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The Adventures of Batman & Robin – Showdown (Review)

This September marks the twentieth anniversary of Batman: The Animated Series, and the birth of the shared DC animated universe that would eventually expand to present one of the most comprehensive and thorough explorations of a comic book mythology in any medium. To celebrate, we’re going back into the past and looking at some classic episodes.

Bruce Timm’s animated DC universe introduced me to a wealth of comic book characters I would never have encountered otherwise. While I was familiar with most of Batman’s iconic selection of bad guys, The Demon’s Quest introduced me to Ra’s Al Ghul. Later on, you could see Superman: The Animated Series making a point to introduce other iconic characters like the Flash or Green Lantern. However, Batman: The Animated Series also did its shared of universe-building. While Zatanna introduced the magician as a co-star with Bruce, Showdown is notable for introducing another DC hero with whom Bruce never directly interacts.

Showdownworks superbly as an introduction to the character of Jonah Hex. It certainly works much better than the recent feature film carrying the character’s name.

He’s a sharp one…

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Non-Review Review: Stitches

This movie was seen as part of Movie Fest, which was as much of a joy this year as it was last year. If not moreso.

Stitches is an interesting little Irish film. Featuring an interesting set up to parody the conventions of the supernatural slasher film, the movie finds itself falling prey to them just a little bit too often. Irish writer and director Conor McMahon creates a credible gory teenage bloodbath, but doesn’t really find a narrative hook to engage the audience. Never entirely sure how ironic it is trying to be, Stitches is a solid effort, albeit one far from greatness.

Not clowning around…

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The Adventures of Batman & Robin – Riddler’s Reform (Review)

This September marks the twentieth anniversary of Batman: The Animated Series, and the birth of the shared DC animated universe that would eventually expand to present one of the most comprehensive and thorough explorations of a comic book mythology in any medium. To celebrate, we’re going back into the past and looking at some classic episodes.

Batman: The Animated Series always did a great job with villain origins. Heart of Ice gave us the best Mister Freeze story ever told, The Clock King made the eponymous third-stringer a credible threat and Mad as a Hatter reimagined the Mad Hatter as a deeply tragic figure. That said, I don’t think that the show got a proper handle on the Riddler until his third appearance in Riddler’s Reform. The green-suited trickster has long been one of my favourite Batman bad guys, and while I mostly blame Frank Gorshin’s manic portrayal from the sixties Batman! television show, Riddler’s Reform played a pretty significant part in that as well.

Knight caller…

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Man vs. Superman: Chronicle’s Climax & The Scale of Superhuman Violence…

I had the chance to watch Chronicle again over the weekend, and I still found it a boldly fascinating (albeit flawed) film. The construction of the movie as a collection of “found footage” still strains more suspension of disbelief than any of the antics involving the lead three characters, but it remains a thoughtful deconstruction and exploration of the superhero tropes and genre that audiences have begun to take for granted. In particular, the movie’s climax – though filmed on a shoestring – still does a better job evoking a sense of scale than Joss Whedon’s admitted stylish last half-hour of The Avengers.

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Have a Look at Jill Thompson’s Sandman Movie Concept Art!

We’re big fans of Neil Gaiman’s Sandman here at the m0vie blog. It’s genuinely one of the masterpieces of the medium, and the perfect book to recommend to somebody who wants to see the very best work in the medium. There has been talk of adapting the story for film before, and I remember having nightmares about the damage that could have been done to it by an industry that hears “comic book” and thinks “superhero.” At one point Gaiman apparently read “not only the worst Sandman script I’ve ever seen, but quite easily the worst script I’ve ever read” attached to the project.

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Superhero Movie Fatigue? I Tire of This Argument…

It’s becoming a frequent complaint that there are “too many” superhero films. When Green Lantern crashed and burned last year, there were a rake of articles lauding it as “superhero fatigue.” Even before this summer kicked off, people were asking if “fatigue” had kicked in. Ignoring for a moment that The Avengers and The Dark Knight Rises are the two most successful films of the year, I’ve never quite understood that argument. There were, after all, three (or four, if you count the dire Ghost Rider: Spirit of Vengeance) superhero-themed blockbusters this year. Do audiences get “period drama fatigue” if more than four high-profile period dramas are released in a year? Are there widespread cases of “cop movie fatigue” if more than half-a-dozen movies feature a law enforcement official in a lead role? Is there a cap on the number of films that Ryan Gosling can produce, lest he inspire an epidemic of “Ryan Gosling fatigue”?

Twilight of the superheroes?

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Non-Review Review: Psycho (1960)

Psycho is a masterpiece from Alfred Hitchcock, a uniquely American horror story that redefined and codified the horror genre. Even after one has already seen the film, and knows the twists and the plotting detours that Hitchcock’s adaptation of Robert Bloch’s novel might make, it’s still a powerful and compelling piece of cinema. Hitchcock laid a template here that would inform generations of horror films that followed, with the DNA of Psycho to be found even in the most unlikely of places.

“You can checkout any time you like, but you can never leave…”

Note: Hitchcock famously guarded the ending to this project. “Don’t give away the ending — it’s the only one we have!” he pleaded in advertisements. However, it has been fifty-two years, so I fear that the statute of limitations on potential spoilers has expired. After all, Psycho has been so massively influential it’s hard not to know what happens. If, by some fluke, you know nothing about the film… see it! See it now! We’ll still be here when you get back.

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The Knight is Darkest: Appeals to Fanboy Sanity…

To celebrate the release of The Dark Knight Rises, July is “Batman month” here at the m0vie blog. Check back daily for comics, movies and television reviews and discussion of the Caped Crusader.

Really?

Really?

I’ve honestly never understood the internet’s problem with divergent opinions. Why are people so deeply threatened by an opinion that differs from their own? Rotten Tomatoes had to shut down their commenting system after a bunch of rabid fanboys took to protesting negative reviews of The Dark Knight Rises. It’s not a new problem. It happened with the release of The Avengers as well. And The Dark Knight. It seems that internet comic book fans are extremely prone to this sort of violently obsessive behaviour. I say this as somebody familiar with comic books and somebody who really loved The Dark Knight Rises: Why?

Why is an opinion different from yours threatening to you?

The long Dark Knight of the soul…

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Non-Review Review: Dracula (1931)

I have a soft spot for classic Universal horror. Not that it should come as a surprise – I’m a sucker (ha!) for some vintage Hammer Horror as well, and all other forms of classical horror (even if they may occasionally veer into the realm of kitsch). It’s really hard to overstate the massive influence that the 1931 Universal version of Dracula had on the subsequent adaptations of Stoker’s truly iconic novel. I honestly don’t believe that the character would the same without Bela Lugosi’s truly magnificent central performance, as seen here. Sure, I’m less than convinced about the ending, but most of Tod Browning’s adaptation is a feast for the eyes and pulpy horror classic.

Stairway to heaven?

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Non-Review Review: Take Me Home Tonight

There’s something strangely charming about Take Me Home Tonight. I say “strangely” because I’m not blind to the movie’s many awkward flaws. I can spot the predictable plotting, the douchebag entitled protagonists and the shallow “high school crush” romance. None of these are any less conventional than the plot’s attempt to conceal saccharine romanticism with cheap lowbrow humour. I can see those problems with the film, but for some reason I think it works well in spite of them. I think the strongest aspect of Take Me Home Tonight is not the eighties setting (though that helps), but the sense that Topher Grace may have finally found his niche.

We can dance if we want to…

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