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The New Batman Adventures – Over The Edge (Review)

This post is part of the DCAU fortnight, a series of articles looking at the Warner Brothers animations featuring DC’s iconic selection of characters. I’ll be looking at movies and episodes and even some of the related comic books. To tie into this morning’s review of Under the Red Hood, I thought I’d take a look at what might happen to Batman if he lost a partner.

Following the success of Superman: The Animated Series, a new bunch of Batman episodes were commissioned by Warner Brothers to compliment Batman: The Animated Series. However, this new series would be animated in the style of the Superman series – typically meaning a lighter animation and fewer lines. The transition was jarring, to say the least. Indeed, many commentators make the observation (whether fair or not) that The New Batman Adventures offered a “lighter and softer” approach to the Caped Crusader and his universe. Though I think that’s not an unfair description, it is also worth conceding that the season also gave us quite possibly the single darkest half-hour in the entire history of the DC animated universe. I refer to Over the Edge.

Those expecting a light story might want to look elsewhere…

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Non-Review Review: Batman – Under the Red Hood

This post is part of the DCAU fortnight, a series of articles looking at the Warner Brothers animations featuring DC’s iconic selection of characters. This is one of the “stand-alone” animated movies produced by the creative team that gave us the television shows. 

You did it! You found a way to win and everybody still loses!

– The Joker

The story of Batman, boiled down to its most essential elements, is a tragedy. He’s a character defined by hurt and loss – the suffering and failures he has endured while fighting simply to stay alive in an uncertain world. The reason that the animated Batman: Under the Red Hood works so well is because it manages to capture that observation perfectly in its relatively tight runtime. Over the course of the movie, Batman has several of his rather glaring failures touted out in front of him and – what’s more – faces the possibility that he may himself end up obsolete.

The joke’s on Batman…

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Batman: A Death in the Family

This post is part of the DCAU fortnight, a series of articles looking at the Warner Brothers animations featuring DC’s iconic selection of characters. Later on today, I’ll be taking a look at the animated movie Batman: Under the Red Hood, so I thought I might take a look at one of the stories which inspired it.

A Death in the Family holds something of a sacred spot in the line-up of classic Batman stories. It was the moment that Batman failed – and he failed monumentally. The image of Batman cradling a bloody and bruised Robin in his arms is almost iconic, recognisable to any pop culture aficionado. However, the story itself really isn’t anything too spectacular – it’s as if writer Jim Starlin was trying to combine the adventurous take on Batman from the seventies with the more grim-and-gritty crusader of the late eighties, with a frankly inexplicable desire to dabble in global politics. Frankly, despite the power of the rich imagery provided by Jim Aparo, the story is more than just a little bit weak, and certainly not strong enough to support the label of “classic” that is applied so frequently to the story.

Batman will be carrying this with him for quite some time...

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Batman: The Animated Series – The Demon’s Quest (Parts I & II)

This post is part of the DCAU fortnight, a series of articles looking at the Warner Brothers animations featuring DC’s iconic selection of characters. I’ll be looking at movies and episodes and even some of the related comic books. To tie into tomorrow’s review of Under the Red Hood, I thought I’d take a look at the episode which introduced Ra’s Al Ghul to the animated DC universe (and represented the character’s first appearance outside comic books).

If Heart of Ice – perhaps one of the best pieces of Western Animation produced during the nineties – illustrated just how good the creative minds behind Batman: The Animated Series where at innovation (updating and adding depth to previously shallow characters), then The Demon’s Quest perhaps reflects their skill at adaptation. Adapted from Denny O’Neill’s seventies story arc introducing Ra’s Al Ghul as an adversary of the Dark Knight, by the author himself, it’s also a testament to the show’s diversity. This isn’t exactly a conventional Batman story, and certainly not one conforming to the gothic or noir conventions which seemed to grip the character during the nineties. 

"We'll always have your father's desert stronghold..."

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Batman: The Animated Series – Heart of Ice (Review)

This post is part of the DCAU fortnight, a series of articles looking at the Warner Brothers animations featuring DC’s iconic selection of characters. I’ll be looking at movies and episodes and even some of the related comic books. While most of the episodes and comics I look at will tie into the feature-length animated movies, I thought I’d start with perhaps the most beloved piece of animation that the studio produced using DC characters.

I believe that Batman: The Animated Series sorely deserves a place on list compiled of the “best animated series of all time”. It’s certainly perhaps the single best distillation of the Batman mythos into one pure form (although Christopher Nolan’s film series – and especially The Dark Knight – also deserve some acknowledgement). What made the series unique was that, instead of simply borrowing from the comic books, it also actively contributed to them – and not just in a “we need to tie into a popular adaptation” sort of way. Lasting changes to the Batman mythos can be traced back to this particular animated series – the fan-favourite character of Harley Quinn, for example, or several sympathetic origins to well-established characters. Heart of Ice is perhaps the most successful and well-executed of these revisionist takes on Batman’s iconic selection of bad guys – offering as it does an origin for Mr. Freeze.

Dude needs to chill out…

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DCAU Fortnight Kicks Off!

Right, I am taking a little break from work and blogging and everything for the next little while, just trying to clear my head a bit, so I won’t be around quite as much as I would like to be. However, I do have a treat for the nerdier children of the nineties out there – I’m going to take a retrospective look at the animated DC universe, the Warner Brothers cartoons produced during the nineties and into the last decade which gave us Batman: The Animated Series among many other things. Anyone who grew up during the decade can’t possibly have missed these wonderful little shows, which perhaps got me interested in comic books in the first place.

And he always times it juuust right to catch the bolt of lightning...

Note: Over the course of this two week event (and a schedule can be found below), I will occasionally return to cover something big or huge (like our scheduled Tron: Legacy review, for example). I also hope to have more time to get back into reading and engaging with other bloggers. It has been far too long.

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Non-Review Review: Meet the Parents

Meet the Parents is a pleasant little film which works so well because it takes an awkward social experience that most of us have lived through – in this case meeting a partner’s parents – and turns it into a comedy of errors. It’s this smart little premise and the way that it plays off a familiar situation (with judicious application of the philosophy that “anything that can go wrong will“) that makes it so appealing – and perhaps explains the weaknesses of the movie’s sequel. Still, the original is an effective and charming comedy of manners which executes its premise well and, despite some difficulty balancing everything, manages to consistently entertain throughout.

DeNirest and Dearest...

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Blood on Film: Violence and Morality…

I am always fascinated about discussions over violence in movies. Mostly because it’s one of those “hot button” issues which always comes up in some context or another and is typically portrayed as an argument with two extremes. This week, while promoting his new movie Faster, actor Billy Bob Thornton offered his own opinion of modern movie-making:

In our current state of affairs, especially in the entertainment business, we’re living in a time when we’re making — in my humble opinion — the worst movies in history.

They’re geared toward the video game-playing generation. And these video games, which I’m on my son about constantly, these games are people killing for fun, and I think traditionally in movies, there’s always been some kind of lesson in the violent movies.

In fairness, Thornton is a typically controversial figure (for example, recently alienating Canadian fans), but it’s an interesting idea to look at – the assumption that violence (and specifically how it is handled) can contribute to a movie’s quality (or lack thereof). Is he being just a little melodramatic?

Well, it is the second of December...

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Non-Review Review: El Mariachi

El Mariachi is the first film from director Robert Rodriguez. Although his first major success, Desperado, borrows heavily from the Mexican Western, there’s a certain playful exuberance which underpins his debut. It’s a very rough film – one which doesn’t quite have the shine of a finished major motion picture release – but there’s enough charm and wit bubbling away to carry the film over the line. It’s quirky and perhaps a little cheeky, but it’s also surprisingly respectful of the genre and of the films around it. It almost lacks the ridiculously gratuitous nature of his later efforts, though perhaps here he was restrained by a tiny budget.

An unconventional choice of instrument...

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Meme of the Moment: Cinema Code of Conduct

Note: You can find the full list of participating blogs here. Kudos to all involved, and especially to CinemaScream for putting it together.

I feel somewhat humbled to open this post with an admission of a breach of blogging etiquette. Those who frequent the site might have noticed that I have been somewhat absent from the blogging world in the past few months – my postings are sporadic, cobbled together from a car ride or bus ride on an iPhone screen. I won’t dare to make a series of excuses about how things have gone upside down of late, or make reference to increasing commitments. We all have those, and yet most manage it far better. Anyway, I owe a sincere apology to CinemaScream – I agreed to take part in this rather ingenious (and thoroughly practical) meme, but it completely slipped my mind. So this post is somewhat more haphazard than usual. But only somewhat.

Basically, the Cinema Code of Conduct (as proposed by Mark Kermode and Simon Mayo) is intended to make going to the cinema a far more pleasant experience for those involved. In this era of mobile phones and iPods and such, it’s a rather wonderful idea to attempt to codify the behaviour that should be considered acceptable in modern cinemas. I really wish that a few major chains would consciously publicise the list to promote it among movie-goers. The ten items, included below, are not excessively harsh or intrusive – they are in fact relatively minor things which, if everybody did them, would make going to the cinema a much more enjoyable experience.

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