As Man of Steel Sequel Gets Crowded, Let’s Hope There’s Room for a Sense of Humor

With confirmation of only that Batman (Ben Affleck) and Wonder Woman (Gal Gadot) will appear, the Man of Steel sequel has been ripe for speculation, with everyone from Nightwing to Martian Manhunter rumored to make an appearance. Will this still untitled Super-sequel be a backdoor Justice League movie, or will it simply be the DC Trinity as a set-up, with the rest of the League being primed for future solo or team movies (via post-credits teasers). In addition to those, I've heard rumors of Flash, Aquaman, Green Lantern and Doomsday. They can’t all be showing up for this film, can they?

One thing we do know for sure is the tone established by Zack Snyder and David Goyer, both back for the follow-up. With Man of Steel set as the opening salvo in a shared DC cinematic universe, we can expect some major differences from the Marvel universe which takes a more light-hearted approach. There was not an ounce of humor in Man of Steel and I don’t see how the addition of the Dark Knight Detective and a warrior Amazon are going to change that tone very much.

Presumably the movie will pick up on the fallout from the invasion of Zod and Battle in Metropolis (not to mention Smallville), where Superman may have saved the day, but not without a lot of collateral damage, and a fatality to his name. Repercussions are sure to follow and leading the charge are likely to be Lex Luthor (currently rumored to be Joaquin Phoenix) and fellow wealthy philanthropist Bruce Wayne. The movie could use some lightening up, but I think we've all seen enough of a movie Luthor played for laughs, so that isn't the route to go either. Maybe the secret identities of the world’s finest heroes can work in some humor as they play off of each other in their “disguises.’

While my initial response to Superman killing Zod and the massive destruction was disappointment, I recognize the storytelling possibilities it provides and visually, the movie looked terrific. We asked for a Superman that would actually hit someone, and boy did we get that. I can only hope that the sequel will indeed face the climactic actions head on and hold him accountable. You don’t destroy a city and kill your enemy without there being some push back from the government, concerned citizens or fellow “do gooders” This movie should be Superman’s redemption and emergence as a leader, a real super-hero. He still has to earn trust. I hope that having Batman and Wonder Woman join him will help set that up.

The Dark Knight trilogy did very well by playing it very serious (with occasional moments of levity) and I expect that the new DC movies will follow a similar formula. I just hope the movie aren't too much like video games that is just confrontation after confrontation with nary a laugh to be found.  I do hope Nightwing shows up, because having a Robin around is sure to brighten things up a bit. Even if he’s rebelling against Batman.

Review: Legends of the Dark Knight: Alan Davis Hardcover

Unlike most of DC’s other hardcover volumes focusing on a single artist’s Batman work, “Legends of the Dark Knight: Alan Davis" (Volume 1?) actually includes a continuous run of Detective Comics stories  (#569-575) with the same creative team, as writer Mike W. Barr and inker Paul Neary join penciller Davis for most of the book.

Barr and Davis’s stories are an entertaining throwback to the “superhero” Batman in the months just preceding (and then briefly concurrent with) the constant Miller-angst that reigns til this day. Batman smiles, cracks jokes, and frequently calls Robin “chum.”  Alan Davis’s art is crisp, clean, almost but not quite veering into cartoony. He homages the giant prop Sprang era quite a bit, but he can do grim as well, as seen in one panel where Batman backhands the Joker in a burst of anger.

The first few stories feature Catwoman (in her purple dress with green cape outfit) and the Joker. Next up is a Scarecrow story that seems to have been the inspiration for one of the later Timm animated episodes featuring the villain, in which he removes people’s fears rather than creating or exploiting them.  An over-confident grinning Batman is as unnerving as the grim look you normally see, especially when he plays chicken with a couple of trucks.

The highlight of the volume, is the anniversary issue of Detective Comics #572, reprinted in its entirety even though it includes non Davis art, where Batman teams with fellow detectives Slam Bradley, Elongated Man  and even Sherlock Holmes (featuring guest art by Carmine Infantino, Terry Beatty and ER Cruz) in a story that focuses on a century-spanning mystery book.

Following that is a Mad Hatter story with a tragic ending that leads directly into the next issue. This issue “…My Beginning and My Probable End” is billed as “the new origin of the Batman” which signals the changes in Batman’s history, as his origin is retold with echoes of Year One and the upcoming Year Two, the first chapter of which is also reprinted here (subsequent chapters are penciled by Todd McFarlane and are not included in the volume), and ends Davis’ Detective run. I believe this is also the first appearance of Dr Leslie Thompkins and her clinic, vs. the pre-Crisis version of her as en elderly lady still living in Crime Alley.

That leads to another observation about the uniqueness of this volume – that is, it’s place in Batman’s history, as it straddles the time period between pre-Crisis Earth 1 Batman and post-Crisis/Year One Batman. This is most evidenced here by the prominent inclusion of circus acrobat Jason Todd, as established back in 1983. By the end of the run, there is allusion to the new Jason Todd origin that was established in the “Batman: The New Adventures” era that followed “Batman: Year One” in Batman, but that’s inconsistent with how Jason is portrayed throughout the book. This version of Jason would less likely have been voted to be killed by readers, as he actually seemed like a genuine kid who was thrilled to be at Batman’s side and eager to be a worthy partner.

The collection concludes with the Year Two sequel, Full Circle, originally a standalone graphic novel, and a short story from the Batman Gotham Knights black & white back-ups that features characters from the original Barr/Davis run.

All told, this is one of the more satisfying, straightforward volumes of artist-centric Batman volumes. It takes place during a transitory period in Batman history, but that makes it no less enjoyable for fans of old-fashioned superhero Batman fun that combines the tongue-in-cheek sensibilities of the 60s with the burgeoning seriousness of the 80s, with beautiful art to carry the reader along.  The art reproduction is also consistent throughout the volume. Not sure why this is called Volume 1 though, as I believe this includes all of Davis’ Batman work. Highly recommended.

You can also read this review at the Collected Editions blog.

USA Today runs weekly Superman comic online

As a tie-in to it's great new weekly comics experiment, "Wednesday Comics," DC Comics has partnered with USA Today to feature its lead strip, Superman, as a weekly online installment. Start here to begin the story. As of this writing, they're up to week 3.

"Wednesday Comics," a 12-week series, pays homage to the Golden Age of the Sunday newspaper's comics section. It is a 16-page weekly that unfolds to a 28" x 20" tabloid-sized, full-color spread, with each strip on its own 14" x 20" page. Each week find new stories on traditional DC superheroes Superman, Batman, Wonder Woman, Supergirl, The Flash, Green Lantern, Hawkman and the Teen Titans, classic characters such as Adam Strange, Kamandi and Sgt. Rock, and quirkier heroes like Deadman, Metamorpho, the Metal Men and the Demon (here teamed with Catwoman).

At $3.99 an issue, it's bit expensive for a weekly book and not every strip works, but it's a great experiment that spotlights lots of character and creators, and throws in a bit of nostalgia. It's too early to tell which stories will ultimately turn out the best, and no one knows if and how the stories will be collected, but between the weekly fold-out newsprint and the online weekly Superman strip, it's a great time to be fan of DC Comics and is wide universe of characters.

Read more about the concept behind "Wednesday Comics" here.

My Favorite Scene: Some Like it Hot

At about an hour and a half into the two-hour Some Like it Hot, the scene opens with Jerry (Jack Lemmon) dressed as ‘Daphne” – wig, dress, jewelry, make-up – lying on the bed, humming the tango and shaking maracas above his head, smiling at the events of his evening. Joe (Tony Curtis) climbs in the window, returning from his own escapade:

“Hi Jerry, everything under control?”
“Have I got things to tell you!”
“What happened?”
“I’m engaged!”
“Congratulations! Who’s the lucky girl?”
“I am!”

This exchange sets the tone for scene as Jerry, who up to this point had trouble playing along with the evening’s scheme (his occupying an elderly millionaire by accepting a date with him so Joe can woo a girl on the millionaire’s yacht he pretended was his own), fully embraces his role. That is why, for almost the entire scene, from when he is alone at the beginning until after Joe enters the room, he remains in “costume.” He only removes his wig when Joe tells him to remind himself “you’re a boy, you’re a boy” (a call back to a scene earlier in the movie when Joe has to remind Jerry “you’re a girl, you’re a girl” when they are surrounded women parading around in their underwear early into their masquerade).

Throughout the scene, Jerry cites all the clichés of a woman about to be married – “Do you think he’s too old for me?”, marrying him for “security,” mulling over honeymoon locations, wondering what his fiancé’s mother will think. After all, it’s his “last chance to marry a millionaire.”

Joe insists to Jerry that he has to call off the engagement/marriage. “There are laws, conventions, it’s just not being done!” but Jerry says he will go through it only until after the honeymoon, when he will ask for a divorce and “keep getting those alimony checks every month!” This represents the first time we see Jerry initiate his own money-making scheme, which are usually spearheaded by Joe. This time, however, Joe thinks, the idea is too far out – until Jerry shows Joe his engagement presents, a diamond bracelet. “Hey these are real diamonds!” Of course they’re real! Do you think my fiancé’s a bum?” Now, Joe recognizes the possibilities. When Jerry finally realizes he’ll have to call of the engagement and return the bracelet, Joe, replies “Now, Jerry, let’s not be hasty.” Joe’s true nature shines through.

In only about three minutes, attitudes, plans and schemes evolve, with a role reversal that unravels, as Jerry can’t maintain the deception and Joe is motivated by easy money. This, however, is the last scene where we see Joe behave in this way, as reality closes in and he also realizes the emotional damage his masquerade has caused. His change of heart is illustrated by what he ultimately does with that diamond bracelet (not that it was his to do anything with, but why quibble?). As such, this scene sets the stage for the final act of this brilliantly written, directed and acted classic with one of the best closing lines in movie history: “Nobody’s perfect.”

A Wascally Wabbit of a Movie

Let me talk about an awesome little movie called Shoot ‘Em Up.

Starring Clive Owen and Paul Giamatti, this 2007 movie has no aspirations except to entertain action fans for under 90 minutes. Full of mindless sex and violence (and in one incredible scene, both at the same time), not to mention Bugs Bunny references, this movie is funny, violent and completely nonsensical – in the best way possible.

It’s like Clive Owen decided he had a great time doing Sin City and wanted to do something similar without so much green screen, and Paul Giamatti figured it was time he played an over-the-top bad guy after being an indie darling for the past few years.

Just as you think it’s winding down as it pays obligatory attention to the "plot," another scene that is so outrageous – to an hard rock soundtrack, of course – explodes that you can’t help laughing at. And then more after that. Until the very end. Did I mention it’s under 90 minutes?

It’s bloody, and it’s ridiculous and you’ll never look at carrots the same way after you watch this, but you’ll laugh your ass off at the sheer audacity of this great silliness. Trust me, watch this one.

Up Up and Go Away!?

(Spoilers ahead for previous and upcoming Smallville episodes)

On Thursday, September 18, Smallville returns for its eighth season. Let that sink in for a second. A show about the teenage Superman is starting its eighth year. And he’s still not Superman. And I thought I was a procrastinator.

When we last left Clark at the end of the seventh season, he had defeated Brainiac (for now), who still had cousin Kara (aka Supergirl) trapped in the past on Krypton, and was at the Arctic fortress, where Lex finally discovered what he had apparently been too blind to see all along – Clark was a strange visitor from another planet with powers and abilities far beyond those of mortal men. Then the fortress collapsed on them. End of season. And with a cliffhanger like that, it certainly couldn’t be the end of the show. But it was an ending. For some.

When the show returns this Thursday, Lex (Michael Rosenbaum), the show’s best character and central antagonist, will be gone, or "missing" as the show explains. Clark is missing too, but we know he’ll be back, thanks to the efforts of the proto-Justice League – Green Arrow (now a regular), Black Canary (in her second appearance) and Aquaman (in his 3rd or 4th, I lost track). At this point, previous team members Flash/Impulse and Cyborg, are nowhere to be found, their absence perhaps to be explained in the opener. Lana is also gone, having explained to Clark at the end of last season she had to move on so he could embrace his destiny (whatever, I’m just glad she’s gone). Kara is still on Krypton and won’t be back as a regular, though she will be back for at least one episode to wrap up her storyline. Lana, too will be back for a few episodes around mid-season.

This season will find Clark working at the Daily Planet with his
partner/competitor Lois Lane and cub reporter/photographer Jimmy Olsen. That’s right, it’s Lois and Clark, 2.0.

So, that leaves us with Lois, Jimmy and Chloe (Allison Mack), the only main character who does not have a comic book counterpart. As such, she’s good to have around because you’re never sure what’s going to happen to her. Everyone knows that ultimately, Lois, Jimmy, Lana and Lex are safe because they have comic book-established adult lives to still get to. So far the show has lost Pete Ross, who left Smallville (and briefly returned in last season’s worst episode), Jonathan Kent (who died, as he has in several—though not all – versions of the character), Martha Kent (who as a Senator, has left for Washington, D.C. in a complete departure for the character), and Lionel Luthor, Lex’s father, another character created just for the show, who gave viewers a glimpse of what a fully mature Lex Luthor would become, who was killed by Lex, expressly for that purpose – so he could replace him.

So what’s coming up this season, eight years after Clark has first learned that he’s an alien with super powers? Well, still not Superman, though he’s getting much closer (one would hope, wouldn’t one?) This season will find Clark working at the Daily Planet with his partner/competitor Lois Lane (Erica Durance) and cub reporter/photographer Jimmy Olsen (Aaron Ashmore). That’s right, it’s Lois and Clark, 2.0.

But, obviously, it’s not exactly the same as the 1993-97 series. First, he’s STILL not Superman. Plus, Chloe’s still around, though his parents are not. Also, a few new regulars debut. As mentioned, Oliver Queen/Green Arrow (Justin Hartley), who appeared only once last season, is now a regular. And there are two new characters to replace Michael Rosenbaum’s Lex – Tess Mercer (Cassidy Freeman), Lex’s replacement as the head of his company, and Davis Bloome (Sam Witwer), a paramedic who catches Chloe’s eye and is destined to become Doomsday, he character who killed Superman in he comics. How exactly that happens is anybody’s guess, as this is a complete departure from anything that’s come before in the comics.

Chloe, who was arrested by the FBI at the end of last season, just as Jimmy proposed to her, will no longer be at the Daily Planet, instead, picking up where Lana left off, running the Isis foundation, dedicated to helping so-called "meteor freaks," even as she learns to embrace her own inner freak. She will distance herself from Clark, realizing she has been too much of an enabler, hoping that leaving him to his own devices will help him embrace his destiny (there’s that phrase again, get used to it this season). One of the first she will encounter is Plastique, a character from the comics (a Firestorm villain, of all things) who can explode.

This season is the first without original executive producers Alfred Gough and Miles Millar, who instituted the "no flights, no tights" rule of the show, meaning we would never see Clark fly or put on the famous red and blue costume. According to the new showrunners, “The only thing that we are saying is that we can absolutely confirm that there is no tights, so that's pretty much all we can say on that.”

He will also learn the value of a dual identity as he begins to separate "Clark Kent" from the super-powered savior he is beginning to accept that he is. In the past Green Arrow was telling him to use his gifts to make a difference. This season, the roles are reversed, as Clark recognized what he needs to do, just as Green Arrow is having his doubts.

Helping Clark along in his journey is an appearance by comic super-team, the Legion of Superheroes, a team of young heroes from the 31st century who banded together to emulate their past hero, Superman. This episode is written by comics writer Geoff Johns, who has done a LOT of work with the Legion recently, most notably in the current "Legion of Three Worlds," which I wrote about recently. The Martian Manhunter and Brainiac are also expected to make return appearances this season.

I just read that they have a clip show scheduled (now THAT’s a bad sign) and a production break when the network will decide whether or not to bring the show back for another season, so that if this is indeed the last season, they can close it out appropriately. I really do hope that it is, because there has never been a TV series where I more looked forward to the final episode. While all descriptions and interviews suggest that Clark’s indecision will end this season, he’s at least two seasons too late. I want this show to close strong and look forward to the final iconic shot of him in costume, revealing it as he tears away is Clark Kent clothes and taking off to save the day.

There has never been a TV series where I more looked forward to the final episode.

While I will likely continue to watch this show for as long as it; on, I really hope that this is the final season. Lex was the best character on the show, and without him and without Clark actually becoming Superman, the show seems to have little reason to exist. He has been in this limbo state for far too long at his point that it’s even hard to recognize him as a hero. That he’s met almost all of his JLA teammates and faced off against his major enemies – Luthor, Brainiac, Doomsday – and still has not dedicated his life to "Truth, Justice and the American Way" is increasingly frustrating. Meeting the Legion HAS to be the final kick in the ass that he needs.

At least one more appearance by Lex and some way of somehow making everybody forget that Superman looks just like Clark can make this season and series go out on a high note. Short of introducing Batman or Darkseid, I really can’t think of what's left. Bring back Mom Kent for an episode to kick him in the butt, kill off Chloe as the last straw and put him in the costume. If it does continue, get rid of everybody except Lois, Clark and Jimmy, bring back Lex and rename the show Superman. Then go nuts with comic book stuff.

How I Spent My Summer Vacation (Part 1)

June 30? My last post was over two months ago?! Apparently I decided to take the summer off from blogging, despite all kinds of "stuff" happening tailor-made for this place. But, once I started missing a few things, it got harder to catch up. And with such a gap, I started to feel a little overwhelmed about everything I "should be" covering, and that kept me away even longer. So finally, I realized/decided by the end of July, well, I’m taking the summer off.

Now, I want to wipe the slate clean and start fresh for the fall, so I’m going to get all of this out of my system with a series of summarizing posts. Then, we can begin again with hopefully a little more regularity.

The biggest miss of course was my review of The Dark Knight. If you scroll down this page, I spent almost a year blogging about my anticipation for this release. Then on July 18, it finally comes out and…nothing, even though I saw it twice (and still hope to catch it in IMAX). I reviewed Iron Man back in May , but skipped reviews of the other big summer movies I saw – Indiana Jones, The Incredible Hulk and … The Dark Knight.

One of the reasons I think I skipped it was because I didn’t know what to write. I LOVED the movie. There are only so many ways I can write "awesome". And I had read so much about the movie before and after its release, it was hard not to be influenced by some of what I had read. Heath Ledger’s Joker was inspired and Aaron Eckhart’s Harvey Dent was mostly great, though the resolution seemed a little… rushed, despite the movie’s length. Returning cast Bale, Oldman, Freeman and Caine built on their strong showing from Batman Begins with even meatier performances. Nolan blended drama, action and humor to create a fantastic, very dark sequel. It immediately leaps to the top of the list of the best comic book movie, though it’s followed pretty closely by Iron Man, as I wrote earlier.

The Incredible Hulk was a fun movie too. Casting aside the Ang Lee version from 2003, this Edward Norton-led version owed a lot to the TV show and the comics. It provided what we were looking for the first time – lots of action, with some major fight scenes against the military and the Abomination, and featured the Bixby-like Banner on the run and in hiding doing menial jobs under false names. And like Iron Man before it, the movie made clear its part of a larger Marvel movie universe. Kudos to Marvel for taking control of the movies based on its characters and planting the appropriate amount of seeds.

As for Indiana Jones and the Kingdom of the Crystal Skull, while it was great to see Harrison Ford back with his fedora and whip on the big screen again, the movie was a bit of a letdown that slightly tarnished the legacy of the character. It has its moments, but overall it was disappointing.

I didn’t see other comic adaptations Hellboy II or Wanted in the theatre, but I’m sure I’ll catch them on cable within the next year. Other summer movies I considered seeing but haven’t were the comedies Pineapple Express and Tropic Thunder, both still in theatres. I’m on a mini-vacation late this week. Maybe I’ll catch one of them.

Review: "Iron Man" may be the best superhero movie EVER!

I feel like a traitor, but Iron Man may be the best superhero ever made. I am loyal to the DC comics heroes, Superman and Batman. And at Marvel, only Spider-Man holds any serious sway with me. In over 30 years of reading comics, I’m not sure if I’ve ever even read an "Iron Man" solo comic, but none of that matters – Iron Man is a fantastic superhero movie, a fantastic movie, period, regardless of genre. It’s been said that Marvel heroes are more easily translatable to the big screen than the DC heroes. Iron Man is proof positive of this.

A lot of the credit has to go to Robert Downey Jr. I may not have ever been an Iron Man fan, but I’ve always loved this actor. News of his casting as Tony Stark was almost as thrilling to me as hearing Christian Bale was going to be Bruce Wayne. The rest of the cast is great too – Terrence Howard as military liaison James "Rhodey" Rhodes, Gwyneth Paltrow as loyal assistant Pepper Potts and Jeff Bridges as business partner-turned-nemesis Obadiah Stane. With a running time of just over two hours, not once did this film drag. Not a single frame was wasted, not a single scene went on too long, nor did any performance mar the film (unlike, say Katie Holmes in the otherwise excellently cast and acted Batman Begins, a mistake rectified in the sequel). There are plenty of Easter eggs for comics fans (even though, I don’t read the "Iron Man" comics, I’m familiar enough with the world to have picked up on most of them, though I’m sure I may have missed a few).

The reason this movie works for audiences beyond fanboys though is the overall realism of the film. Though there’s plenty of CGI and questionable science in the film, it doesn’t require any more suspension of disbelief than most action/adventure films, and certainly a lot less than most superhero movies. That’s because the source material is based more on reality than any of the other heroes. Though updated for the times, the origin from the comics holds up very well in the live-action adaptation. The film establishes early on Stark’s scientific and engineering expertise, so watching him, design, test, and perfect his armor in a series of vignettes is one of the best parts of the movie – a showcase of fantastic special effects, sight gags and one-liners that grounds the movie more than, say, Peter Parker finding out that he can climb walls and shoot sticky stuff out of his wrist (not that I’m knocking Spider-Man at all – I loved the movie, but still…)

What’s a good superhero movie without a good super-villain? Those looking for a more comics-accurate portrayal of Lex Luthor need look no further than Bridge’s Stane, a greedy businessman looking to eliminate his super-powered obstacle with his own super suit. Jeff Bridges is great in this movie and teaches a new lesson – never trust a man bearing New York City take-out pizza. I’ve never had much of an opinion of Paltrow one way or another, regarding either her acting or her looks, but here she more than holds her own with the great Downey and Bridges, and looks great doing it. Howard doesn’t have a lot to do, but like Samuel L. Jackson in the Phantom Menace, you know he’s going to have more to do in the inevitable sequels (one of those Easter eggs I mentioned earlier). Regardless, he’s great as both a loyal friend and solider.

But Downey carries this movie. He’s in just about every frame of this movie and never does he fail to impress, bringing his well-known personal history into the role. He’s by himself for most of the middle of the movie during the design/test/perfect scenes I mentioned, but he’s still talking almost non-stop to his mechanical assistants, those with and without voices of their own. We see him as an immoral playboy, prisoner of war, brilliant eccentric (he’s based on Howard Hughes), naïve businessman and crusading superhero, and he pulls all of them off.

Every review I’ve read of this movie has been overwhelmingly positive, noting that only the conclusion is a little cliche and too effects-driven. While I won’t say the finale is completely original, it is by no means underwhelming – yes, it’s a battle of two guys in armored suits, but unlike Transformers, you’re still caught up in the movie, knowing there’s two guys in there, not just effects (even though that’s pretty much what it is), and it not drawn out too long. It’s a short, intense, action-packed final a battle that keeps you engaged and amazed throughout.

And, very importantly, if you are a Marvel comics fan, you HAVE to wait until after the credits end for a very short scene that will soon prove that Marvel was absolutely right to take control of their characters’ movies, the next of which is The Incredible Hulk, which had a trailer in front of Iron Man.

You don't have to be a comic fan to enjoy this movie, and if you are – especially a Marvel Comics fan – you will be very, very happy with this movie.