Fifteen Movies In 2013 That I'm Jazzed About

As a movie buff, I have a ton of flicks that usually catch my interest, in a passing sense.  However, there are very few films that I really get absolutely jazzed up to go see.  Usually, this starts with a trailer, although there are a great deal of movie sites and magazines that also direct me to a film that I might decide to watch.  With that said, there was a list of 15 movies that I was really psyched up to go see this year, and here are my thoughts about each one, from what I've seen on the trailers or researched on the internet.  Hope you are entertained.

Gangster Squad

The first movie I was psyched up over was Gangster Squad, which has a great top billing, with Josh Brolin, Sean Penn, Ryan Gosling, and Emma Ston, among others.  It's the story of a secret police unit that is formed to take on L.A. Gangster Mickey Cohen, and their efforts to bring him to justice.  The movie looks great, with a prohibition gangster type feel (even though it's set just after World War II).  The wardrobe looks phenomenal, and it looks have have enough cleverly cheesy dialogue and action to keep one entertained. This movie is already out, and will be seeing it this weekend.  Yeah-ya!

Warm Bodies

What can only be described as girl meets boy-zombie, I'm really jazzed about this film.  We have very few zombie comedies that work, with Shawn of the Dead and Zombieland being the only two that come to mind so far.  And the trailer looks funny, so hey, why not?

Pacific Rim

This definetely appeals to the Sci-Fi nut inside me.  Pacific Rim deals with Aliens that have somehow managed to come to Earth, via what appears to a dimensional crack in the middle of the Pacific.  To combat this, the nations of Earth create several giant sized robots to combat the menace, with each one remotely controlled by pilots in a VR simulator.  This movie looks great, and is a bit of an homage to the giant monster movies of the past, made famous by Toho.  It also looks almost like a direct copy of the anime series, Neon Genesis Evangelion, only with the robots resembling the ones from Robot Joxx, and not the biomechanical machines from the series.  Will that deter me from seeing the film?  Hell no! 

Man Of Steel

I'm not the biggest Superman fan in the world, although I do respect his place in comics history, and do love some of the stories that he does appear in with Batman at times.  However, I will admit that I loved the original Superman film, which a good superhero film and was the standard by which such films were made until the release of the original Batman film with Michael Keaton.  However, the character itself has been in a bit of a rut since the original Reeves films were made, and that franchise itself went south once Richard Donner was unceremoniously axed from the second film.  Even the most modern entry, Superman Returns, tried to continue the Reeves' films storyline, to no avail.  This new film with Henry Cavill in the iconic blue and red tights, looks quite good, and plays to the strengths of the character: a near godlike figure with the humility of a saint and the desire to do good tries to make the best use of his gifts in the world.  There hasn't been much in the form of details about the plot leaked out, which makes us have to continue to guess as to what the film is about, but so far, it looks like the Man of Steel will be getting the proper film treatment that he deserved.

Star Trek Into Darkness

The new Star Trek franchise, directed by J.J. Abrams, did something that not many people ever thought could be done with the franchise:  reinvent it, and yet keep the essence of the original intact.  Rather than have it serve as an epilogue for a T.V. series, Abrams instead took the series in a new direction, making it it's own standalone universe that makes it relatively fresh, but also familiar.  The casting is spot on, and each cast member makes sure to pay homage to their predecessor, while doing their own thing.  This new film looks dark, with the potential for it to be nearly as epic as the original second Star Trek film, The Wrath Of Kahn.  Details are still sketch, but so far it looks like Trekkies were right to keep the faith.

Oz The Great And Powerful

I'm surprised that we haven't had a sequel or prequel to the Wizard of Oz sooner, with the only real contender to this being Return To Oz back in 1985.  However, while that movie is regarded to be an unofficial sequel, and also frightening and nightmare inducing, this new entry by Sam Raimi looks to be an actual prequel to the original 1939 Film that is regarded to be one of the greatest films ever made.  James Franco is in the flick as the aforementioned Oz, and overall, it looks to be a visual feast, with enough references to the original film to make a fan like myself happy.  I might actually pay to see this one in 3D.

Iron Man 3

I'm not going to lie, aside from Scarlett Johansson, I was very disappointed with Iron Man 2.  The heart and humor that made the original film so enjoyable were gone in this one, and it seemed that the film's purpose was less based on continuing the story of the character as opposed to further setting up the Avengers film that was coming down the pipeline.  Now that the Avengers has come and gone, the franchise appears to be going back to the personal approach of the first film, with more focus on Tony Stark, the man inside the machine, and his own desire to move from what he was to what Stark really wants to be.  The trailers look good, although I'm not a fan of the newest armor.  But we'll see. 

The Lone Ranger

I was a big fan of the Lone Ranger, and have longed to see a modern take on the Ranger to this day.  I partially got this with Dynamite Entertainment's Lone Ranger comic book series, which is one of the best comics available on the market to this day.  Gone is the lily white sensibilities of the original radio and TV programs, and instead we get a realistic, harsh look at what the west really was, as well as how a figure like The Ranger and Tonto would have survived in it.  This new film, however, looks to be a compromise between the two, with a darker Ranger, but one not completely given over to the harshness of what the west was.  Armie Hammer looks good as the Ranger, and Johnny Depp looks absolutely insane as Tonto, although I'm loving the look, to be honest.  This film has been pushed back several times, but it looks like it's coming out guns blazing in the summer.  Can't wait.

World War Z

World War Z, based on the book by the same name, comes out near my birthday, and I'm stoked for it.  While I'll be beginning the year with a zombie film, this is the main course that I've been waiting for.  Brad Pitt will be playing Gerry Lane, who is traveling the world to try and find the cure or at the very least, the answer, to a zombie pandemic that is sweeping the world.  I'm currently reading the book right now, and I'm loving it so far.  As such, I'm hoping that this film will meet the challenge of at least coming close to it. 

Despicable Me 2

I loved the original film, which was smart, funny, and had enough sarcasm and cruelty in it to appeal to my rather warped sense of humor.  I haven't seen much for this film, but you better believe I'll be in line to get my share of Gru and the minions once again.

47 Ronin

When I took a course on the History of East Asia, one of the stories that I did read as part of the assignment was the story of the 47 Ronin.  It was a story about how a band of 47 loyal samurai waited and plotted to avenge the death and honor of their master, after three years and much plotting.  There is going to be some liberties taken with the story, as it will center around the story of Kai, a half Japanese, half British warrior, played by Keanu Reeves, rather than the traditional story based on Kuranosuke Oishi.  This has the potential to be a epic movie if it is done correctly, and with a great deal of care and attention to detail.  It also can be a beautiful movie to look at, if the standard shown by The Last Samurai is followed.  Appropriately, as the 47 Ronin story is usually told around that time, it will be released on Christmas Day.  You're damn right I'm going to be there for it.

Sin City:  A Dame To Kill For 

I loved the original Sin City, as it was perhaps one of the only films based on a comic book to come absolutely the closest with it's original source material.  Robert Rodriguez (when not making absolutely shitty kids films) was a student of the original content, and the result of this intense attention to detail and Rodriguez' own knack for creating beautiful violence.  This film has been pushed back several times, but rumor has it that it's finally going to start shooting soon, and that it should be in our hot little hands in the fall.  I'm keeping my fingers crossed, but I'm also not going to get my hopes up.  Rodriguez and Co. have done this before.

The Hunger Games:  Catching Fire

I wasn't the greatest fan of the Hunger Games, and Suzanne Collins' writing style makes me want to dig my eyes out of my skull with a spoon, but the film itself was entertaining enough to make me interested in the sequel.  I'm interested in the concept, in which the surviving contestants from each district are forced to team up and take each other on, and look forward to seeing how the remaining characters from the first film progress from what was an unanticipated ending to the games in the first film. 

Note:  No idea if this is what the poster will be.  Goddamn Internet.

300:  Rise Of An Empire

 The prequel to the film 300, this new entry will instead focus on Themistocles and Artemisia, who took on Xerxes, from the first film, at the Battle of Salamis.  Wikipedia also speculates that the Battle of Marathon may also play a part, which will be cool.  However, this new 300 will also delve into Xerxes' backstory, and explain how he became King.  Not much of the cast from the first film will be returning, but the early production stills and videos on the web make this flick look pretty sweet.  It's very much a man movie, although I suspect that, much as the first, plenty of women will be there for the male eye candy as well.  August is gonna rock.

The Hobbit:  The Desolation Of Smaug

My 2012 ended with a viewing of the first part of The Hobbit, so it's only fitting that 2013 will likely end with the next part of the trilogy.  Anyhoo, I'm looking forward to this, not just to see what some memorable characters such as Smaug, Beorn, as well as seeing how the Battle of Five Armies is depicted, but also seeing how Peter Jackson takes his new emphasis on the rise of the Necromancer in this next portion of the book, which apparently will have a larger role in the events of the film.  It should be a fun ride.

So with that said, 2013 is looking to be a pretty sweet movie season, and my expectations are sky high so far.  I'm hoping that I'll catch enough intriguing indie films that will make the movie going experience to be a rewarding one, and that I'll get what I pay for.

Batman On Film: How Could The Nolan Series Continue?

With the rumors that persist about Joseph Gordon-Levitt possibly being in talks to appear in the rumored to be in development Justice League movie as Batman, in a attempt to tie in both the Nolan Franchises into the project, a la The Avengers, it brings up some thoughts again as to how could the Dark Knight Series could possibly continue without it imploding into a spectacular failure as the Burton/Schumacher Franchise did.

For starters, before I address anything, let me say that I think that Gordon-Levitt would be a solid choice to be Batman.  His character, John Blake, was a capable detective, of above average intelligence, tough, determined, had a unflinching sense of justice, and was more than able of handling himself in a fight.  Provided that people are willing to see a somewhat different style of Batman, I think that he could be quite successful 

While it's possible that there could be a completely original storyline done by Warner Brothers as far as how they could continue the narrative of Batman with Blake wearing the mantle of the Dark Knight, Nolan's films do draw upon the vast and diverse amount of comic book source material available.  With that in mind, here are four different comic book approaches on how I could see any potential Dark Knight sequels progressing.

Jim Lee did the kick ass artwork above, btw.

The Batman Beyond Approach

The most popular approach that has been recommended, and probably one of the more obvious on the surface, is the Batman Beyond approach.  Batman Beyond, set in the future, is the story of Terry McGuiness, who more or less inherits the mantle of the Batman after his own father is murdered.  Guided by a elderly, but still sharp Bruce Wayne, McGuiness learns the role on the fly, over time becoming more and more skilled as his predecessor, and becoming a capable Batman in his own right.   It would work well, as Detective Blake, aside from his sharp detective skills and above average intelligence, doesn't show much in terms of the necessary fighting skill that made Bruce Wayne such a formidable opponent.  While that could be acquired, Blake is otherwise more than able for the mental rigors of being Batman, which is quite different from McGuiness for much of the series.  Plus, with Bale having all but said goodbye to the series, and his Bruce Wayne having appeared to be at peace and happy for the first time in ages at the end of the The Dark Knight Rises, it's highly unlikely that this will be the way to go.  This doesn't mean that the Batman Beyond concept should be ignored, as the series is now regarded to be a modern classic.  The writing is still excellent, the animation is on par with modern series', and it still feels innovative and fresh when viewed now.  It has aged aged remarkably well, and could be a successful film series in it's own right if Warner Brothers decided to go in a completely different direction than a reboot.  Keep this series in mind, and in the meantime, check out the series if you've never seen it before.

The Batman: Reborn Approach

In 2009, after a storyarc that resulted in the apparent death of Bruce Wayne, and a citywide fight in a chaotic Gotham City instigated by Jason Todd, Bruce's fallen Robin, in The Battle For The Cowl, the Batman titles returned to find a new Batman and Robin team gracing their pages, with Dick Grayson, the original Robin, now wearing the mantle of the Bat, and Damian Wayne, Bruce's highly skilled, but violent and socially inept son, now as Robin.  Though the pairing didn't last, as Wayne eventually returned and the entire DC Universe was rebotted after the events of Flashpoint, the concept of a different man under the mask was highly successful, and incredibly popular, much more so than DC's past failed attempt at replacing Bruce Wayne in the failed experiment of John Paul Valley as Batman.

This is probably the storyline concept that would make the most sense, as Dick Grayson was a younger man that respected the legacy of his mentor, but at the same time was not afraid to be his own man.  He had the uniform altered to fit his fighting style, as well as the technology in some cases, and had his own methods for dealing with the police and with the Rogue's Gallery (most notably the Joker, who actually disappeared during Grayson's tenure, only to turn up posing as a masked detective in the UK.)  For the concept to work, however, the writers of the film would have to consult with Grant Morrison, who planned the entire sequence of events leading to Wayne's exit and Grayson's elevation.  Morrison also operates more or less along the lines of Nolan (in my opinion) and wouldn't be afraid to find new ways to modernize and twist up the various Batvillians into the series.   This is my pic for how the series would continue.

The Three Ghosts Of Batman Approach

Another concept for possibly introducing Blake into the role of Batman would be another Grant Morrison concept, The Three Ghosts of Batman.  In this storyline, Batman stumbles upon three masked pretenders, all clad in some variation of his costume.  As the story develops, Batman uncovers that a failed Gotham P.D./U.S. Military Project to train three capable Gotham City cops, one of whom would replace him if he were ever to fall in the line of duty.  It was an interesting, and at times, twisted story, especially when you saw that the mental conditioning and trauma that would normally serve as the drive that kept Batman going had essentially driven the three insane.  It would certainly be a good approach to see in a Nolan series extension, in which Blake, newly operating as Batman, is confronted by each of the three pretenders, whom all seek to take on the role that they trained for, but was given to Blake.  The problem is that it would be an incredibly difficult concept to pull off believable, and as such, the only would who might be able to pull off the concept might be Nolan himself.  Because Nolan has moved on from the Dark Knight, that's not happening.

The Dark Knight Strikes Back Approach

The Frank Miller era of Batman isn't a new source for the Nolan Franchise.  Batman Begins was very loosely based on Batman:  Year One, and The Dark Knight Rises has elements from The Dark Knight Returns integrated into it.  So why not go back to the Miller well one more time, and use the base premise of The Dark Knight Strikes Back, in which Batman, after a hiatus and taking time to rebuild his body, arsenal, suit, and train and army of vigilantes, returns to take down the totalitarian regime that is run by Lex Luthor.   Except in this case, we can simplify it to being just Blake, having taken the time to condition his body in a manner similar to his predecessor, as well as rebuild the arsenal by collaborating with Lucius Fox, returns to Gotham to strike back at a new criminal syndicate that has formed in the absence of Batman.  It would still have the realistic, gritty appeal of the Nolan films, as well as allow for the introduction of other classic Bat villains to take part in the mayhem (Killer Croc, Harley Quinn and even The Riddler all lend themselves particularly well for the Nolan treatment).  It works from a certain point of view, but you would have to have a creative enough director and writer to pull it off.

All in all, there are several ways you can go for reintroducing a Batman into the Nolan Universe, if you are creative enough.  There are infinite amounts of possibilities, provided the director is as inventive enough as Nolan was.  It all hinges on Warner Brothers, the parent company of DC Comics, feeling on whether or not they are willing to go with a Batman without Bruce Wayne.  It would take a great deal of courage to do so, but it could be immensely successful if they so choose to go in that direction.

Movie Review: The Dark Knight Rises

Before I begin, again, I'd like to send a moment to honor those that were senselessly murdered in last night's showing in Aurora, Colorado.  If you have anger, despair, or some other emotion that inspires you to even toe that line where you would do something, Stephen King said it best:  do something constructive.  Don't be an asshole.

And now, the review.

Synopsis (as spoiler free as I can make it, using the elements from the trailers):  Eight years have past since the end of the events of The Dark Knight.  Gotham has settled down into a relative peace.  Thanks to the decision to sacrifice The Batman in order to protect the work of Harvey Dent, Commissioner Gordon has virtually wiped out crime in Gotham, although the decision to do so weighs heavily on his soul.  As for the Batman himself, he has mostly become a memory, and urban legend.

All that changes with the arrival of Bane, a former member of the League of Shadows, who arrives to Gotham to essentially perform the same task that Ras Al Ghul desired to accomplish: Gotham's downfall.  Bane strikes at the fragile foundation that this peaceful Gotham has been built upon, and as the entire structure falls, and chaos reigns over the city, the city must once again turn to the protector that they once shunned, to try and save Gotham City, one last time.

Thoughts:   The Dark Knight Rises (DKR for the rest of the review), already was behind the eight ball with the expectations heaped upon it from the raging success of The Dark Knight (DK).  However, the film didn't shrink in the face of such stress, and rather than produce something that was merely average (Batman Forever, Terminator 3), or something that was absolutely steaming crap (Spider-Man 3, The Matrix Revolutions), DKR instead elevated itself to the rare platform of being a third film that successfully concluded the narrative with all the style and substance of it's predecessors, while leaving the audience feeling satisfied and saddened that the series is over, and wanting more.

The film draws upon several different Batman story arcs, mainly Knightfall and The Dark Knight Returns, with some elements worked in from No Man's Land and A Lonely Place of Dying worked into the mix.  However, these are only the most notable of the story arcs, as Nolan gathers elements from all of the Batman universe to create this movie that feels familiar, and yet is uniquely original.  There are even a few elements that are quite sneaky, but once you see them, you wonder how you missed them in the first place.

There are a great many themes at play in this film, but the two main ones being the importance of truth and loyalty. In the case of the former, the decision to hide the actions of both Harvey Dent and Rachel Dawes continue to be felt, and both still have a looming presence over the beginning of the movie. The consequences of the creation of their near sainthood weigh heavily on the two caretakers of the lie, Jim Gordon and Alfred Pennyworth. In both cases, the law of unintended consequences takes effect, as a very different outcome surrounds the original good intention of the action, and in both cases, the caretakers wonder if it was really worth it. As for loyalty, that also plays a large role in the film, as the relationships surrounding much of the early characters of DKR are ambiguous, and often come off as relationships of convenience rather than true loyalties. Only when times truly get dire do we see the intricate web of personal connections among the two different factions, including some that we never really do see coming.

Christopher Nolan does another dynamite job in this film. The visuals are stunning, maintaining that dark, gritty feel that has come to be identifiable with Chris Nolan, while also showing various other sequences meant to portray the depth of despair, the opulence of wealth, and the dark shroud in which the Batman operates all help contribute to the rich tapestry of the film. The music is fantastic, as can only be expected from Hans Zimmer, who hands down is probably one of a handful of movie composers that can legitimately tap into the soul of a film to draw out its inner melody.

Christian Bale reprises his role as Batman, making him the only member of what I believe George Clooney has dubbed “The Brotherhood” (I’m assuming from this interview on Grantland, linked here), to have portrayed the role for three films. And he certainly delivers, giving a solid performance in both halves of his role. And it also brings to mind a question explored somewhat in the comics, but never in the movies until the Nolan franchise, the physical and mental cost of being Batman. In his zeal to assume his ideal, Wayne has sacrificed and been drained of so much of himself, that at some point, there is a breaking point where he will turn up empty.

Anne Hathaway, who received a lot of scrutiny over her casting as Catwoman, delivers in her part of the film, being a sassy, morally ambiguous, that hides the shards of her humanity deep within herself in order to be able to do her job. Her action sequences are also well done, and while the outfit itself isn’t quite what one would have expected when the announcement of the role was released, it’s quite appropriate for what it’s original intended role was. Overall, she did a good job, and while I’m not quite ready to crown her as the greatest Catwoman ever, she just might be (especially considering the competition.)

Bane is excellently portrayed by Tom Hardy, and is an upgrade to the abomination that was placed onscreen in Batman And Robin.  He is close to what he was in the comic source material, that of a brute, but highly intelligent criminal, cut from the same cloth as Batman, but rather than sewn into the shroud of justice, he instead was sewn into the standard of evil.  He also symbolizes another theme in the film:  class warfare.  Without giving away too much, Bane shows little empathy for those that are in power or wealthy, and has no problems deposing and possibly disposing of them.  That said, I will admit, that it is in this department that there is some weakness in the film, but only from the standpoint that it was nearly going to be impossible to top Heath Ledger as the Joker, and almost any villain, despite how well he is implemented and created, would see slightly dimmer in the wake of that performance.


The supporting cast delivers as well, which is one of the strengths of the series that cannot be overstressed.  I loved Michael Caine in this movie, who shows again all the fatherly love that Alfred in the modern comics feels for Bruce.  In a way, you feel for him, as he knows that he cannot stop Bruce from donning the cowl again at some point, and likely wonders just how much longer he can continue to indulge Bruce's urge to place himself in danger, knowing that each night, there is a chance that the son that he never had will never return.  Likewise, Morgan Freeman returns, and again, serves as not just a trusted armorer, but also a capable operative of the Batman when necessary. There are even a few characters that you may recognize from previous films, which solicit a variety of reactions, including one that will make you laugh your ass off once you recognize him.


Gary Oldman and Joseph Gordon-Levitt also are solid in this film, and form a solid tandem.  Oldman is solid as always, and while I can't elaborate too much on his actions or role, let's just say that he continues to amaze as a man who is just as devoted and shackled to his city as the Batman himself.  Levitt is a welcome addition to the series, showing the melding of the two philosophies of both his mentors.  He's rapidly developing into one of the better rising stars of Hollywood, and I look forward to seeing his work that will be coming in the near future (I'm already making plans to see Looper.)

It was also neat to see the different technologies from the prior two films worked in.  While I'm not all that enthused about the design of the newest addition, the Bat, it does fit in with the function over style motif of the series, and, I will admit, it was an incredibly useful addition.  I loved seeing the return of both the Tumbler and The Batpod, and even what appeared to be the return of the Batman Begins batsuit, although due to sleep deprivation and a caffeine binge, I'm not certain if it was.

All in all, it was a worthy conclusion to the Dark Knight series, making it the rare trilogy in which all three of the films are legitimately solid movies in their own right. It is the final stanza of Nolan's grand opus, and in the end, we are left pleasurably in awe and probably better for the experience.  All in all, if more movies were made with the intent of telling a fantastic story, with all the quality writing and style that is available, maybe people wouldn't be so jaded with Hollywood.  It'll never happen, though, which makes these cinematic treasures all the more valuable.


Okay, Minor Spoiler:  There is no post credit scene, so go ahead and leave.

Batman On Film: From West To Bale

Some quick Batman film thoughts about each one of the current flicks before the marathon starts....

Batman:  The Movie
Batman At The Helm:  Adam West
Other Cast Members Of Note:  Burt Ward
FourWorld Review:  Classic, although highly stupid
Thoughts:  Honestly, if I were to sum up Batman the Movie, it would be something like this.  It's essentially everything that was both good and bad about the original series.  It was fun as all hell, campy, with no real dangerous or threatening characters.  It had bat gadgets galore, including the infamous shark repellant, and the campiest of campy acting ever assembled.  It's very much a time capsule of not just the series, but also of what comics were at the time: tame, fun, and non-threatening.

Batman
Batman At The Helm:  Michael Keaton
Other Cast Members Of Note:  Jack Nicholson, Kim Basinger
Four Word Review:  Trailblazing Modern Comic Classic
Thoughts:  Who'd a thought that Tim Burton could have not just successfully created a comic book movie, but also virtually wrote the template of how to make one.  While it's not a completely faithful translation, it is a great movie.  The cast is excellent, with Keaton playing a reclusive jericurled Bruce Wayne that fights crime as Batman on the weekends.  That said, the big issue I do have is that Batman does not kill, which Keaton's Batman clearly has no problems doing so.  Jack Nicholson is the outgoing criminal psychopath who is charming and deadly at the same time.  Gotham City is beautiful, art deco fantasy city that perfectly allows for the characters to run around.  And it has the greatest Batmobile of the film series, one which would replace it's predecessor as the template of the comics Batmobile.

Batman Returns
Batman At The Helm:  Michael Keaton
Other Cast Members Of Note:  Danny DeVito, Michelle Pfeiffer, Christopher Walken, PeeWee Herman
Four Word Review:  Underrated, but solid sequel.
Thoughts:  Burton returned to Gotham, continuing the saga of the universe he created.  Keaton continues to mind the cowl, and does well.  It took some balls to try and translate the Penguin into a main villain, which still is a problem in comics to this day, but DeVito's portrayal is a treat, showing a tragic figure that doesn't garner much sympathy because he is a truly evil bastard.  Pfeiffer is also excellent, portraying the Catwoman as a femme fatale that would probably make love to you in the corner of the alleyway just as like as she would slit your throat.  This is a much more violent movie, and is a lot more frightening than it's predecessor.  In fact, this is probably more of what you would expect from a Tim Burton film than Batman.  That said, while it was panned and not as profitable when it first came out, history is very kind to this film.

Batman Forever
Batman At The Helm:  Val Kilmer
Other Cast Members Of Note:  Jim Carrey, Tommy Lee Jones, Nicole Kidman, Chris O'Donnell
FourWord Review:  Better Than You Think
Thoughts:  Because of the darkness of Batman Returns, Burton stepped aside for Joel Schumacher, who took the series to a new direction.  The focus was turned to a mainstream audience, while whoring out plenty of bat merch.  Keaton left the role, disliking the direction, but Kilmer was a worthy successor, whose Batman was honestly a lot closer, though less dark, to the original comic source material.  The focus of the movie moved toward the campy, paying a sort of indirect homage to the 60's Batman series.  O'Donnell was an adequate Robin, not outstanding, but served his purpose.  Carrey stole the show, portraying a manic genius, although I do think that his master plan could have used some tweaking.  Jones was awful, and shows that sometimes even the best actors can't turn a turd into a diamond.  This film also has the ugliest of the Batmobiles, and it's mercifully destroyed toward the end.  I also hated how they decided to call into question Batman's purpose for being Batman, as there was no need for it.  I could have done without the Bat nipples, and hated the departure of Burton's Art Deco Gotham and the arrival of Schumacher's combination of Tokyo and Vegas, with some Ecstasy and LSD>  Still, it is an entertaining film. although the trilogy should have ended there.

Batman and Robin
Batman At The Helm:  George Clooney
Other Cast Members of Note:  Chris O'Donnell, Arnold Schwartzenegger, Alicia Silverstone, Uma Thurman
Four Word Review:  Fucking Flaming Shit Pile
Thoughts:  This is just a terrible writing, with too many plot lines, all of them under developed, detestible characters, and too many characters and villains.  Clooney's Batman could have been something, but instead he was given terrible writing and is also a bystander in his own movie.  O'Donnel and Silverstone are terrible, and while I would give them the benefit of the doubt just because of how rotten the writing is, it did kill their careers.  Schwartzenegger is terribly miscast as Mr. Freeze, and probably should have just been Bane from the beginning.  Bane himself is strictly cast as dumb muscle, which is an injustice to the character.  Uma Thurman sucks as Posion Ivy, losing all of her Pulp Fiction cred and being cast into show biz limbo until Kill Bill.  All in all, this is really just an extended commercial for Bat merch and it killed the franchise.  Things could have been so much better, but instead, greed and half assed effort took over. 

Batman Begins
Batman At The Helm:  Christian Bale
Other Cast Members Of Note:  Michael Caine, Liam Nielson, Morgan Freeman, Gary Oldman, Ken Watanabe, Katie Holmes, Cillian Murphy
Four Word Review:  Fantastic First Film Effort
Thoughts:  Rather than try and resurrect the basis of the original franchise, Christopher Nolan instead attempted to do a realistic and grounded film, completely trying to do a actual film with a superhero than a superhero movie.  Bale is the best of the Batmen, and is the closest to come to the comic source material.  The visuals are stunning, and the writing and symbolism are off the charts fantastic.  All in all, this is how comic movies should be made, and it looks like the studios took notice.

The Dark Knight
Batman At The Helm:  Christian Bale
Other Cast Members Of Note:  Heath Ledger, Michael Caine, Morgan Freeman, Gary Oldman, Aaron Eckhart, Maggie "That Thing!!!!" Gyllenthall
Four Word Review:  Rare Sequel Surpassing Orignal
Thoughts:  Nolan outdoes himself, giving Batman a threat that is his equal.  Multiple storylines, but unlike Batman and Robin, all are developed well and come to a satisfying resolution.  Again, the visuals are stunning, and the action sequences are top notch.  The writing is brillant, and there are acting gems to be had everywhere.  Ledger is the talk of this film, giving his Joker a sense of pure and insane deadliness, while Bale gives a solid performance of a man who is torn between his desires and his duty.  The cast is wonderful, and even The Thing is tolerable in her scenes, although I wish that Holmes had returned (Fuck You, Tom Cruise).  Eckhart does the job that Jones couldn't or wouldn't, and gives Two-Face that sense of humanity and pity that he has in the original comic source.  All in all, it's not just a great superhero movie, it's a great film period, and should have gotten more awards attention than it did. 

The Dark Knight Rises
Batman At The Helm:  Christian Bale
Other Cast Members of Note:  Gary Oldman, Tom Hardy, Anne Hathaway, Michael Caine
Four Word Review and Thoughts:  Coming soon......
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Third Movies in a Trilogy are a mixed bag

With The Dark Knight Rises coming out in two days, I was thinking about the history of three movies, and how they typically turn out.  So, with that said, here are some thoughts of some three movies that I have seen.  It's not at all comprehensive, as there are some notable ones (Indiana Jones, The Transporter, Nightmare on Elm Street, and others) that aren't listed.  But, let's take a look, and see what will can possibly be an outcome for the Dark Knight Rises.

My Continued Infatuation With Oh My Goddess!

When I was a stupid teenager, I fell fast and hard in love with anime.  It wasn’t hard to see why, as American animation, save for the DC Animated Universe, was in severe decline, and still is to a certain extent, no matter the amount of effort [adult swim] tries to convince you otherwise.  There was also a huge amount of exceptional anime out when I was in my teens as well.  I had my choice between the Gundam series, Neon Genesis Evangelion, Rurouni Kenshin (the Samurai X mini-series remains my favorite bit of animation ever made), as well as any number of other quality programs.  The original Dragonball series was beginning to hit in Mexico, and was a fun program, and even it’s much darker and less plot concerned successor, Dragonball Z, was excellent with it’s Spanish voice acting.  Ranma ½ was a quality series, and two other series, Hanna Yori Dango (Boys Before Flowers, which could outdo any English teen drama in terms of plucky heroines and social issues) and Trigun, which was really the last great anime I watched.  Oh, it was fun times, and great series’, many of which were watched with my little sister, who enjoyed the heck out of these programs as well.

Then, well, everything went to hell.  Several successor programs coming out of Japan began making their way here, and really, once the focus began to shift more on merchandising, and less on content, the quality of anime making its way over just crashed.  I also grew older, and found many of the series’ coming out to be more focused on cheesecake and fights than on the story (I’m looking at you, Bleach!)  Eventually, I returned to the world of comic books, which had greatly improved since my teenage years, and abandoned the world of manga and anime altogether.

Except for one series, which remains a must follow for myself, even today.  Kosuke Fujishima’s masterpiece, Oh My Goddess!

Oh my Goddess, to put it bluntly, follows the story of a young college student, Keiichi Morisato, who accidentally calls the Goddess Relief Line, and given the opportunity to make a wish for anything he wants.  He accidentally winds up wishing for his goddess representative, Belldandy, to stay with him forever.  The wish is granted, and throughout the rest of the book, it details Keiichi and Belldandy falling in love, and their different adventures together as the years pass.  They are later joined by Belldandy’s older and younger sister, Urd and Skuld, who cause their own amount of mischief, for their own reasons.

It sounds simple, sounds so lame, and yet it’s quite engrossing.  Unlike most male protagonists, in comics from both sides of the Pacific, Morisato is an everyman, and not someone who is blessed with exceptional fortune, luck, or powers.  He simply is what he is, and that’s a good man who seeks to persevere and follow his dreams.  Belldandy is the all powerful, beautiful woman at his side, who is supportive and loving of the man she accidentally remaining with.  The supporting cast have their wacky quirks, but all at their core are fairly decent people, with the exception of the series’ few antagonists.

Like several other series creators, Fujishima pulls double duty in the series, doing both writing and illustrating.  In terms of artwork, you see the progression of Fujishima’s skills as time passes in each issue.  The beginning episodes are rather crude, when you look at them for the first time, and feel very busy.  However, as time passes, you see that constant repition and work have resulted in an ever improving style, and a steadier hand.  When you now look at the more current issues, you see that Fujishima has managed to create a beautiful, simple, but expressive style throughout his works, that feels visually pleasing, and compliments his writing well.

Fujishima’s style, so unique to him, was also one of the main reasons why I started learning how to draw.  The simple and beautiful renditions of Fujishima’s characters was so lovely and so pleasing to the eye, I wanted to see, could I try and do that.  Could I be able to draw similar to this man whose work I adored?  I look back and only say, “Foolish child.  Everyone’s work is unique.” And that was before I discovered other artists who I admired, actually received training on how to draw, and began to have conflicting schools of thought when I drew, resulting in my current hybrid style of work that is still very much in transition that you see in my artpage.

But, in the end, what continues to draw me into reading scanned and translated copies of Oh My Goddess online is that almost cheerful wholesomeness told throughout each issue.  It is, at it’s heart, a love story between two really nice people, and the surrounding people in their lives. While the story can at times trend a bit towards the dark, love does conquer all, and people at their heart are wonderful, nice, caring, and peaceful, in spite of their own little quirks.  And, in the end, it’s that lovely warm, kind little world that I’m drawn back to.  Maybe it’s too optimistic, or too simple, but in the end, it all comes down to one central reason why I continue to hold onto this series, years after I’ve by and large abandoned anime and manga as a whole:

Because I love it.

Batman: The Cult. A Graphic Novel Review

Published In 1988

Written By Jim Starlin

Art By Bernie Wrightson

Despite my different rantings posted here about books, food, booze, and music, I’m a comic nerd at heart.  It was the first real illustrated and creative medium I was exposed to, and it’s the one thing that I can always say has influenced me in terms of other creative pursuits that I’ve done.  When I first began to try and write, it was with the influence of the iconic writer Jim Starlin in my mind.  When I first began to draw, Jim Aparo was in my head.

And so, I’ll be covering a series of graphic novels in my little soapbox on the internet (last I checked, it was Irish Spring).  If nothing else, it can serve as a sort of recommended list for you all if you have a lot of time to kill at a Barnes and Nobles, and are interested in reading something other than the vast amount of martyred trees that now are emblazoned with how you can get six pack abs in seven days or Oprah’s latest favorite things.

In Batman: The Cult, the story follows two different rises and falls.  The first is that of Deacon Blackfire in Gotham City, whose teachings have led him to acquire a large band of homeless people who have begun to met out their own vicious and bloody brand of social justice.   The second is that of Gotham’s iconic defender, the Batman, who while investigating Blackfire is captured. Batman, after a lengthy captivity in which he does suffer torture, brainwashing, drugging, and extreme dehydration and food deprivation, does indeed succumb to Blackfire’s teachings and becomes a willing convert.

Blackfire steps up his campaign to take control of the city, assassinating politicians and nearly assassinating Commissioner Gordon, who must be hospitalized.  The police, then the National Guard prove to be ineffective as the city descends into anarchy, until finally Martial Law is declared and the city is sealed off.  Batman is found by Robin, and only the sight of nearly seeing his apprentice nearly murdered does Batman take action.

After a short recovery, and some self reflection, Batman and Robin enter the city, where they engage in minor urban warfare against Blackfire’s followers.  They also witness the numerous examples of chaos, looting, careless murder and human depravity that have been done in the absence of authority.  Batman enters the sewer, where he bests Blackfire in combat, but does not kill him, eventually breaking the evil preacher and leaving him to be destroyed by his horde of followers, who have become so used to bloodlust that they find themselves overcome by it.

When I first picked up Batman: The Cult, I wasn’t expecting too much, with it being rendered into the bargain bin of my local comic shop.  Instead, what I found is a dark, vicious, but engrossing story that kept me glued from beginning to end.  This is classic Jim Starlin writing, who has crafted several of the most iconic Batman stories from the Bronze Age.  When you wanted a Batman story written, Starlin was the man.
In terms of overall tone, Starlin frames the story well, writing it as a disjointed, disturbed narrative.  In fact, the story itself begins with Batman hallucinating, with the rest of the story filled in as flashbacks and personal narratives.  The entire graphic novel is chaotic, and it shares a great deal in common with the Christopher Nolan films.  Another similarity to the Nolan films is that by and large, the villain is much more realistic.  A man walking around in a freezer unit: not Chris Nolan’s style.  A insane preacher pushing to spread anarchy over a metropolis?  Very much so.  Just as in The Dark Knight, Batman himself is forced to travel to the ends of human endurance and sanity in order to try and stop the threat.

The artwork is fantastic.  Berni Wrightson’s work reflects the disjointed and maddening tone meant to be told in the story.  From the different pastel colors used to illustrate Batman’s hallucianations, the red toned water colors used to illustrate Batman’s return to Gotham and his discovery of the carnage that has been inflicted, to the peaceful, neutral colors used to illustrate the brief interlude at Wayne Manor, where Bruce attempts to patch together the broken pieces of his soul, Wrightston worked hard on this project, and pulled it off spectacularly.

Starlin’s writing perfectly captures the Dark Knight’s descent into madness, as well as his eventually mental collapse.  During his captivity, Batman is constantly exposed, through brainwashing and neglect, to Blackfire’s message, preaching justice, but at the cost of a great deal more brutality than even Batman is willing to go.  Over time, even Batman succumbs to the vicious gospel being preached, even to the point where he violates his own principles.  He uses a gun, something he pledged never to do because of how his parents were murdered, and he takes a life. Granted, while the murder itself was committed while Batman was hallucinating (he thought it was the Joker), the fact that even his principles and judgment could be compromised so much haunts Batman.  So much so that even after he regains control, it takes him some time before he can recover from being broken.

The Cult is also one of the few appearances of Jason Todd as Robin, the much maligned successor to Dick Grayson, the original Robin.  While the majority of Todd’s appearances as Robin from his post-crisis introduction show him as a angry youth determined to push the limit, while his subsequent appearances portray him as little more than an annoying idiot, The Cult is different.  Starlin, who would later script Todd’s demise in A Death In The Family, portrays Todd as a competent crime fighter, a loyal assistant, and, refreshingly, a genuinely caring human being.  It’s quite refreshing, and is perhaps the only real favorable presentation of Todd in comics other than his appearance in Gotham County Line, which also shares some similarities in tone with The Cult.

Blackfire himself is quite the character.  He is portrayed as a charismatic, energetic, and high manipulative leader, seeking to push his ultimate agenda of achieving power, chaos and destruction.  While Blackfire does spread a story about being an immortal Indian shaman who discovered the secret of eternal youth, whether or not he truly was or this was simply a part of his scheme is left up to the reader.  For a one shot villain, Blackfire is remarkably effective, and instantly loathable as you see him go from cult preacher to the leader of a violent army.  Seeing his ultimate end is rather satisfying as you see Batman earn a bit of payback by breaking the evil preacher, then watching as his hoard turn on him.

All in all, The Cult is a wonderfully satisfying tale to read from beginning to end.  While it’s not normally found in Barnes And Noble, a few dog eared copies appear in Barnes and Noble on occasion.  Give it a shot if you read it.  It’s darkly good.