luthor Administration. All I can say is, I’m still waiting. In the meantime, at least we’ve got Public Enemies. {More}
Kick-Ass (2010)
Of all the U.K. comic book writers ‘ported over during the 1980s, Mark Millar stands as an all-time champion of sorts, never missing a chance to destroy the goodwill he’s managed to build up with his audience. Kick-Ass, the book, is a perfect example of this, as well as everything wrong with modern comics in general and Millar’s comics in particular. A cynical, revisionist nightmare disguised as a superhero story, starring yet another morosely-unsympathetic protagonist who sublimates his own misanthropy, misogyny, and angst by dressing up in a silly costume and beating others bloody.
The twist? In the case, Our Hero is himself repeatedly beaten bloody, sent through physical, emotional, and psychological tortures most comic book writers reserve for their female supporting characters (before dutifully stuffing them into refrigerators). {More}
Justice League: Crisis on Two Earths (2010)
The day I discovered NOVA’s The Elegant Universe was a grand day at around this old Batcave o’ mine. I rejoiced that physicists had finally figured out what we comic book nerds have known for over fifty years: our world is but one of an infinity of universes, operating on parallel levels of what we so blithely call reality. Bully for you, Science. Welcome to the party.
As with so much else, superheroes had a large part in popularizing what was once the esoteric pipe dream of clever sci-fi authors. The Justice League first met their “evil” dopplegangers, the Crime Syndicate of America, back in 1964. And while those original Silver Age comics have…shall we say…mellowed…in their old age, I still respect the CSA’s original motivation for jumping dimensions: sheer boredom at the ease with which they’d conquered their own world. (with the exception of one Alexander “Lex” Luthor). The Justice League cartoon series updated and expanded up this plot to great effect in its second season two-parter “A Better World.” And while this Justice League cartoon was originally meant to be a transition into the series’ third season, life, and a tight production schedule, intervened. It still works as such, but feels oddly out of place coming so far down stream, after I (for one) thought Warner’s Animation department had run this idea into the ground. {More}