I'm Getting Too Old For These Hits

Now that we're into the final quarter of the year, I better start cracking down on these films I've had sitting in my to-watch pile for a while now, so the next few posts will most likely be on those movies.

Today, it's the last DC Universe Original Animated film of the year, Batman: The Dark Knight Returns Part 1.

An adaptation of the classic Frank Miller book, The Dark Knight Returns Part 1 is about a world where Batman retires from crime-fighting after the death of Jason Todd, the second Robin. A decade after said retirement, Gotham's gotten worse and Batman can't take it anymore. He dons the mantle once again, despite his advanced age, and sets out to reclaim the city.

I actually managed to procure my own copy of the comic the other day, though I have read it several times via a copy from the library. I've already spoken a little about it in my Batman comic recommendations list, but for those who haven't read it yet, it's a fantastic Batman comic, and the best Frank Miller work I've ever read (though that's not hard since he wrote All-Star Batman And Robin, which is a travesty except for the art). OK, it's not perfect (Frank, why do you hate Selina Kyle?) but what is?
The dialogue remains true to the characters, the concept of “does the world need a Batman?” gets fair representation on both sides and there are a few great images that you will never get out of your head, either because they're awesome (Bruce's fight with Superman), or horrific (the last time you see the Joker. Yeah...). So as you can imagine, both films have a LOT to live up to, considering how influential the story was.

Part 2 is expected to be released early next year, but until then, let's see how Part 1 fares.

For anyone who has read the comic, the end of the film is roughly at the same point as the end of the second issue, but the final scene of the film is actually taken from earlier in the comic (more on that later)

In all honesty... the film's actually very underwhelming, given what we're adapting here. Don't get me wrong, it's not a terrible film, not in the slightest. It's just, considering what the comic presents us with, a lot of it is lacking in this adaptation. I wasn't expecting this film to reinvent the wheel or anything, since Batman doesn't need a reinvention after having had one at the hands of Nolan and his talented cast and crews for the latest films, but I'm not quite sure the creative team for this knew exactly what impact the dialogue had for the book.

That's my biggest problem with the film right there: the lack of internal monologue. The comic is heavy with the internal monologue, a lot of which works well. Frank Miller really got the Batman character down, as well as the Joker, and it's one of the few times he's written Superman with respect. Each of them gets at least one memorable monologue and it's Frank at his best (we try not to speak of The Dark Knight Strikes Again... though personally, I don't hate it but it gets too bogged down in politics and is less about Batman than it is the other DC heroes.)

So, to discard some of the top-notch writing, simply because it's spoken in the character's heads and not as actual dialogue, it takes away from the experience.

For example, early on, Bruce Wayne gets mugged by a couple of mutant gang members and reconsiders his opinion on Joe Chill, who he used to consider the lowest of the low. The movie cuts that, and anything Bruce thinks about while in his Batman gear.

But by removing the fantastic writing, audiences who haven't read the comic won't get what Bruce is trying to achieve. Yes, seeing old man Bruce beating up mooks is still fun, but the dialogue just added so many layers.

The scene I mentioned above is also one of my favourites, definitely within the top five moments of the comic for me. Three of my other favourites won't appear until the second part, and as for my other, I'll save that for when I hand out praise, because that scene is actually done well.

Another gripe I have is that the animation looks too colourful for its own good. I mean, the Gotham of the comic wasn't devoid of colour, but it certainly didn't look as bright and cheerful as the film's version. Well, cheerful may be the wrong word, but it just looks lonely, as opposed to looking like a craphole. Or, even more of a craphole than normal.

I get that they may be trying to appeal to a more general audience, and thus things have to look a little less... depressing, for lack of a better word, but considering how these are straight to DVD, and more often than not an adaptation, it's not exactly going to bring people in en masse. So, the majority of people buying these are familiar with the source material, or at least know beforehand that this is an adaptation.

That being said, I still did enjoy the film on its own merits and there are things I need to praise:

While all the voice acting is good, the two stand-outs are, naturally, the voices for Batman and Robin (Peter Weller and Ariel Winter, respectively).

Yep, Robocop as Batman. I've long since considered Clint Eastwood for the role when I was hoping for a live action adaptation, but hey, Peter Weller's a good choice for the cartoon. He's grim and stoic, as a Batman should be, but one that's weary, and he's a good fit.

Ariel Winter, best known for her role in Modern Family, is more than capable of voicing Carrie Kelly, who in herself is a refreshing character (especially with Frank's track record with women. Ho boy... no pun intended, by the way). Ariel voices Carrie with a lot of spunk, confidence and determination, something I definitely give the thumbs-up to.

But if there's one thing I praise more than any other, it's how my favourite scene from the book was handled.

In the comic, Harvey Dent is seemingly cured of his Two-Face persona once and for all, with his face restored. But after this announcement is made on TV, he disappears. Not long after Batman reclaims the mantle, he confronts Harvey, who admits that he is now one man... Two-Face. “Both sides match...”. The panel in the comic even shows Harvey Dent, with his face now resembling Two-face completely, even if physically he looks like the old Harvey Dent. Two-Face has taken over, and he has come to terms with that. Batman can do nothing but sympathize and be left just a little bit disappointed.

And in the movie, the scene is just as brilliant. Wade Williams, who was Black Mask for a previous Batman DCUAO production, Under The Red Hood (and Bellick in Prison Break), voices Harvey and for what little screen time he gets, he makes the most of it. The scene is no less powerful, and nothing has been lost in translation. Harvey is still a broken man, a man who can't change, even as the world has changed around him. Much like Batman. Fantastic scene, just fantastic.

Also, kudos to the creative team for managing to slip in a reference to Carrie's parents being stoners. Even with an M rating down here, I still expected any such references to be omitted. But nope, the “”I was tripping the whole time” line made it in. That actually shocked me. Carrie's parents are... well, slack. Very bohemian and all “down with the establishment”, which in itself was great commentary, about loose style parenting.

All in all, a very good effort, but lacking the punch of the spectacular dialogue found within the comic. But not a waste of your time, and still better than other Batman related fare like The Batman Vs. Dracula and Batman And Robin. 3.5/5

(P.S one other thing to praise though... the final scene. It was actually in the middle of the first issue, but as a segway to Part 2... oh man, wise choice. No spoilers, but one word sums it all up nicely: “Darling”. If you've seen it, you know what it means and what's coming. Part 2 could end up being the superior installment, and hopefully they'll fix the mistakes they made with this one, especially when it comes to my remaining favourite scenes)

We're On The Eve Of Destruction

Well, here we are. The last of the Nolan Batman films has arrived. I know a lot of you are still to see it, so this will be as spoiler-free as possible. I will not talk about the ending, or the twists. The closest I will come to a spoiler is going over the story references I caught (not all of them, mind you). With that, let us begin.

Eight years after the events of The Dark Knight, Gotham is prospering, thanks to organized crime being virtually eradicated. Bruce Wayne (Christian Bale) has retired from being Batman, and has remained at Wayne Manor all this time. But when the mercenary, Bane (Tom Hardy) shakes things up in Gotham, the Batman makes his presence known once again.

Yeah, that's pretty much the abridged version, but I think by now if you don't know what the basics for the movie are, it's because you don't care.

It's fair to say I've been waiting for this movie for a long time. Like, since 2008. Literally, since the day after The Dark Knight. So, hype was already high long before I saw the movie.

And you know what? It exceeded my expectations and then some. Not that I knew what to expect, but it was still a sight to behold and more.

Even though there's less for Gary Oldman and Morgan Freeman to do, they still bring their A-game to the table, with Oldman getting one of my absolute fave scenes in which he said Batman was his best friend. It warmed my cynical heart to hear such a thing.

Christian Bale spent more time out of the Batsuit, and that gave a greater focus on Bruce Wayne as a composite of the boy Alfred raised and the Batman persona. Bale has always delivered a solid performance and he's certainly not phoning it in here.

As for the new players: Anne Hathaway as Catwoman, a well casted role. Oozing confidence, charisma and likability, she plays off well against Bale when the two are just getting to know each other as Selina and Bruce, and she's a fierce fighter in her Catwoman gear (also, the blonde girl played by Juno Temple that hangs around with her? Totally Holly Robinson, am I right?)

Joseph Gordon-Levitt is a pretty damn good character, having good deductive skills, and is seemingly unmovable in his ideals. He makes a great cop and his scenes with Bale are nicely done.

Marion Cotillard as Miranda Tate... it takes a while to get into her character. She doesn't do so much at first, but as time goes on, she becomes more bearable.

But the big new performance of note is Tom Hardy as Bane. Completely undoing the last attempt at a live action Bane (I prefer to call him “Ralph Wiggum on steroids”), Tom Hardy's is brutal, menacing and actually somewhat funny (the stadium scene. Before blowing it up, he comments on what a lovely voice the child singing the national anthem has). One reviewer down here referred to him as the “minister of sinister” and that's actually a pretty accurate description. Much like the comics, he's a mighty mental and physical challenge for the Caped Crusader, which makes for a mean combination.

However, if there's one performance that eclipses all others, it's Michael Caine as Alfred. Despite a smaller role, his is the most emotional, and I damn well nearly cried at certain scenes. You, sir, are a living legend. Never leave us.

The film actually ties in more with Batman Begins than The Dark Knight, mostly with the mentions of Ra's Al Ghul, the “why do we fall?” theme returning, but its biggest connection to The Dark Knight is Harvey Dent and the truth surrounding the events of his death. It's a good choice to connect to the first film, as it brings up things we may have forgotten over time.

Action-wise, it's astonishing. Bane's beatdown with Batman, the Batwing (yeah they call it The Bat, but I think Batwing is cooler) in battle, but the best of all is the huge criminal vs. cop brawl, with Batman and Bane gearing up for round two. Now THAT'S an action sequence. Not loads and loads of guns and explosions, just good ol' fashioned fisticuffs with hundreds and hundreds of people (see Gangs Of New York for something similar).

Also, I love the choice for stories that the Nolans have cherry-picked aspects from: The Dark Knight Returns (Bruce Wayne coming out of retirement), Knightfall (the first Batman and Bane battle) and No Man's Land (Gotham cut off from the world) just to name a few. All are classic stories in the Batman mythology so to see them get a mention is wonderful for a long time Batman fan like me.

Surprisingly, I've heard very little in terms of people bitching that this isn't as good as The Dark Knight. And really, does it matter? Does everything always have to be bigger and better? Can't it just be good on its own? And with a movie like this, calling it “good” is a slap in the face to the movie.

So, as you've guessed, it's the number one film for me this year so far. To Christopher Nolan, the cast, the crew, everyone involved: you've created a triumphant and terrific trilogy. We will forever be grateful for what you've done for the Dark Knight Detective. I know you said this was the last but if you ever do decide you have one more film in you, I'll be there. Hell, I'll be there regardless of what Nolan does next. The keys to the kingdom should be his. He redefined the game a long time ago. No, wait, scratch that: he BECAME the game. The one to beat. Batman Begins showed how a reboot can not only work but be acclaimed. The Dark Knight utterly shattered expectations not just for comic book movies, but blockbuster films. And The Dark Knight Rises shows how you end a trilogy: with the biggest bang you can muster. 4.5/5

Legends Of The Dark Knight... Is Something I Wish I Had More Of (Part 2 Of 2)

Well, if you've seen my first post, you've seen the stories I consider to be excellent Batman stories, but which of them is truly top notch? 

#5: The Dark Knight Returns (Frank Miller, both writing and drawing)

The only Elseworlds title on my list, and a landmark for good reason: it brought Batman back into the public eye, showing how dark and serious the character was. Like Watchmen, it pushed a new trend of “dark and gritty” comics, though many of those comics failed to understand what made Watchmen and The Dark Knight Returns work. It's not about mass killing, grey and brown worlds or acting like an arsehole, it's about bleakness, an uncertainty about the world around them, and approaching things from the perspective that the world may just be broken.

The Dark Knight Returns may be an attack on the politics of its time, but it serves as a backdrop to the story, which is about a much older Bruce Wayne coming out of retirement to reclaim his city from the clutches of Hell.

Frank Miller these days is... well, a bit nuts, to put it lightly. But back in the day, he could tell one Hell of a story. Even though he would later go on to trash Superman in this book's sequel and his All-Star Batman And Robin book, in this story, Superman is written with the utmost respect and the confrontation between him and Bruce is the stuff of legend.

The new Robin, Carrie Kelly, was a great addition, and she wears the mantle proudly. I wish she'd appear in the “main” DC Universe.

If there's one problem I have, it's that Selina Kyle gets portrayed as a prostitute (which Frank would do again in Year One). Seriously, dude, what's your problem with her?

#4: Whatever Happened To The Caped Crusader? (Neil Gaiman, Andy Kubert/Scott Williams)

First off, the art: gorgeous, especially in the second part, with the depiction of the supervillains. My fave page involves Alfred looking into the mirror, and the rest of that page... yeah, I'm not spoiling.

Set after Batman R.I.P, it involves Batman watching his own funeral (not a spoiler, though) and various explanations provided for his death. The first issue of the two-parter is good, with a nice romantic angle but that second issue... amazing!

And the final pages, a triumph. If this WAS the true last Batman story, it's a Hell of a send-off.

#3: The Killing Joke (Alan Moore, Brian Bolland)

I've already brought this up in a post relating to the DC universe, but it's simply a fantastic story that I need to bring it up again. Despite trying to peg an origin on The Joker, it's up to you (and him) to determine fact from fiction.

What makes it work is that it's such a simple concept, given a grand treatment. Joker decides to shoot Barbara Gordon, kidnap her father and it's up to Batman to find The Joker and stop him.

It's such an intelligent read, too, with contrasting opinions on sanity and the human condition, with The Joker offering his own interpretation on the misery that is mankind. The Joker is even kind of sympathetic, and that's an amazing feat in and of itself. Part of that is the way he's drawn, as he's not always smiling or scowling. Sometimes, he's showing what looks like sincere sadness. Like for one moment, he's actually regretting what he's done, or that he's at the end of his rope.

The final pages are brilliant, with Batman offering genuine help to his archnemesis. The Joker declines, but not in an “Bah! I wouldn't let you help me!” kind of way, but more of an “I'm afraid we've gone far beyond that” way and, again, the way he's drawn, he's almost human in his expression. The joke he shares with Batman is actually hilarious, too, and Batman laughs right alongside him! Plus, the joke has so many interpretations relating to the story.

Simple put, an absolute treasure.

#2: A Lonely Place Of Dying (Marv Wolfman/George Perez, Jim Aparo/Tom Grummett)

The introduction of Tim Drake. I could stop right there, but I won't. I love the character of Tim Drake, who I name as my fave Robin of all (I've read more of Dick Grayson as Nightwing that to me, while he was a great Robin, I'll always see him more as Nightwing) and this arc serves to introduce him in a way that let everyone know he wasn't Jason Todd, and he wasn't going to be a Mary Sue who would be some super-awesome-new-Dick-Grayson clone. He was a humble and clever boy (still is) who had no dream of being Robin, but was granted the role after acquitting himself in a tense situation.

Also, there's a great scene with Two-Face (the villian of the arc) in which he and Batman make a plan to capture the other, with their thought processes being nearly identical, and the scene is drawn as a mirror to those thoughts. I wish I saw more of this, it's just a great concept, especially for a villian like Two-Face.

Until the #1 entry came along, there was no finer a Batman story I could ever hope for, and it's still as great today as when I first read it.

But as for that # 1 entry? Well, it's none other than...

#1: Hush (Jeph Loeb, Jim Lee/Scott Williams/Alex Sinclair)

The grandest of the grand, and not just one of my fave Batman stories, but one of my fave comics all up. Introducing a wonderful new villain, the title character, the status quo was shaken in more than one way (this is the story in which Harvey Dent gets the plastic surgery that “cures” him of being Two-Face, until Face The Face) and it allows one of Batman's old foes to claw his way back to the A-list and prove why he's awesome.

Multiple villains, a compelling mystery, long term effects and set-ups for future stories, simply a masterpiece.

Also, Jim Lee's pencils, plus Alex Sinclair's colouring, just beautiful. Jim is one of the best artists in the industry, and his art is also one of the two redeeming factors of the excrement that is All-Star Batman And Robin.

Well, I hope you enjoyed these two blogs. If you are a Batman fan and you haven't read at least four of these, get out there and find them! If you're looking to get started with Batman comics, I've found that while prior knowledge of the comics history helps, most if not all of these are fully accessible without that much information. Really, with Batman, you could start nearly anywhere and enjoy the book on its own, which is another reason why he's my fave comic book character (Grant Morrison's stuff may be the exception, though. That guy LOVES his continuity...)

Crisis Of Infinite Batmen, When's That Happening? (Part 1 Of 2)

Even though my review of The Dark Knight Rises will be up later in the week, I'm still in the mood to talk about Batman. One of my first comics, and the first hero/superhero trade I ever bought, was A Death In The Family, back when I wasn't even into comics. I knew a little about them, but I still knew who Batman was due to the films. Eventually, I started collecting comics and I discovered the larger DC universe, as well as comics from other companies. In spite of the wonderful stories I've read through all those companies, I've probably read more comics relating to Batman than anyone else (well, maybe with the exception of Spider-Man).

I've read different eras of Batman, different universes with Batmen, his interactions with the rest of the superhero community, stories about the Bat Family and how they truly connect with him. While I haven't always enjoyed everything I've read, I am always eager to read (and re-read) stories about the Dark Knight.

So, I've decided to do a top ten list on my absolute favourite Batman stories (to this point), just for some variety. It's not that I'm sick of reviewing movies, it's just that I haven't done much outside of them for the past few weeks, so a change of pace is nice.

And remember, these are my favourite stories, not the classic stories, not the ones that new fans should start with (though some will show up).

First up, some honourable mentions, listed by writer first, artist second:

• Batman: Year One (Frank Miller, David Mazzucchelli)
• Batman: R.I.P (Grant Morrison, Tony Daniel, but also Alex Ross for the covers)
• Batman: The Long Halloween (Jeph Loeb, Tim Sale)
• Batman: Dark Victory (see above, sequel book)
• Slayride (Paul Dini, Don Kramer/Wayne Faucher, and notable not just for actually having a lack of Batman until the end, but also a one-shot. For anyone interested, it's Detective Comics #826 [Vol. 1] and it's such a great story. But then, it's Dini writing, you should already be scrambling to find it)

With those mentioned, let's get to the list, starting with #10 and working our way down. Though, like most lists, they aren't in any real particular order (with the exception of #1 and #2). 

Also, due to length, this will be cut into two blog posts, with #10-#6 today, #5-#1 tomorrow.

#10: Knightfall (various writers and artists)

One of the earliest stories I knew about, the idea of Batman being defeated in combat seemed unfathomable. But part of what makes it a great story is the message I gained from it: you can break the man, but you cannot break the Bat. Not to mention, the genesis of the events is a stroke of genius: break out EVERY Arkham inmate and let them loose so that Batman can be weakened trying to round them all up. Also, this was the story that put Bane on the map, and made him one of Batman's greatest foes. I haven't read the follow-up, KnightQuest, but it's Knightfall you should be trying to locate.

#9: Face The Face (James Robinson, various artists)

The first Batman story after Infinite Crisis (a discussion for another time), and a year after those events, it's still business as usual for the Caped Crusader and the Boy Wonder. What I like, though, is how it addresses what Bruce has thought of during his year away from Gotham, mostly concerning the welfare of Tim Drake, the at-the-time Robin. The fact that he believes Tim will one day become the world's greatest detective speaks volumes of his respect for the teen, and is a sign that the trip around the world has done him a world of good.

But the best thing about it, it gave Harvey Dent (yes, Harvey Dent, not Two-Face) a chance to shine again, since he was the protector of Gotham during Batman's absence. His conflict with himself (that's Two-Face for you) is the highlight of the story, showcasing how Harvey really does want to redeem himself. Sadly, he succumbs to becoming Two-Face again, restoring the status quo. I'd love it if a few more villains actually stayed on the straight and narrow. Despite that, fantastic story.

#8: Long Shadows (Judd Winick, Mark Bagley)

After Final Crisis (that won't be for another blog, at least not right now, as I have yet to read it), Bruce Wayne was trapped in the past (see the great mini-series The Return Of Bruce Wayne, another honourable mention) and Dick Grayson puts aside his Nightwing costume and dons the mantle of the Bat. I haven't read much of Dick as Batman, which is a pity because he's an excellent Batman, and his relationship with the new Robin, Damian Wayne (yes, Bruce's biological son. Comics are weird.) is a reversal of the whole “Grim and stoic Batman, happy-go-lucky Robin”, which makes for interesting new story opportunities.

Also, it features a villain trying a new approach (or rather, an old approach for him but he's smart enough to take advantage of the current situation) with trying to teleport into the Batcave (for the record, our old friend Two-Face shows up for this story and while I do lament losing Harvey again, at least Two-Face here is written as being smart and with actual humanity. I do like scenes where the villain speaks with one of his smarter henchmen with a hint of respect, and this story has that).

Like Face The Face, it's business as usual with that the Caped Crusader has to deal with, but the inner monologues help us address and adjust to the changes and is a wonderful blend of the classic style of Batman stories with the new perspective. And like Face The Face, it's a shame that the status quo would be restored (though taking much, much longer in terms of how many issues it took), but at least we have this.

#7: To Kill A Legend (Alan Brennert, Dick Giordano/Adrienne Joy)

The only pre-Crisis (another time, comics confusing, blah blah) story on this list and the only one-shot (not counting two upcoming entries, due to their length) and is one of many stories in issue #500 of Detective Comics (Vol. 1). The first time I had ever heard of Phantom Stranger, and enough to pique my curiosity, but the main reason I love this story is twofold (insert your own Two-Face joke here, even though he's not in this story).

First, the way Robin is written. Y'see, in this story, the Phantom Stranger has granted the Dynamic Duo a chance to save Bruce's parents on another Earth. While Batman gains all the information he can before the night of the shooting, Robin finds out there are no other heroes on the Earth, and no Krypton either. Upon observing that the young Bruce Wayne is a spoilt brat, Robin wonders if what they're doing is right. I love the fact that in this story, Robin is playing the clinical detective who thinks things through, while Batman is thinking too emotionally, wanting to save “his” parents above all else.

The other is the ending, which is so heartwarming. Batman does indeed save this universe's Thomas and Martha Wayne, and he and Robin return to their own, wondering what will become of this Bruce Wayne. As it turns out, this Bruce changes his attitude, becoming a lot more studious. It is revealed he will still become Batman, but this will be a Batman that won't be fueled by grief and vengeance, but of gratitude. He will honour the masked man who saved his parents that night, he will be a positive Batman. And really, that just warms the cockles of my heart.

#6: The Man Who Laughs (Ed Brubaker, Doug Mahnke)

With Batman: Year Two out of continuity, this is now considered the canonical events of Batman's second year, primarily his first encounter with The Joker. While I haven't spoken much about the art in previous stories, none of it is terrible (save for one section of Knightfall, but that's for another time. Possibly) but here, The Joker is marvelously drawn (the cover of the comic is simply beautiful too) and the rest of it is great too. While it doesn't always neatly fit with Year One (the setting looks a little more modern than Year One, maybe that's just me) it's a great Joker story and demonstrates an important revelation for Batman: it will only get worse from here.

Part 2 of my personal fave Batman stories will be posted tomorrow. Until then, hope this has inspired you to look for a good Batman story to read.

Jokerman Dance To The Nightingale Tune

So, since we looked the beginning of a new Batman series, it's only natural we'd go into the sequel, The Dark Knight, the first Batman movie not to feature the word Batman in the title.

Some time after the events of Batman Begins, organized crime has taken a huge hit, thanks to the efforts of Batman (Christian Bale), James Gordon (Gary Oldman) and new District Attorney, Harvey Dent (Aaron Eckhart). However, a new player enters the game, calling himself The Joker (Heath Ledger), shaking up the status quo and threatening to bring Gotham to its knees. How far will Batman go to stop a madman with no clear goal in mind?

Yeah, I'm just going to come right out and say it early: this is one of the greatest films I have ever seen in my life. I remember sitting in the cinema, watching the events unfold, filled with awe and wonder, not wanting it to end. Some people say it was too long, I say it was too short! Considering how it took until 2012 to get the next film, how could it be too long? Maybe I'm just a wee bit obsessed with Batman to notice...

As criminal as this might be, I'm only going to cover the returning actors briefly, partly because this will probably be another long blog, partly to go over the new arrivals, and partly because what I said in the Batman Begins blog still holds true (also, for the handful of people who haven't seen this yet, some spoilers may show up).

Christian Bale is still dynamic as the Caped Crusader, at odds with himself over the fact that he feels he can retire and settle down with Rachel (played by Maggie Gyllenhaal this time around), but also with the fact that the mob is cottoning on to the fact that Batman doesn't kill. In the Batman persona, he's a lot more fierce and brutal, and I like it. This fury, THAT'S the Batman I've been wanting for a while. The Batman that does not rest, the Batman that will hunt you down. Don't get me wrong, I love Keaton's Batman and Conroy's definitely has shades of this, as well as being one of the greatest examples you can follow, but DAMN!

Michael Caine plays more of a mentor role than a father-figure here compared to the last film (not that he's any less of one, just that the Batman/Alfred soundboarding that they do in the comics gets more of a look-in) and he has some fantastic lines, both as one of the primary sources of humor (the bit on the boat about the supermodel “applying her own bloody sun tan lotion”) and for his observations on the human race and how the criminal mind thinks. Have I mentioned just how legendary this man is?

Gary Oldman and Morgan Freeman continue their upstanding work, as confidantes and aides to Batman, with Oldman getting one of the best scenes in the movie when he has The Joker at gunpoint: “We got you, you son of a bitch”

Also, Cillian Murphy returns, albeit briefly. It's still awesome, and also offers the first hint that Batman is getting too well known in his methods, when Crane recognises when the real Batman shows up amongst the copycats.

While she's not new, the actress is, so I'll use Maggie Gyllenhaal as the converging point between the old and the new. As much as I no longer dislike Katie Holmes as Rachael, Maggie is just a better fit for the role. She exudes a warmer personality, as indicated by her smile, and she comes across less angsty.

Now, for the new players. And of course, I would be remiss if I didn't mention Heath Ledger as The Joker. Holy crap, is he ever ace! The Joker in this incarnation forgoes the classic gag arsenal of previous Jokers in favour of knives, guns and the clever use of a pencil (who doesn't love that scene?) and also has the best lines (“Got a little fight in ya. I like that”). It's implied that he's wearing make-up, as opposed to being exposed to a chemical pool and staying that white. Combine that with his tatty clothes and attitude, and we have the most realistic Joker yet, who borders on being the bastard son of Alexander DeLarge from A Clockwork Orange. Heath raised the bar for supervillain acting in comic book movies and it's a masterful role.

Aaron Eckhart is the other new major player and damn if he's not charismatic as all Hell. It's almost like he took his Nick Naylor role from Thank You For Smoking and transplanted it here, but gave him a heroic angle. Dent is dashing, debonair, determined, and has a mean right cross. His eventual downfall into Two-Face is tragic and the make-up for the scarred side is among the best Two-Face designs I've ever seen (only beaten by the artwork for the incredible Dark Victory. Seriously, between this movie and that book, that's how I think Two-Face should look. Less like Jekyll and Hyde fused together, more like an actual burn victim).

Wow, what was supposed to be a brief look at the returning players ended up being longer than I thought... but on to other things.

The action sequences are excellent, and the whole movie has a heist/crime film feel to it. In fact, if you took Bruce Wayne out of the Batsuit, that's what it would be. Certain scenes with Dent and Gordon play out like it's a new version of Heat. My absolute fave scene is the interrogation between Batman and The Joker. From the moment it's revealed that Batman has been standing in the room when the lights were out, to the final moment of the scene, it's excellent directing and writing. Panning around the room, The Joker trying to convince Batman he'll be an outcast, Batman's outrage, pure gold. The dialogue in this movie is sensational, and I praise all the writing talent on hand.

Two things this movie has over Batman Begins: first, this movie shows a little more of Batman being a detective, like the bullet testing scene. This is something I had been wanting since Batman Begins, and I was glad to see it here, though I'd have loved a little more.

Secondly, I found this film a little more emotional, not that the first was lacking. But with Two-Face... oh man, he's written so well. The scene in which he puts the gun to his own head, flips the coin and looks disappointed when he's spared? How can one small scene be done so well?

There is obviously so much more to say about this movie and how brilliant it is. It is my fourth favourite movie of all time (I should do a top ten list somewhere down the line) and nothing I can say will do it justice. An easy 4.5/5

As early as this may be, tomorrow will be the finale of the Batman films as directed by Nolan. So, if you haven't seen it yet (and chances are, many of you won't have), I'll try and keep it as spoiler free as I can but just in case, come back to it at a later date. But for everybody else, tomorrow's blog will be The Dark Knight Rises.

He's Gonna Hit The Highway Like A Battering Ram

With one day left until The Dark Knight Rises graces our screens, it's time for my next theme week: the Nolan directed Batman films. So, naturally, the best place to start is at the beginning, with... well, Batman Begins, of course.

Now I know that just about everyone and his dog has talked at length about this movie, but not everybody in the world is going to have seen it, shared the same opinion or seen many reviews/viewpoints, so if they should stumble across this one, it could very well be their first (which is good for them, because that means the next ones they read will be better). On the subject of people and firsts, I'll put the spoiler warning here for anyone yet to see the movie. Not that it is a high number, but you never know.

Much like my post on the latest Superman film, I'll skip the creation of Batman because this won't be a short blog.

Bruce Wayne (Christian Bale) returns to Gotham after receiving training overseas in the methods of crimefighting from Henri Ducard (Liam Neeson), intent on reclaiming his city from the grips of criminals, in particular Carmine Falcone (Tom Wilkinson). But in between re-establishing himself in the city, and with a childhood friend of his, Rachel Dawes (Katie Holmes) and fighting off the new threat of Scarecrow (Cillian Murphy), Bruce Wayne finds he's in for a bigger challenge than he thought.

To say that after Batman And Robin, any Batman film would be good in comparison is the least praise you can sprinkle onto this. To say that it reinvigorated the Batman series, and film in general, and is the model for doing a reboot right is also too little to fully appreciate just how fantastic this film is.

When I first heard that Christian Bale was going to play Batman, I was already in approval because of American Psycho, and that only heightened when I got the chance to see The Machinist two weeks before Batman Begins made its debut (by the way, if you watch those and all the Nolan Batman films together, that's like one of the greatest movie marathons I can think of. And I should do that when The Dark Knight Rises comes out on DVD) and he does not disappoint. What he gets more so than any other portrayer of Bruce Wayne and Batman (with the possible exception of Michael Keaton but definitely excepting Kevin Conroy) is that Bruce Wayne and Batman should have a different voice, as part of the idea that Bruce Wayne couldn't possibly be Batman. And when he's Batman, hot damn! That voice often gets complaints for how gruff it is but I love it, it helps project the image that this Batman is a force of nature. It's like when Nolan resurrected him, he didn't come back as Batman, he came back as Bat-Demon! (And considering what some people see him as when they're hallucinating in this movie, that's a distinct possibility). As Bruce Wayne, he plays up the “rich idiot with no day job” angle well, channeling the Patrick Bateman (insert your own Bateman/Batman joke here) character from American Psycho for the Bruce Wayne scenes when he's in public. But then there's the in-between, the Bruce that only Alfred sees, and Rachel to a point, the one who has a determination that cannot be swayed, but also the vulnerability of the little boy who will never fully come to terms with the death of his parents.

Speaking of, much like the recent Amazing Spider-Man, it takes a lot to make us care about something we all know is coming, and to keep it from looking like you're going through the motions. In Begins, the details are changed to be an opera instead of a film, and the reason for leaving is Bruce's fear of the bat creatures. So, when Thomas and Martha leave and are killed by Joe Chill, it adds a little to the scene, by giving Bruce the idea that it was his fault, even though we as an audience know he is not to blame. Not to mention tying into one of the central themes, of fear and how it controls us.

Now, talking about the cast could end up making this the longest blog I've ever done, so I'm going to try and praise them in one paragraph each (criminal, I know, I should really look into vlogging at one point).

Michael Caine as Alfred is just more proof of how awesome Michael Caine is. He's dry, witty but ever so fatherly. Hell, I'm actually wondering if he was just playing himself under an assumed name. And he gets some of the best lines in the movie, too (“What good are all those push-ups if you can't even lift a bloody log?”, priceless)

Gary Oldman as James Gordon is a much better utilization of the character when compared to the Burton/Schumacher era. Seemingly the only good cop amongst the rats, he's determined, clever and noble. Also, he gets to drive the freakin' Batmobile (which is awesome, by the way. I swear it would eat cars if it was sentient, it's that much of a beast.)

Morgan Freeman portrays Lucius Fox, a character who hasn't been used in that many adaptations (he was seen in Batman: The Animated Series but from there, I couldn't tell you) but he's Morgan Freeman, what can I say? He's dry and hilarious, like Michael Caine, and serves as useful exposition on Batman's arsenal. Also, it makes sense he knows that Bruce Wayne and Batman are the same person, he spends a lot of time with the guy, so he would know when something's up. And that scene at the end when he shows up William Earle (Rutger Hauer)? Loved it.

Katie Holmes as Rachael Dawes... I have to admit, initially I was not fond of her. Maybe that was me being prejudiced against her due to being the wife of an ego-maniac (whose claws she finally escaped), or her time on Dawson's Creek, but over time, I've come to realize she wasn't that bad in her role. She's still the weakest link, no question, but not something that drags the movie down (she is, however, responsible for one of my criticisms of the movie, which I'll get into later).

Liam Neeson, much like Morgan Freeman, just has to show up and awesomeness pretty much ensues. He's one Hell of a fighter and when it's revealed that he's really the leader of the League Of Shadows, Ra's Al Ghul (though that's not much of a spoiler if you know the comics, you get that vibe from him), the action just gets better.

And lastly, Cillian Murphy as the Scarecrow, aka Jonathan Crane. Now, out of all the Batman villains, Scarecrow is my absolute fave, so naturally I was so eager to see him on the big screen. And while they took a few liberties, as they often do (mostly with his looks, making him a handsome young psychiatrist with mob ties as opposed to a scrawny looking, creepy looking older male), he is still fun to watch. He may not be much of a fighter but he knows his way around a confrontation and lets nothing intimidate him (until dosed with his own fear gas, but hey, these things happen on the job). And as much as I love his comic costume, or that really cool hangman motif he had for the animated series, the simple sack look works too, and doesn't distract from his badassness.

Now, while I have mostly minor criticisms (Ra's Al Ghul not being pronounced correctly, Zsasz getting little screen time and looking like he belongs in a System Of A Down cover band), the one semi-major one I have is the scene in which Scarecrow's riding on a horse, terrifying Rachel (this isn't the bad part), Rachel zaps him with a taser and he goes down for the count, with the horse riding off and that's the last we see of him (that's the bad part).

I get that he's not THE major villain, but come on, you're trying to undo everything he did with a pathetic manoeuvre like that! Yes, he's in the sequel, but that's not the point! He looked like a chump, and the master of fear deserved a better send off!

On to the action scenes, some have complained that it's hard to figure out what's going on, that it's too confusing. That makes sense to me, since part of what Batman is trying to accomplish is to create confusion and fear with his fighting style. By being constantly on the move, ever adaptable, he ensures that he will have the upper hand.

Really, there's a lot I could say, like how well it handles the theme of fear, or Tom Wilkinson's marvelous turn as Falcone, or discuss the most awesome scene in the movie (three words: “SWEAR TO ME!”), but we could be here all day. Chances are, you've seen it by now, and you know how awesome it is (and if you didn't like it, fair enough, you're under no obligation to like what I like). Outstanding work, and clearly a 4.5/5

Up next... gee, I wonder?

Plans, Plans, Plans...They Always Have Their Plans

I haven't done much on the DC Universe Animated Original series. Well, besides the one blog on the possibility of Flashpoint becoming a movie. I'll get into a more detailed blog about the series someday, and I hope to do all the other films in the line as well. Today, I want to blog about the latest in the line, Justice League: Doom.

Normally I'd start off with a little history on a comic book hero or team, but I want to meet my workload (it may be self-imposed but if I don't set some boundaries, this blog would be updated with much less frequency) of three blogs per week and there's a lot to cover with a team book. Next time I read a JL comic that I want to review, I'll do it then.

But in brief, it's DC's big superhero team, usually with seven main members. The most common line up involves DC's “Big Three” (Superman, Batman and Wonder Woman) one of the various Flashes (usually Barry Allen or Wally West), one of the many Earthbound Green Lanterns (most commonly Hal Jordan, Kyle Raynor or John Stewart), the Martian Manhunter and the seventh alternates depending on medium and continuity, though usually it's Aquaman or Hawkgirl.

Though in the current DC comic continuity, Martian Manhunter is part of Stormwatch and Cyborg takes his place.

This movie is based on the story arc entitled Tower Of Babel. In the arc, Ra's Al Ghul steals plans that Batman had created in case the Justice League ever went rogue or were brainwashed into committing evil acts and the process was irreversible. Ra's used these against the Justice League in order to keep them occupied while he undertakes his latest diabolical plan. To distract Batman, Ra's abducts the corpses of his parents, thus keeping Batman from helping his fellow leaguers.

I have read the story, and it's fantastic. It's one of those “Why did no one think of this before?” kind of stories, the plans themselves are brilliant and Ra's goal (scrambling all languages into nonsense to bring about war) is exactly the kind of thing I'd expect from one of Batman's greatest (and best written) enemies. I highly recommend the story.

The movie plays out much the same in terms of basic concept. However, besides being condensed to a large degree, the movie makes many alterations:

• It drops Plastic Man and Aquaman (a pity, his was my fave plan in the comic. Not because the character sucked but because it was just so brilliant. It involved being exposed to Scarecrow's fear gas to make him hydrophobic) and Cyborg steps up to bat (everything's coming up Cyborg these days!)
• Instead of Wally and Kyle, the film uses Barry and Hal in their place.
• The methods used to dispatch of each member of the league differs greatly (I'd go into great detail here but that's a lot to cover and I will be mentioning a few later on anyway).
• Vandal Savage is the main villain in the film, as opposed to Ra's Al Ghul.

So, despite the changes, I really enjoyed this movie. There hasn't been a bad DCUAO film yet. Or even an average one. The animation is as solid as always, filled with rich, detailed characters and colour schemes.

Voice acting-wise, many members of the DC animated show Justice League/Justice League Unlimited, which is always welcome. I love that show in both incarnations and to hear Kevin Conroy (Batman), Tim Daly (Superman, though Tim actually did the Superman voice for the character's own animated series only, with George Newbern filling in), Susan Eisenberg (Wonder Woman), Carl Lumbly (Martian Manhunter) and Michael Rosenbaum (Flash, though on the show itself, it was Wally West and not Barry Allen, which is a minor quibble I have with the movie, as it feels so odd due to how different Barry and Wally are as characters) again is like greeting old friends. Even recurring or one-shot characters in the show have their voice actors come back (Olivia D'Abo as Star Sapphire and Alexis Denisof as Mirror Master).

Even Nathan Fillion's back for another round as Hal Jordan (he voiced the character back in Green Lantern: Emerald Knights), which adds to the awesome. Bumper Robinson as Cyborg is a great addition, too.

If I had to single any one performance out as being the best, as unfair as it seems since most of the voice actors are pretty much the definitive voices for their respective roles, it's Carl Lumbly. The Martian Manhunter is given a drink which has magnesium in it (magnesium being poisonous to Martians in the DC universe), which causes him to catch fire and the fire cannot be extinguished. It should be noted that not only is fire the major weakness for Martians in DC, it's MM's greatest fear. So, it's a two-for-one combo of physical and mental pain. Carl's anguished screams, constantly filled with panic, they are amazingly done. It is that and that alone which makes it my favourite performance of the entire movie.

If I have one major gripe (besides the substituting of Vandal for Ra's, which isn't terrible but disappointing), it's that the changes in the plans, while not boneheaded or anything of that nature, are a little more simplistic or head-scratching compared to the original story.

For simplistic, there's Superman's. In the comic, Superman gets exposed to red Kryptonite (a substance that causes random transformations to Kryptonians, usually lasting 24 hours or so), which causes his skin to go transparent, which causes him to undergo a sensory overload and nearly overload on solar power. In the film... he gets shot with a Kryptonite bullet. Granted, the comic's plan may be a tad complicated to explain but the Kryptonite bullet goes too far in the opposite direction. I mean, that would imply that no one in the universe of that movie (most if not all of the movies in the DCUAO line are set in their own universe) has ever tried shooting Kryptonite at Superman. I would have thought that would have been one of the most basic plans.

Now, for a head-scratcher plan: Wonder Woman's involved being infected with nanomachines that alter her vision and hearing and make her perceive everyone around her as the Cheetah (voiced by Claudia Black), Wonder Woman's arch nemesis. In the comic, she is trapped in a virtual reality battle with a seemingly unbeatable opponent. While the plan in the movie isn't such a bad one, there's a slight flaw: isn't Wonder Woman listening to the people around her, to what they're saying and noticing how they're NOT attacking her? Most of the random civilians just say things like “Look, is that Wonder Woman?” I mean, Wonder Woman's not stupid, she should be able to figure out “Something's wrong here. Hold off on attacking until I can make sense of the situation”.

Still, these don't stand in the way from another fine effort from the DCUAO. 4/5

Or Sinestro Corps War, Adapt That One Too

As someone who loves both comic books and movies, the combination of the two is something I always look forward to (unless it involves the Punisher, in which case, it's like taking ice cream and spitting on it repeatedly. Unless it's being handled by Marvel Studios itself, which, as of typing, they actually do have the rights back and are attempting a new film. In that case, I remain cautious but I'm giving it the benefit of the doubt for the time being).

Over the past few years, DC and Marvel have been releasing straight to DVD films and I very eagerly await every one (well, the DC ones mostly, in part due to Marvel ceasing production of any such DVD's and because the DC ones have always been of higher quality), regardless of whether or not I know the characters or the story. Even if I'm in the dark on the story being adapted (case in point, the upcoming Superman Vs. The Elite, an adaptation of the story in Action Comics #775 “What's So Funny About Truth, Justice And The American Way?”), the productions always manage to score some top talent, create uniquely animated and amazing worlds and often, cast members from the brilliant Justice League/Justice League Unlimited series will “reprise” their roles (I use quotation marks because while they are voicing characters they've had previous experience with, it's not set in the same universe. Comic book movies are weird).

With the exception of the DC Shorts Showcase, which has not seen release down here (at least not that I'm aware of), I own each movie from the DC Universe Animated Original line and not a single one has been short of great. I'll go into detail about the others down the line, with Justice League: Doom getting a post sometime in the next week or two since it was released this year, but I wanted to talk about the revelation of an upcoming project.

After The Dark Knight Returns is released towards the end of the year (split into two films, if Wikipedia's information is correct. Word has not been confirmed whether or not they'll both be released in a pack, on the same day or months apart) it has been said by Kevin Conroy (one of the best known Batman voices ever, if not the definitive voice actor for Batman) that one of the upcoming films is the universe altering story Flashpoint aka “the story that began the DC reboot”.

I haven't read the story, so I can't go into a deep analysis of it, but I can give you this brief overview of the miniseries: the timeline in the main DC universe has been altered, with Barry Allen (the Flash) being one of the few who remembers what it used to be like. He attempts to restore things the way they were and (spoiler alert!) causes a merging of the separate imprints of DC to come together and form one universe, in which there are several changes but is supposedly the same universe we've been reading for years.

I will say this for the record: Kevin could just be throwing us off the scent with what the next project really is, and in that case, I'm getting perplexed for nothing. And I will also say that despite my feelings about the reboot (to be somewhat covered in a future blog), I will still watch the Flashpoint film if it comes to pass and I will try and enjoy it for what it is. But three things bug me about this particular choice:

• Flashpoint is too recent a story to be adapted so soon. I have to figure that the DC higher-ups wanted to push this reboot angle as far as they could take it but seeing as how none of the previous films are connected to each other (with the possible exception of the Superman/Batman team up films, though I'm not 100% sure due to the different animation styles for each film), it's not like Flashpoint has anything to shake up. Granted, Batman: Under The Red Hood isn't exactly something from long ago nor is it the first story I would think of when choosing a classic Batman story, but at least it has been around for a few years, long enough for the effects in the comics to be felt and dealt with. We still don't know what the ramifications of the reboot are. I mean, it hasn't even been a year yet has it?
• The story's not exactly a fan favourite. Because it's the catalyst for the reboot, it's not exactly going to be a crowd pleaser. And I'm guessing most of the fanbase for these films are those who have more than casual knowledge of the DC universe. And if DC lost anyone with the announcement of the reboot, they stand to lose more if Flashpoint leads to more of the newer stories being the basis for the new films (though I wouldn't object if they chose to adapt The Court Of Owls storyline, mostly because despite the reboot's widespread effect, Batman's history has remained relatively retcon-free so any stories for him now are business as usual).
  Besides, if they wanted a big storyline that was recent but better received, two words: Blackest Night. Though I've been clamouring for that one for sometime, even though I haven't read the story yet. At least that one's slightly older than Flashpoint and again, we know what came out of it and where DC was heading.
• The biggest reason, and I'm sure I'm not alone when I say this, is that with every film announced that isn't The Killing Joke, we lose yet another chance for Mark Hamill's legendary Joker voice to be heard. As much as I love his role as Luke Skywalker, the Joker will always be the greatest role of Mark's, in my very humble opinion. Even with Heath Ledger's juggernaut of a performance in The Dark Knight, Mark has never lost his position as the King Of The Clown Prince Of Crime actors. And with Mark reprising his role for the insanely awesome Arkham video games, that just made great games even more desirable. But there's always talk that he's retiring from the role, or about to retire, and it reminds us that he won't be the Ace Of Knaves forever. One day, he will hang up his seltzer bottle for good. And as much as he needs to be thanked for his loyal “tears of service” (to comic fans, you're welcome), it would be remiss if we didn't get him back one more time for what is considered the ultimate Joker story.
  If you're just getting into comics, The Killing Joke is an excellent pick as one of the first you should read. You need no prior knowledge of the characters, it's a character study with brilliant musings on the human condition, the art is gorgeous and adds new dimensions to the Joker and it even makes the Harlequin Of Hate a little sympathetic! Yes, you read that right!
  I will do a proper review for the story one day but suffice it to say, it is not only one of the best Batman comics, it's one of the best comics, period. Which is exactly why it needs to be adapted.
  So, I'm hoping that one day, it will be adapted. If Mark really is going to stop voicing the Joker, or if he has declared that he has, we need this one last shot. Let him go out with a bang. And while this may seem... tactless, for lack of a better word, if a successor has not been chosen for future work involving the Joker, my vote goes to John DiMaggio, after the magnificent job he did for Batman: Under The Red Hood. If John does The Killing Joke, I'm not going to be too upset. He's a damn good Joker, not quite at the level of Mark, but Mark's been doing it for so long now that he's nearly made the character his own. Both men are outstanding at getting to the root of the character. But DC/Warner/whoever picks these things, please, consider making The Killing Joke one of the next DVD's, and let Mark deliver one last showstopper.

I do reiterate that I am not slamming a release of Flashpoint on DVD, just that I am confused to why this story was selected amongst many others. Stories like Knightfall, Salvation Run, The Judas Contract, even Identity Crisis could just have easily been picked, much like The Killing Joke could have been. But there hasn't been a crap DC Universe Animated Original yet, so I have faith that whatever they make will be a great film.

Lock, Stock And Two Squirting Seltzer Bottles

(Please note: the following blog was originally posted on my old blog Why Yes I Am Quite Random, Why Do You Ask?, a blog I can no longer access for some unknown reason. This is being put at the start of each blog I'm uploading, in case anyone comes across the blog and accuses me of plagiarism. This is explained further in my introduction blog.

The following was originally posted on Monday, January 2nd, 2012 at 7:38 pm)

 

And welcome to the first blog of the new year! So, what do I have in store to mark the occasion? Oh, something special, something I've been planning for a while, something so out-of-the-box with its thinking and-

Actually, no, nothing like, it's just another comic review. I HAVE been planning this one for a while, though. And it is a little different, for not only is this perhaps the first alternate universe tale I'm reviewing, but also the first DC title I've done. Today, we dive into the work simply titled Joker, written by Brian Azzarello and drawn by Lee Bermejo.

Before I go into the review, perhaps I should go over the “alternate universe tale” angle a little.

In comics, people will come up with a great story idea but can't utilize it in the main universe because it's often in the future or involving altered versions of previous events. Thus, they write it as an “out-of-canon” (canon meaning the history of the universe) story, or set in the canon of another universe. So, if you want to spin a yarn about Superman fighting the Terminator, you can! (And they did, it's called Superman Vs. The Terminator).

Marvel has its own series that it does every now and then called What If? While DC has the banner Elseworlds. Now, usually what makes the two different is that Marvel goes the “path unchosen” direction, usually taking an event and altering it slightly to produce a different outcome, but otherwise things are the same. DC usually creates whole new worlds with bold new premises, like The Nail, which offers a scenario in which Superman wasn't adopted by the Kents because their vehicle had a tire punctured on the way to the orphanage. Because of that, there is no Superman in the modern day.

Or the classic The Dark Knight Returns, set in an alternate future, where Bruce Wayne steps out of retirement and comes back as the Caped Crusader, ready to deliver fresh Hell upon the scum of Gotham City.

Actually, Batman gets a lot of these. He's been a vampire (Batman And Dracula: Red Rain and its two sequels, Bloodstorm and Crimson Mist), a Victorian era crimefighter (Gotham By Gaslight, the very first Elseworlds title, though not baring the Elseworlds logo), a pirate (Leatherwing) and the Green Lantern of sector 2814 (In Blackest Knight). However, today's focus is on his arch nemesis.

Joker is narrated by Jonny Frost, a henchman dispatched to retrieve the Clown Prince Of Crime from Arkham Asylum, with the implication of money changing hands leading to Joker's early release. What follows is Jonny's observations of the Ace Of Knaves and how he goes about his days, with a little insight into the underbelly of Gotham.

Simple premise, executed masterfully. Joker may be well known for being unpredictable and scary as all Hell, but what makes this one terrifying is that he lacks the tricks of the mainstream Joker (despite the title of my blog). No electrocuting joy buzzers, no flowers that can squirt acid if he so wishes, no Joker venom. Much like the Joker portrayed by Heath Ledger in The Dark Knight, this Joker relies on the simple pleasures in life and has no grand plan, just falls into whatever he wants to do and does it until he gets bored.

Speaking of The Dark Knight, I should address something now. While Joker is drawn to heavily resemble Heath and his mannerisms are nearly spot-on, from what I understand, it's a huge coincidence. Though it was originally going to be called Joker: The Dark Knight, due to the creative team having previously done Lex Luthor: Man Of Steel (another damn fine book), but with the movie on the way and all, obviously they had to trim it to the one word.

About the art, it's really good. The detail in the faces is exquisite, the violent imagery is striking and Gotham inspires a noir-setting. In this universe, Killer Croc's just a regular looking guy and Lee makes him look as menacing as he can and I don't think it would have worked if he had been drawn to look like a large crocodile like in the main universe.

Speaking of the differences, the biggest difference is perhaps the aspect that leads me to declare why I love this story. Besides Batman, there are no other heroes in this story. All other supervillains are portrayed as looking regular and if they have garish clothes, it's nothing to do with a supervillain motif and everything to do with a gangster lifestyle. Even the Riddler's clothes look like they belong on a flashy drug dealer (though in this universe, who's to say he's not a flashy drug dealer?) Slightly off-topic, Riddler gets only one big scene in this book but I love it, makes the Riddler seem more badass and he still gets to be a man of mystery. Kind of reminds me of Ozzy Osbourne, the way he's drawn...

But anyway, my point is, even though I love the exploits of costumed crimefighters duking it out with madmen, murderers and marauders, this is almost like if the Batman mythos was getting the British gangster film treatment. Seriously, I could see Guy Ritchie directing this. Jonny Frost reminds me a little of Paul Bettany's performance (and Malcolm McDowell's narrating) in Gangster No. 1, a British gangster film that while not being directed by Guy, it could pass for it. The character's descent into madness even resembles the Joker's, so it works for both characters. Despite me imagining Joker with Heath's voice and Two-Face with Richard Moll's (the voice actor for the character in Batman: The Animated Series), almost everyone else I can imagine as being characters from a Guy film, whether it be Snatch or Rock'N'Rolla.

Speaking of characters, you know who's barely in it? Batman. Hell, he gets all of four words in this story (three in one sentence) but that might also be why he's so effective: he says little but what he does say is among the most memorable parts of the book. I will not spoil it for those yet to read it but if you enjoy the book like I do, you'll probably regard that as a well-written part. And I should add, he does get more dialogue than Harley Quinn,who gets not a word but she is there to essentially be the sanity for Joker. Ironic that despite this Joker being a bigger bastard than arguably most of the other incarnations, he has more regard for Harley in this continuity and she seems much less of a goofball and more a consort that knows how to keep Joker calm.

So, if you want a fantastic DC story that you don't need years and years of backstory to understand, pick this up. Realistic to a point and filled with great dialogue, it's one of my favourite Elseworlds titles. And once again, I also recommend Lex Luthor: Man Of Steel. But  Brian's run on the Wonder Woman title in the New 52? So far... approach with caution. I may get to that one eventually.