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Superman/Batman: Public Enemies DVD Review

Kofi Outlaw — Sun, 27 Sep 2009 02:07:09 +0000

Superman and Batman have long been the top favorites in the DC Universe – and the only things fans love more than seeing them in their respective adventures is seeing them team up to take on evil. In fact, fans love the Superman/Batman pairing so much that in 2003, DC Comics launched an ongoing Superman/Batman comic book series as a reboot of the historic series World’s Finest Comics, which ran from 1941 to 1986.

The first six issues of the new Superman/Batman featured a story called “Public Enemies”, which was written by Batman scribe Jeph Loeb (The Long Halloween, Hush) and illustrated by Superman artist Ed McGuinness. The story centered on Superman and Batman taking on President Lex Luthor (you read that right) and a whole bunch of DC villains and heroes, who all believe that Superman is responsible for a Kryptonite meteor careening towards Earth. Loeb and McGuinness did such a fantastic job with “Public Enemies” that the DC Universe animation team (once again led by DC guru Bruce Timm) decided to adapt the story for their latest direct-to-DVD (and Blu-ray) animated feature film. I’ll be reviewing the DVD version.

Superman/Batman: Public Enemies is an almost carbon-copy translation of Loeb and McGuinness’s work on the page. Directed by Sam Liu (Hulk vs. Thor), the animated feature is drawn in the Jack Kirby-meets-anime style that McGuinness is famous for, while the script by Stan Berkowitz smartly preserves a lot of Loeb’s dialogue from the comic. I for one am happy that the filmmakers chose to glue themselves to the source material and not let go.

For those who have read the comic book version of Public Enemies: If you enjoyed what you read then you’ll get the same geektastic thrill I did watching the story come alive, looking oh so gorgeous on the big (TV) screen. For those who didn’t read the comics: You’re in for one of the best Superman/Batman stories ever written, embedded in 67 minutes of non-stop, old-school super hero action and adventure.

This film is literally a start-to-finish series of battles. Superman and Bats take on everyone from Metallo, Gorilla Grodd, Mongul, Major Force and about four different ice-powered villains from around the DCU, to fellow heroes Captain Atom, Hawkman, Captain Marvel, and ultimately, Luthor himself. That’s pretty much the movie. Each battle sequence is a pleasure to watch and highlights the differing styles, tactics, strengths and weaknesses of both Supes and Bat The battles also highlight the bond that makes these two heroes truly equals.

As with any translation, we do lose a few things: Some plot points of the beginning and ending were changed to fit a standalone feature film, and in the middle we lose that great sequence from the comics where the sidekicks and disciples of Supes and Bats (Robin, Supergirl, Nightwing, Superboy, etc…) storm the Oval Office, only to get their butts handed to them by Luthor. The biggest loss, however, is Loeb’s wonderful Supes/Bats dual internal monologue technique, which he employed brilliantly in “Public Enemies” to illustrate the heroes’ comparative/contrasting opinions of one another. It was a highly enjoyable aspect of the comic, but I’m sure we can all understand why it didn’t make it into the movie. Just one more reason to pickup the comic version and read it for yourself.

Speaking of the comic, for fans who might be wondering: Yes, we still get to see the Superman/Batman rocket ship – and yes, Power Girl is still drawn with all her fantastic endowments in place .

Stars of the former Superman and Batman animated TV series – Tim Daly, Kevin Conroy and Clancy Brown – all return in Public Enemies to voice Supes, Bats and Luthor, respectively. CCH Pounder (The Shield) also returns to voice Luthor’s Government Black ops cohort, Amanda Waller. Hearing the iconic voices of animated Superman and Batman is always a welcome treat, and the actors haven’t lost a step with their characters (Brown especially – he has a good ol’ time with Luthor).

(Continue reading for the DVD Special Features)

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DC Entertainment: What’s The Game Plan?

Kofi Outlaw — Fri, 11 Sep 2009 18:19:13 +0000

Yesterday we found out that Warner Bros. has created DC Entertainment Inc. (DCE) to better expand the DC Comics into a multimedia brand of steel . Now comes the inevitable question of “What’s the game plan?”

MTV Splash Page posted a nice piece declaring which DC properties should be put on fast-track under the DCE banner, and this being Friday and all, I thought I’d once again do a little call-and-response on the topic (I now consider Splash Page’s Josh Wigler to be something of a pen-pal).

So in response to the call, here’s my take on the DC Entertainment venture and what paths it should be considering…

BIGGER PICTURE BUSINESS

DC Entertainment Inc. President Diane Nelson has already been grilled by the press and thick-skinned exec has been pretty forthright with her opinions. As she told The Wrap earlier this week:

“…I’m the first one to admit, I’m not by my nature a comic fan. It’s not what I’m bringing to the party. We have so many experts who will remain the cornerstone of DC Entertainment. What I bring to the party is a skill at moving properties and brands through Time Warner as a company… additionally it will be about how invested our content distribution is in the DC library. If our businesses feel that they have greater access and enthusiasm for new characters to incubate.”

Now some people are going to read that quote and worry that Time Warner is going to “corporatize” (read: taint) their favorite DC properties. I’m going to keep in mind that Nelson is the same lady who helped transform Harry Potter from a lucrative book franchise into a multimedia/merchandising empire, loved by both Potter devotees and newcomers who just know the films. Nelson understands how to take what is at the resonating core of a character and/or story and fit it into the bigger profit picture.

For DC Superheroes, I suspect Nelson aims to give us more Dark Knight quality films and Arkham Asylum video games (read: ventures which transform the core appeal of the properties into commercial appeal), and fewer Catwoman disasters (read: failed ventures that tarnish both the core and commercial viability of the properties). And I see no reason at this point why she’d fail at the task.

DOING THINGS THE MARVEL WAY

No, I don’t want DC Entertainment to try to be the second coming of Marvel Studios, however, the latter did set an interesting precedent by linking all their Avengers related films – Captain America, Iron Man, Thor – in one shared continuity, complete with cinematic cameo crossovers.

Should Christopher Nolan’s Batman universe be disrupted for the sake of a Superman cameo? No. Should The Green Lantern maybe feature an appearance from Supes or (better yet) The Flash? Absolutely. And what would be the reasoning behind doing so? Remember a little project called Justice League that DC/WB tried and failed and failed and failed to get off the ground awhile back? If you want to expand your brand, getting your heroes onscreen together where everybody can revel in them is a great way to do it.

Click to continue reading about how DC Entertainment can expand its brand…

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Warner Bros. Creates DC Entertainment Inc.

Kofi Outlaw — Thu, 10 Sep 2009 14:49:39 +0000

After the Disney/Marvel merger DC Comics and longtime-partner Warner Bros. had to be shaking in their boots. “The House of the Mouse” is already looking like a force that few will likely be able to reckon with.

Well, in an effort to become one of those few forces able to take on Disney/Marvel, Nikke Finke reports that Warner Bros. Entertainment Inc. has launched a new division, DC Entertainment Inc., in order to better expand the DC Brand.

Marvel fanboys have already been having heart palpitations wondering what the fate of their favorite characters will be in the hands of Disney. Now DC fans can officially share in that anxiety.

Diane Nelson will be the lady in charge of DC Entertainment Inc., as announced yesterday by Warner Bros. CEO Barry Meyer, and COO, Alan Horn. The mission statement of DC Entertainment Inc. will be to “strategically integrate the DC Comics business, brand and characters deeply into Warner Bros. Entertainment and all its content and distribution businesses.” Basically that constitutes Warner Bros. taking a more hands-on approach to developing DC Comic properties into successful film and TV franchises, interactive and new platform media, etc. In the midst of all this, DC Comics will remain as is for the most part, serving as the creative cornerstone of DC Entertainment Inc.

Of course this new structure means that DC’s comic book division has officially become a limb on a much larger body. As a result, Paul Levitz, President & Publisher of DC Comics since 2002, will vacate his exec post and return to a writing position, lending his three decades of experience to the “new DC” as a contributing editor and consultant.

Said Levitz:

“After so many roles at DC, it’s exciting to look forward to focusing on my writing and being able to remain a part of the company I love as it grows into its next stage. It’s a new golden age for comics and DC’s great characters, and I hope my new position will allow me to contribute to that magic time.”

Diane Nelson (Click Image for Source)

Nelson is leaving her post as President of Warner Premiere to take on the DC Entertainment job. If you’re wondering about her qualifications and experience: in her two decades working in creative brand management, strategic marketing and content development and production, Nelson has most notably had a big hand in adapting and managing the Harry Potter franchise for WB. Taking J.K. Rowling’s beloved novels and turning them into a juggernaut (read: cash cow) movie franchise is no small accomplishment; IMO, it demonstrates that Nelson understands how to maintain the balance between being true to source material, while making the needed changes to create successful multimedia ventures – an area where DC has admittedly had some trouble (See: Superman Returns).

Said Nelson:

“The founding of DC Entertainment fully recognizes our desire to provide both the DC properties and fans the type of content that is only possible through a concerted cross-company, multi-platform effort…DC Entertainment will help us to formally take the great working relationships between DC Comics and various Warner Bros. businesses to the next level in order to maximize every opportunity to bring DC’s unrivalled collection of titles and characters to life.”

For a great in-depth explanation of all this (with more quotes from the players involved) head on over to Deadline Hollywood.

Personally, I’m not at all upset (or surprised, really) about any of this. For better or worse, comic book fans, these are chicks we raised that are coming home to roost. We were the ones who pushed for so long to see our favorite heroes grace the big and small screens; our money fed the box office and gave rise to the “Era of Geek-Chic.” And in that proud era, our favorite comic books and superheroes have had their market value shoot WAY up – they are now worldwide icons and potential cash cows. When you think about it like that, it’s only logical that the big dawgs have come a barkin’ and comic book publishers have had to answer the call by stepping up into the corporate big leagues.

But will the source material – our beloved comic books – survive and flourish under these bright neon corporate banners, or whither and be forever tainted? As the zen master says “We shall see…”

What do you think about the creation of DC Entertainment Inc.? Will it be a good way for DC to catch up to Marvel in the multimedia market, or are you DC fans worrying that this is the end of the age of innocence for your beloved universe?

(And be sure to check our list of tags below to know which DC/WB movies are currently in the pipeline . Will this re-structuring affect them too?)

Source: Deadline Hollywood

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Adam West To Voice Batman’s Father?

Ross Miller — Fri, 07 Aug 2009 18:23:22 +0000

No, this is NOT news that former Batman, Adam West, will be appearing/voicing anything in Batman 3. Relax. This is news that that West may be voicing Bruce Wayne’s father, Thomas, in the Cartoon Network animated series, Batman: The Brave and the Bold.

The rumor comes from Collider, where they have a quote from one member of The Brave and the Bold’s creative team (who Collider is keeping unnamed for now) who hints that West will be voicing Thomas Wayne on the show’s next season. Here’s the quote:

“Julie Newmar is playing Martha Wayne, and playing Bruce’s father, Thomas Wayne, will be Adam West! I think they’re very appropriate parents for Batman… I should probably not be revealing this.”

The episode West will allegedly lend his voice is said to take its story from some of the original Batman comics (specifically mentioned is the miniseries “The Untold Legend of Batman“). It introduced the notion that Batman’s father actually wore the bat costume before he did, fighting mobsters in the bat suit while at a costume party.

It seems almost fitting that West would lend his voice to The Brave and the Bold, considering the cartoon series is often compared to the original ’60s TV series (in terms of lightheartedness, that is) where West portrayed Batman himself. West has voiced several different roles in various Batman short films and cartoons, but, now being an older gentleman, it seems really appropriate (and humorous) that he’d voice Batman’s father.

If this rumor turns out to be true, what would you think about Adam West voicing Batman’s dad?

Sources: Collider via MTV Splash Page

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Bale Will Do Next Batman Movie Without Nolan

Ross Miller — Wed, 29 Apr 2009 17:29:42 +0000

People who are dying for Christopher Nolan to come back for another Batman movie need not fret – this isn’t news that he isn’t coming back. But rather Batman himself, Christian Bale, saying that he has to do another one even if Nolan doesn’t come back (which, let’s not forget, is entirely a possibility).

In an interview with Total Film recently, Bale gave his latest thoughts on the next Batman movie, commenting on such things as his being tied to the franchise (for now, anyway), how Nolan might not come back and that the next movie should be just as good as the last one.

Here’s what Bale had to say:

“Will we do a third movie? It’s got to be the right story. You can’t make something like ‘The Dark Knight‘ and then come out with something disappointing.”

“I would like it if people say, ‘You’ll never make a good third movie.’ I say, ‘OK, let’s make a third movie in that case, let’s prove them wrong. But that’s just me. The fact is, I have to! I’ve signed up! Chris [Nolan] doesn’t. So I’m in a bit of a fix if he says he doesn’t want to!”

On a related note, Bale went on to talk about the issue of technology within Nolan’s Batman universe:

“With technology, there’s a balance with everything. In ‘The Dark Knight,’ the triangulation and the mobile phones, when Batman asks Lucius to use it, Lucius says, ‘After this I will quit. I will not have anything to do with this.’”

“It’s like the eavesdropping, the illegal wire tapping going on at the NSA. There are limits… It is technology. But as with anything, it should all be in moderation…”

Even though I’m sure Bale loves playing one of the best superheroes of all time (my personal favorite by far), and loves playing him in this new, more realistic and grittier world that’s been created, it sounds like what he enjoys most is working with Nolan. Using such phrases as, “I have to,” and, “I’m in a bit of a fix,” doesn’t exactly inspire confidence in the fact that he honestly and truly wants to do another one without Nolan on-board.

However, as he says, he has to do it, because that’s what he signed up for. I think he probably did that thinking he’d most likely end up doing the three with Nolan, but as we all know there’s still that niggling fact that Nolan hasn’t actually signed up for the third one yet, so it leaves the possibility fully open that he may bail (get it?) on coming back to direct.

Which would be very disappointing, indeed. Nolan took a pretty much dead franchise and breathed new life into it with Batman Begins, a movie so damn good that many had doubts that he would be able to top it with the next one. And yet in an almost “Just watch how good I can make it,” way, Nolan delivered us The Dark Knight. Not only a film of technical brilliance, comic book movie or not, but that ended up being one of the most profitable movies in history.

So both fan and studio won on that one…

Do I think Nolan will come back for another one? I honestly think he will, not just because he’ll give in to the pressure (pretty much everyone wants him to come back…), but because I believe he truly loves making movies about the famous dark knight. I don’t have any doubt that a genuinely quality story can be conjured (there were even reports that Nolan and his brother Jonathan actually have the script underway already), an aspect Nolan has stressed on many occasions would be the true reason for doing another one, and perhaps they can even top what has come before.

It’s hard to imagine, though…

What do you think about Bale reluctantly doing another Batman if Nolan isn’t coming back? Do you think Nolan should do another one?

Source: TotalFilm

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Aaron Eckhart’s Two-Faced Comment

Carl Lee — Tue, 13 Jan 2009 03:45:20 +0000

On the red carpet of last night’s Golden Globes, MTV News caught up with Aaron Eckhart and brought up his portrayal of Harvey “Two-Face” Dent. Apart from his past rhetoric, he had something new to say. And that “something new” could be something big for the chapter after The Dark Knight.

[Spoiler Alert: If you're one of the three people that haven't seen this movie yet, do not read any further. If you are, I'm sorry. And if I could suggest a small piece of advice, go see the movie!]

Contrary to his previous interviews and statements, Eckhart had a different answer to the Two-Face question. He said the following after quite a bit of laughing and a few “knowing” smiles.

“I think Harvey — if he’s not dead — is in a serious coma,” stated Eckhart, “and I’m not sure he’s coming out. They might pull the plug on him.”

Please note that although Eckhart does play the character in question, he is an actor and probably does not have any insight into development of the third film. And even if he had an idea, it’s still a bit early to say this is anything more than wild speculation.

And although many fans will hope against it, it’s quite clear in the script as it reads: “Dent lies at the bottom of the hole, his neck broken. DEAD.” Exactly as it’s printed here, “DEAD” is in all CAPS.

But now with this latest comment, I find myself wanting to be behind a semi truck–grumbling “Harvey, Harvey, Harvey Dent. Ohh, excuse me, I want to drive!” and hollow through this plume of smoke before it runs rampant.

Although it is ambiguous to many, Harvey Dent’s demise is obvious at the end of The Dark Knight. His completed story arc is a rare occurrence in comic book movies, which is part of the reason why the story has transcended the genre. Dent’s slip is both literal and figurative, as he’s labeled throughout the movie as Gotham’s White Knight but he eventually becomes the villain he alludes to at the dinner table with Rachel Dawes, Natascha, and Bruce Wayne.

From his first scene to his last, we witness his fall from grace. At the beginning, the newly elected District Attorney is fighting the good fight and going after the accused head of the Falcone crime family, Salvador Maroni. But this is one of the few great moments he has left. From unorthodox methods in attaining a suspect to using force and gun point to get the answers he wants, Harvey Two-Face finally emerges after losing his “blushing bride to be” in a massive explosion.

Egged on by The Joker, the Clown Prince gives him that little push to send him over the edge. He goes on to be judge, jury and (often) executioner to Detective Wuertz, Sal Maroni, his driver and Det. Anna Ramirez. He becomes the irrational villain and agent of chaos he once fought against. In his search for fairness, he leaves all of his decisions to a coin flip–50/50. The code of law he once believed in, is replaced by “unbiased, unprejudice, fair.” The Joker and the events leading up to the final scene are the last moments of Harvey and Two-Face is all that remains.

During The Joker infamous speech while hanging, he says:

“I took Gotham’s White Knight and brought him down to our level. It wasn’t hard. Madness, as you know, is like gravity. All it takes is a little push!”

Fearing the worst, Batman rushes to find Two-Face threatening Commissioner Gordon’s son. In a twist of Russian Roulette, Two-Face points the gun “at those responsible” for the death of Ms. Dawes. After flipping the coin, Batman isn’t so lucky and is hit with a bullet from Two-Face’s revolver. Two-Face isn’t at fault, nor is Commission Gordon (or his son) as the coin lands heads for the both of them. Before Gordon’s son is truly exempt, Batman pushes Two-Face and his captive off the edge. Two-Face lies without movement and his eyes are sightless, DEAD. Batman, after returning Gordon’s son to his father, has also fallen. He is the enemy Gotham now faces, though not the villain Two-Face or The Joker were, he is the common antagonist the city can rally against.

Even with Eckhart’s recent comments (or lack thereof), there is little room for Two-Face in the next installment of Batman. Although I once believed there was room for him as a puppet master of sorts, pulling the strings of a horde of villains, it is more fitting for him to have died here. The act of pushing his once ally and last hope at a normal life to his final resting place will undoubtedly be burned in his memories, haunting the masked vigilante. Batman will always stand between enemies and the citizens of Gotham, in his endless caped crusade.

Besides, wouldn’t you prefer a new villain anyway? Isn’t that what Nolan did after Batman Begins?

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The Death Of Batman? Seriously?

Carl Lee — Wed, 26 Nov 2008 04:30:48 +0000

If you can believe it, there is currently an in-progress comic book story arc involving Batman which will end in the death of… Bruce Wayne.

Written by Grant Morrison and penciled by Tony Daniel and Alex Ross, the series is a cheap response to Marvel’s recent killing off of Captain America.

According to Grant Morrison, “the end of Bruce Wayne as Batman” is “a fate worse than death, things that no one would expect to happen to these guys at all.” It is rumored that Batman will emphatically die tomorrow, November 26, at comic book news stands everywhere.

Unknown though, is who is behind the character’s demise. Some say it will be at the hands of Robin (Tim Drake) when he makes a play for the dark side. Others insist it will be at the hands of the mysteriously unknown villain “The Black Glove.” Still others speculate that Wayne will simply retire from the bat-mantle. All I ask is that it be for a proper reason.

That fateful day when Captain America was hit by a sniper’s bullet will resonate in comic book history with the same weight that accompanied Superman’s death at the hands Doomsday. Captain America was on his way to a trial, having opposed the Registration Act that he believed put so many more lives in danger than it proposed to protect. His death, at the end of the Civil War, shook the foundations of the comic book universe – characters have died before, but none so beloved as the Sentinel of Liberty.

His death was more than the death of a character many loved, it was a political statement. Though the story hasn’t come to an end, I don’t see anything worth dying for in the Batman story arc.

To his credit, Morrison is responsible for some of the greatest stories and re-interpretations of characters I’ve had a chance to read, but he’s quickly becoming a victim of his own twists. Arkham Asylum is one of my favorite Batman stories and 52 was revolutionary work, but Batman RIP is stepping out of bounds. When fans of The Dark Knight film flock to their local comic book stores, the last thing they should see is Batman on his deathbed.

Killing a hero is by no means a way of redefining him, it merely ends his story. What reason Morrison could be using to justify his actions is as mysterious as the “Black Glove” himself. For Batman’s sake, I hope it isn’t to further the story of Robin or another sub-character inside the DC Universe.

It should be noted that Bruce Wayne has given up the cape and cowl before. The Knightfall storyline resulted in Bane breaking the Dark Knight’s back. Bound to a wheelchair, Wayne recruits Jean-Paul Valley to replace him. As we all know, eventually Bruce Wayne resumes his role as Bats.

Also, I should mention a follow-up series is planned. It is tentatively titled Battle for the Cowl, in which the question of who will continue as The Caped Crusader shall be answered.

Does Grant Morrison deserve another Eisner Award or an Arkham Asylum sentence?

Source: Telegraph.co.uk

Images: DC Comics

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Shadows Of The Dark Knight: The History of Batman – Part 2 of 3

Niall Browne — Tue, 09 Sep 2008 04:07:31 +0000

This is the second in a 3 part series covering the history of Batman. You can read part one here.

In 1966 Batman was given a shot in the arm by the hit Pop Art inspired television series that is still iconic today. Starring Adam West and Burt Ward as Batman and Robin, as well as a wealth of guest stars including Caesar Romero, Frank Gorshin, Julie Newmar and even horror icon, Vincent Price, Batman was a show that was watched and treasured by adults and children alike. Bright colours and Dutch angles peppered the show, as well as the thunderous and vivid onomatopoeic cries of “Pow”, “Bam” and “Biff.”

While not overtly true to the original comic book origins, this interpretation of Batman maintained his existence, and would help the persona persevere into the 1970’s. Denny O’Neil and Neal Adams transported the caped crusader back into the real world and helped to construct even more iconic scoundrels for our hero to battle – including Ras Al Ghul – who would go on to play an integral part in Christopher Nolan’s franchise re-boot, Batman Begins.

The 1980’s saw Batman become a sinister, ominous character once more. Frank Miller’s seminal work of The Dark Knight Returns and Batman: Year One, as well as Alan Moore’s The Killing Joke portrayed a grittier Batman and gave an origin tale for the Joker.

Over the years directors such as Ivan Reitman and Joe Dante took turns at developing a Batman feature, but nobody could achieve the appropriate tone or plot. Actors such as Bill Murray, Charlie Sheen and even future James Bond actor Pierce Brosnan, were considered for the role, but with no feasible script and a non-existent director, it looked like Batman might not make it on to the big screen.

In 1988 director Tim Burton was working on his second feature, Beetlejuice, at Warner Bros, when the director was offered a Batman film. For the first time in a decade, the project gathered real momentum. Bringing along his Beetlejuice star Michael Keaton, Burton’s Batman was the first appropriate big-screen incarnation of The Dark Knight. Furthermore, Jack Nicholson’s legendary Joker seized the limelight, but Keaton’s Batman/Bruce Wayne persona came under a lot of fire even before a trailer was cut. Fans bombarded Warner Bros with letters of protest in the belief that the actor (who was best known for his comic performances) would deliver a character who was similar to Adam West’s crime fighter. After a trailer was rush released for a comic convention to soothe fans’ worries, Batman media hype went into overdrive.

The film was a huge success, and Warner Bros, sought a sequel – giving Burton carte blanche and a phenomenal $80 million budget. What he delivered has to be one of the most astounding summer-blockbusters ever made: grotesque to the extreme, Burton’s Batman Returns was a German expressionist horror with a McDonald’s tie-in. Parent groups and promotional partners were horrified at Danny DeVito’s Penguin and Michelle Pfeiffer’s PVC clad Catwoman. Whilst not a strict Batman film in the traditional sense, it is a splendid comic book film in the tradition of Bizarro, or Elseworlds series. The cinematography and the breathtaking Germanic sets, coupled with the wintry setting and haunting Danny Elfman score, make Batman Returns a feast for eyes and ears.

Continued in Part 3 – How Batman survived Joel Schumacher and began again with Chris Nolan.

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Shadows Of The Dark Knight: The History of Batman – Part 1 of 3

Niall Browne — Tue, 02 Sep 2008 23:59:31 +0000

This is the first in a 3 part series covering the history of Batman.

Now that The Dark Knight has crossed the magic $500 million barrier at the US box office and grossed over $900 million worldwide, Batman is once again a true cultural phenomenon. It is perhaps now relevant and interesting to look at the history of the character to see how the he has had such an enduring appeal over the last 70 years.

Since his first appearance in Detective Comics #27 in May of 1939, Batman has become not only an iconic comic book character, but also a major character on television, radio, novels and of course, the big screen.

Created by a young artist named Bob Kane (with a little help from Bill Finger) and following the success of Superman in 1938, Batman was an instant sensation, and although he has remained comparable to the original Batman that solved “The Case of the Chemical Syndicate” quite a lot has altered over the last 70 years.

Kane’s genesis of Batman came from an eclectic assortment of sources including heroes such as Zorro; pulp character The Shadow; the work of Leonardo Da Vinci; historical characters such as Robert the Bruce; and even a villain from the 1930’s film The Bat Whispers.

Merely a few months after Batman had achieved his own comic book title, he also gained a sidekick in the form of Robin: The Boy Wonder. It was Robin’s appearance that first softened the edge of The Dark Knight. When he initially burst onto the comic book scene, Batman had no qualms about killing the bad guys. However DC soon acknowledged that it was imperative that he was much more in line with the Truth, Justice and the American way of his comic stablemate Superman.

Furthermore, Batman developed a rouges gallery that has become as illustrious as the Dark Knight himself over the past several decades: The Joker, Catwoman, Penguin, Two-Face and The Riddler are all iconic in their own right and they have helped the Batman mythology to develop and evolve.

The raison d’être for such an extensive and deadly group of villains was that Batman was such a formidable character; it soon became quite problematic to pit him against “normal” criminals from the streets of Gotham City.

As the 1940’s continued, Batman assisted the war effort – selling war bonds and even (in the comic books at least) visiting the US President in Washington DC. From the 1940’s and on into the 1950’s Batman became more of an amiable character, who was gradually moving out of the shadows. This was to become even more pronounced in 1954 with the publication of The Seduction of the Innocent, a book that denounced comic books and lambasted them for corrupting the minds and hearts of American children.

While the comic organizations fought back by forming a self-censoring body: The Comics Code Authority, the damage was already done and a significant proportion of publishers folded. Even though Batman could overthrow the Joker, he couldn’t crush the bad press leveled at him from The Seduction of the Innocent. The book’s author, Frederic Wertham stated that Batman, Robin and their faithful Butler, Alfred, were having an illicit homosexual relationship – it was after all the only logical conclusion as to why three men would be living together in a great mansion.

DC’s knee-jerk reaction was to replace Alfred with the character of Aunt Harriet.

As the 1950’s and 60’s persisted Batman became even more detached from his initial origins and the stories became more and more implausible (even by comic standards) and sales of Batman were in decline. It would appear that the 1960’s might be the one entity to defeat Batman. Consequently Batman effectively became a guest star in his own publication with the introduction of Bat-Girl, Bat-Hound and even the bizarre Scrappy-Do-esque, Bat-Mite.

Conitnued in Part 2: How Batman went Pop Art in the 1960’s, and the character survived the Burton and Schumacher years.

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Johnny Depp As The Riddler In The Dark Knight Sequel?

Kofi Outlaw — Sat, 02 Aug 2008 06:03:12 +0000

(My dear readers, you have permission to treat this rumor as hostile.)

Not two days after wild rumors started circulating that Angelina Jolie was looking to play Catwoman in Christopher Nolan’s third chapter of the Batman Begins series, comes an even wilder rumor from out of the UK that Warner Bros. execs have begun eying top-notch actors Johny Depp and Oscar-winner Philip Seymour Hoffman for the roles of The Riddler and The Penguin in the next Bat-flick

DON’T DRINK THE KOOL-AID JUST YET. For every new rumor of which villains will be featured in the next Batman film, comes another statement from Dark Knight scribes Jonathan Nolan and David S. Goyer, saying that they are trying NOT to take the obvious route of throwing the second-most iconic villains from Batman’s rogue gallery into the next film. However, as Spider-Man 3 taught us all, when a franchise reaches a certain $tature, the studio’s wishes quickly begin to trump any creative desires. Don’t be surprised to see The Riddler, The Penguin, or both, show up in the final draft of the script.

However, we won’t really know anything until a script for BB3 is actually done. But that hasn’t stopped fan debates from raging 24/7. Personally, I don’t think Goyer and Nolan should be working too hard to try to pull out obscure villains and/or plotlines for the next installment. If Heath Ledger’s performance in The Dark Knight taught us anything, it’s that an actor at the top of his or her game is able to take what is iconic and totally redefine it. (And fanboys, really, is that not the essence of all the best comic books: re-definition of the status quo?)

Which villains do you think should make into BB3?

Source: Comic Book Movie

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Angelina Jolie To Play Catwoman?

Kofi Outlaw — Wed, 30 Jul 2008 17:05:57 +0000

Even though most of us are still basking in the afterglow (more like after-gloom) of The Dark Knight, it’s never too early to start thinking about the next Batman film. Well, apparently we’re not the only ones looking ahead.

According to fanboy site Comic Book Movie, actress/world savior/supermom Angelina Jolie is also hoping to become part of Christopher Nolan’s Bat-universe, by donning the super-tight tights and fierce claws of Catwoman for the third film in the franchise.

(Just picturing Jolie wearing the cat suit begins to erase the horrible memory of that Halle Berry flick.)

Best of all is the source from which this news has stemmed: former Catwoman Julie Newmar is quoted as telling the New York Daily News:

“Angelina would own the part,” said Newmar. “My industry friends tell me [she] has made inquiries about the role,”

Well, it seems as though Newmar is a lot more comfortable passing the torch than Jack Nicholson was. And let’s face it, Angelina playing Catwoman would be as sultry, badass, and downright sweat-inducing as any actress could possibly be in the role. Unfortunately, The Daily News article goes on to remind us that in a recent interview, Dark Knight writers David Goyer and John Nolan stated that, as of now, they are reluctant to include Catwoman in the third film. Maybe Angelina can change all that. The woman has been known to sway men in the past.

I for one think that Catwoman is a logical step for the next film. The Dark Knight left off with Batman being falsely accused of murder, sandwiched between cops and criminals, more alone than ever, with his only love interest having been blown to smithereens. A fella’s got to have some kind of relief, and a woman in a skin-hugging cat suit, who also likes a bit of midnight roof hopping, is never a bad place to start.

What do you think, should Angelina Jolie be the next Catwoman?

Source: Comic Book Movie via The New York Daily News

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Batman: Gotham Knight Review

Kofi Outlaw — Wed, 09 Jul 2008 23:22:53 +0000

Batman: Gotham Knight is an “homage” (a more accurate phrase would be “rip-off”) to the fabulous Animatrix collection that was released alongside the final two films in the Matrix trilogy. Since the unfolding Batman Begins trilogy releases its second installment, The Dark Knight, on July 18, studio Warner Bros. (never one to reinvent the wheel,) is attempting to $queeze some extra profit out of its expanding franchise by giving the Dark Knight his own collection of anime shorts, which chronicle events between Batman Begins and The Dark Knight, summating in a hit-and-miss sequence of stories that just barley make the collection as a whole worth checking out. [SPOILER-FREE REVIEW INSIDE]

Comparisons between The Animatrix and Gotham Knight are impossible to ignore, the former, (in my opinion,) being much more visionary, daring, and revolutionary for those not familiar with anime, than what Gotham Knight offers. (The Animatrix also had that SICK CGI short that premiered in theaters. GK offers no such thrill.)

Rather than write a small novel on the collection as a whole, I thought I’d separate it into its individual stories, grade each one, give a quick synopsis, and end with my own verdict. This should help you sort out which of the shorts is worth watching, and which can just be skipped altogether, so that hopefully, your experience watching Gotham Knight won’t have you nodding off at certain points like I did.

“HAVE I GOT A STORY FOR YOU” (C-)

SYNOPSIS: Academy Award-nominated screenwriter Josh Olson (A History of Violence) tells the story of how chance encounters with Batman by a group of youngsters leave each kid with a very different impression of the Dark Knight.

VERDICT: This type of Batman story has been done before, (see the episode “Almost got him” from Batman: The Animated Series), and been done better, at that. Also, the animation style (that kind of taffy-stretched, Aeon Flux-type anime,) is the sort I’ve never been a fan of. A poor intro to the collection.

“CROSSFIRE” (B)

SYNOPSIS: Acclaimed novelist/comics writer Greg Rucka tells the story of Gotham City police having to get over their distrust of Batman – while under fire from the mob.

VERDICT: A somewhat interesting story that fills in some gaps about what happened to ‘the narrows’ slum after all the Asylum inmates were set loose at the end of Batman Begins. It’s also an interesting meditation on the see-saw relationship between Batman, a vigilante, and the GCPD.

“FIELD TEST” (B-)

SYNOPSIS: Writer Jordan Goldberg showcases the incredible high-tech arsenal Batman commands and reveals that there are some things even Batman won’t do in his pursuit of justice.

VERDICT: Nothing really wrong with this chapter; just nothing really great about it either. I was more enthralled with the size of the lint I found in my belly-button than watching what was happening on screen.

“IN DARKNESS DWELLS“ (A+)

SYNOPSIS: Batman descends into the Gotham sewers to face “Killer Croc,” a deformed thug who seems even more monstrous after the Scarecrow, and his fear toxin, makes a resurgence, in a story by David S. Goyer, co-screenwriter of Batman Begins.

VERDICT: It’s no wonder that this chapter is so good, having been written by Goyer. The story has the strongest link to BB, and the take on Killer Croc is truly horrifying, as are the visuals of the Gotham City Sewers (they used to be a waterway used to transport coffins.) The ending of the story is totally left-field, yet resonates so well with the underlying theme of who Batman is. A superb achievement.

“WORKING THROUGH PAIN“ (A+)

SYNOPSIS: Award-winning comics writer Brian Azzarello (100 Bullets) explores an early chapter of Bruce Wayne’s training, showing how a mysterious and exotic Indian woman named Cassandra introduced Batman to techniques that would help him to conquer the physical and spiritual consequences of what he does.

VERDICT: Cassandra is by far the most interesting character introduced in the collection, and what she teaches Bruce Wayne is just as interesting. Also raised in this chapter is a theme rumored to be central to TDK, namely that Bruce/Batman has chosen a solitary path to walk, one that no one else can, or will, walk alongside him. An unorthodox, yet no less powerful, story.

“DEADSHOT” (A-)

SYNOPSIS: Four-time Emmy Award-winning writer Alan Burnett ties together threads from all the Batman Gotham Knight chapters, as Batman must thwart an unerring assassin whose love of guns and disregard for human life lets him cross lines that even a Dark Knight shies away from.

VERDICT: This is pretty much what we want to see from Gotham Knight. The story is straightforward, the animation style is basic anime, sans abstraction, and the whole chapter is pretty much action. Deadshot is a rogues-gallery favorite, and his showdown with Batman in a tunnel atop a speeding train is visually stunning. I tacked on a minus to the final grade only because “In Darkness Dwells” and “Working Through Pain” were able to reach up and grab some deeper truth about who Batman is, and what his quest is about. “Deadshot” is just pure entertainment.

So that’s my take on Batman: Gotham Knight. How does your assessment compare? Rant back and let us know.

Source: Batman: Gotham Knight Official Site

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The Dark Knight vs Batman vs Batman vs Batman

Vic Holtreman — Sat, 28 Jun 2008 05:22:27 +0000

Ok, this was just too awesome to NOT pass along to you guys. Over at Black20.com someone who is obviously a master of video editing has put together one of the coolest things I’ve ever seen: A knock down drag out battle between all four movie Batmans (or should that be “Batmen?”).

Their favorite as the toughest Batman is Christian Bale as The Dark Knight, and it’s not only fun to watch him, Michael Keaton, George Clooney and Val Kilmer all interact, it’s also quite amazing to see how flawlessly whoever did this edited together the fight sequences. Via quick-cuts the fights look like they’re right out of a real movie (well, technically the are), but the point is how he manages to make the actors from a number of different films look like they’re in the same scene.

To watch it for yourself click on the image above or right here and then come back and tell us what you think.

Thanks to Joblo for finding this!

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Sandy Collora’s World’s Finest trailer is out

Vic Holtreman — Sat, 24 Jul 2004 04:02:46 +0000

I last mentioned Sandy Collora’s latest short fan film World’s Finest just a few days ago. It was supposed to premiere at the San Diego Comic-Con, but big, bad Warner Bros. stepped in and squashed the viewing like a bug due to the fact that they own the movie rights to both characters.

Well now it’s available for you to watch right here.

I’ve seen it a couple of times, and I’m still processing it. My first thoughts are that Batman still rocks, but Superman needs some work. Oh, and Lex Luthor? Woah.

Overall, it seems like more of a fan-film than Batman: Dead End, but his love of the characters definitely comes through. Check it out for yourself below.

More info: TheForce.net

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Batman Dead End

Vic Holtreman — Fri, 14 Nov 2003 00:01:28 +0000

Batman: Dead End
The clock tower strikes midnight in a rainy, cold, and dreary Gotham City. The
Joker has just escaped from Arkham Asylum once again. The bat signal has been illuminated, and Batman is on the case. He tracks his arch nemesis to a dead end alley. The Joker is no match for the Bat, but what else lurks in the dark shadows of the alley, very well might be . . .

This (now very well known) fan film by Sandy Collora premiered at the San Diego Comic-Con. You can check it out after the jump.

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