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Review: ‘Batman: The Motion Picture Anthology’ on Blu-ray

The current era of the super-hero movie can trace its roots to 1989 and the release of Tim Burton’s [[[Batman]]].  For the first time since Richard Donner’s [[[Superman]]], the comic book heroes were taken seriously and adapted for the screen with love and care.  In between, there was failure after failure as no one in Hollywood seemed to understand the source material.

Even Michael Uslan, who did understand, spent 1980 through 1988 trying to mount the film with little success. The stars seemed to finally align as Frank Miller’s [[[Dark Knight]]] in 1986 showed people what could be done with the character and suddenly Warner Bros. was interested. They tapped Burton, coming off the success of [[[Beetlejuice]]], a director with exactly the right sensibilities to take the Dark Knight and present him in a way that made you forget Adam West’s interpretation (at least for a little while).

You’re reminded of what a masterful job he did by rewatching Batman on a new crisp transfer as part of the Blu-ray box set Batman: The Motion Picture Anthology 1989-1997, on sale today. Gotham City is a dark, scary place, and its populace needs Batman, a vigilante protector. The architectural look, from designer Anton Furst, coupled with the moody lighting and off-kilter sensibilities of its director made Batman something to marvel at. He got fans to get over their complaints that Michael Keaton was the wrong choice to portray Bruce Wayne.  Instead, Keaton was a conflicted everyman who had some serious issues driving him to don the costume and endure the withering barbs from Alfred (Michael Gough). Jack Nicholson’s Joker nearly stole the movie but was a terrific foil for the hero.  The movie’s far from perfect with story holes and logic gaps (one bullet can take down the Batwing?).

Burton and Keaton came back for [[[Batman Returns]]] which unfortunately offered us no new insights into the hero but did give us refreshed looks at both Catwoman and Penguin. Selina Kyle’s story arc is the strongest in the film and Michelle Pfeiffer gives a strong but sympathetic performance.  Danny DeDevito made for a creepy, grotesque Penguin but his arc was taken from a 1967 plot and felt it.  The uneven storylines never meshed well and the movie felt divided.

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The Un-Ethics of Watchmen Part II: The Under-übermensches

For part 1 of this article, go here.

If Alan Moore, in his alternate universe that is not so far from our own, invokes Nietzsche’s übermensch, the hyper-evolved, extra-moral being, each one of our main masks, individually, embodies some stage to that goal as we explore our Nite Owl’s-eye view of things as Moore presents them.

A central tenet of Aristotle’s outlook is that animals and we have souls, but we have rational souls and that’s what makes us human. Humans are beings of action, agents who act upon other things, instead of objects who are acted upon (see First Cause and The 4 Causes in Metaphysics). The result of all that – humanity and agency – yields responsibility through choice. So it’s an argument that starts with source and ends with aim (telos) – happiness, eudaimonia (as no sane being chooses unhappiness, but makes unfortunate choices due to ignorance and error – back to reason). And we gain happiness through the instrumental use of goods toward the ultimate good, which is true happiness (vs. illusory or merely apparent good). Ari posits that when the passions drive the bus, instead of reason, we are moved and that language reflects and helps to create our reality. Look at how we speak about things we experience: “It moved me.” That means we cared, we felt, we gave a damn. And the word “passion” means “to suffer,” and anyone who’s ever been in love knows that it’s both joy and suffering. So how do Moore’s characters move, instead of being moved as pawns in someone else’s game, not being masters of their own game?

Blake’s “understanding of the human condition… he understands perfectly… and he doesn’t care…” is seeing the world through dirt-colored glasses. There is no optimistic rose in Moore’s world – only blood-red, black, white, yellow, crap-brown amidst the chiaroscuro. Blake is never treated as a human, and so never behaves like one and exists by objectifying everyone, creating a never-ending supply of objects that he moves and who move him. He’s operating out of Id (impulse, desire), too far gone to notice and, like Rambo, rise up against his objectification, and so there is no opportunity for redemption. His heart is turned to stone and would fall into Hell on the Egyptian scales of balance vs. the feather. But he’s already been living there all his life, so he has no thought of that, either. Fearless. Contempt and grandiosity are all smoke screens for despair, ego death. Murder is a form of suicide, as part of our psyche can’t help but recognize our own humanity in the humanity of others, even if that part of our empathy (see Hume) and that of those around us is dead or severely damaged goods.

So Blake is totally incapable of making any ethical decisions because he obviously does not know right from wrong (the legal definition of insanity). He only knows how to destroy, feel crazed pain even as he emotionally anesthetizes himself – goes for the thrill to bury the ill. Sleight of hand. Distraction. Noise. The only even remotely good thing he ever created, and that was purely by biology buried under all the sludge of his struggle for power (one of the übermensch impulses), was Laurie. The fact that he never actively harmed her is the one good thing he’d ever done, however passive, before being tossed out that window.

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Neil Gaiman’s Watchmen parody: Watchdogs

From an Avedon Carol fanzine in 1986– yes, before Neil Gaiman ever wrote a single comic book, let alone write Coraline, Beowulf, or Stardust– he wrote and drew this:

As far as Neil knows, this is his first published illustration. Thanks to Rob Hansen for saving this all these years and posting it on his blog.

ComicMix Quick Picks – March 9, 2009

Today’s list of quick items– Watchmen, Watchmen everywhere:

Anything else? Consider this an open thread.

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John Carbonaro passes away at the age of 58

thunder1-8641152We’ve just received word that John Carbonaro passed away on February 25th at the age of 58.

John was a hard-core comic fan who acquired the rights to the T.H.U.N.D.E.R. Agents comic in 1981, which had been published in the sixties by Tower Comics. Robert J. Sodaro wrote up a long history of John and his time with the Agents in this article and only hints at some of the convoluted publishing history and legal messes (any series that shows up in both Thunder Bunny and Penthouse Comix has a weird publishing backstory.)

i only met John a few times, but he will be remembered.

The Point – March 9th, 2009

The numbers are in and WATCHMEN starts fast and ends at a jaunt, while David Faustino shares the future of his STAR-VING series, we predict what will be in your bag from the comic shop this week, PERRY BIBLE FELLOWSHIP hits hardcover and Mike Gold reviews the Watchmen reviews.

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Review: A Pair of Jokers

The Joker has always been Batman’s most iconic and popular villain. We can argue why this is so, but it’s been true since at least the ‘70s, and shows no sign of changing any time in the near future. And so, with a major movie coming out last year with a high-profile Joker (though no one knew just how high-profile it would eventually be, after Heath Ledger’s surprise death and a billion dollars at the box office), DC signed up some more Joker-centric projects. Who could blame them?

Joker
Written by Brian Azzarello; Pencils and Covers by Lee Bermejo
DC Comics, November 2008, $19.99

This one was billed as the closest thing to a direct tie-in with that [[[Dark Knight]]] movie, and this [[[Joker]]] could function as a sequel – the Joker gets out of Arkham as the story begins. It’s pretty blatant, actually, with the Joker looking as close to Heath Ledger as a jumpy lawyer would allow, scarred cheeks (not an element of any previous Joker incarnations I can recall), and a brief Riddler cameo seemingly planned as a Johnny Depp casting call. (On the other hand, Two-Face is still alive in this story and Batman hardly appears at all – just at the end, when Azzarello was nearing the end of his page limit and nothing else would bring the story to any kind of conclusion.)

Joker is not precisely Joker’s story, though: it’s yet another worms-eye view of a superhero universe, the story of small-time hood Jonny Frost (and why, after seventy years of pulp comics, are we still stuck with dumb names like that?), who wants to be bigger than he has any right to be. So he volunteers to pick up the Joker when he gets out of Arkham, and he becomes the Joker’s right-hand man, sort-of. Then there’s a lot of violence – mostly against Two-Face’s gang – to show us how twisted and sociopathic and sneaky the Joker is.

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Dakota Fanning cast in ‘The Twilight Saga: New Moon’

Dakota Fanning is about to go all Volturi on your ass.

The 15 year old actress is set to sparkle– literally– in Summit Entertainment’s movie The Twilight Saga: New Moon, the sequel to its Twilight film, according to People.com.  Fanning will take on the role of Jane, a particularly evil vampire in the guise of a sweet young thing who is a member of the Volturi sect of vampires. 

Principal photography for New Moon is scheduled to begin in Vancouver later this month, with the release date close behind on November 20, 2009.  New Moon is shooting back-to-back with The Twilight Saga: Eclipse (June 30, 2010), the third movie in the saga that is based on Stephenie Meyer’s Twilight books.

ComicMix Quick Picks – March 8, 2009

The weekend’s list of quick items:

Anything else? Consider this an open thread.

Review: ‘Pinocchio’ 70th Anniversary DVD

Walt Disney learned much from the work performed in [[[Snow White]]], his first animated feature.  The story was fairly basic and almost too short and to the point. For his second outing, he intended for something to further demonstrate his mastery of the animated form. As a result, his work in translating Carlo Collodi’s [[[Pinocchio]]] from book to cartoon kept changing through the production and as a result, the finished product was a giant leap forward.

The lush color palette and ease of motion employed by the characters is confident, evoking a storybook feeling while telling an entertaining tale.  You’re reminded of all this when re-watching the film on the new 70th Anniversary DVD, on sale Tuesday.

Disney took the popular 1883 novel, which focused largely on social themes and reshaped it into an American kid-friendly story with heavy lessons to be imparted. Interestingly, the movie, released February 7, 1940, didn’t fare well at first thanks to the global concerns over war, but grew over time to be an enduring classic.

How the book was adapted complete with an alternate ending is just part of the anniversary extras included on the Blu-ray and two-disc standard DVD editions. The Blu-ray also includes the single disc DVD which has just the movie, some trailers, and some music videos. The rest of the goodies, of which there are many, were not available for review since just the Blu-ray was provided to journalists.

So, let’s talk about the movie.  The story of the kindly toy maker, Geppetto, who constructed a boy puppet as a substitute son, is a lovely beginning. The turquoise fairy (renamed the simpler blue fairy in the movie) arrives and bestows life on the toy and promises to turn him into a real boy if he learns to behave and accept the responsibility that comes with life. Being entirely naïve about what that means, and presuming Geppetto too old to teach him, the fairy taps Jiminy Cricket to play the role of conscience. The boy begins a series of exploits that shows the audience the need to listen to the little voice in the back of your mind.

Pinocchio is easily lured away from the tried and true path, such as attending school, for the easier vices.  He’s constantly taken advantage of by adults, both human and anthropomorphic.  By film’s end, none of them are made to pay for their perfidy. In fact, they remain at large; tempting others to stray while Pinocchio, having learned his lesson, returns to Geppetto’s loving arms. As they manage to survive the whale Monstro’s hunger, Pinocchio earns his human flesh.

The animation is lush, the backgrounds colorful.  A lot of time and attention is given to showing off, especially early on in the toy shop as the various creations perform.  Later, there’s tremendous activity in the background, notably when Pinocchio and Lampwick find the other boys who are a busy bunch.

We all know the songs from the film and the signature moments such as the wooden boy’s nose grow long enough to house a bird’s nest when he lies.  There is a gentle humor to Jiminy’s commentary and affection runs strongly through the good characters.  It’s not a terribly scary movie, compared with the chilling Queen-turned-witch in the previous feature.  There are thrills, such as the escape from the whale, and the 88 minutes pass with nary a lull.

The film transfer is crisp, the colors as rich as ever.  The sound is sharp. If this is not in your family’s video library, it probably should be and you have three versions to pick from so it all depends upon how many extra bells and whistles you want.