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Warner Animation Unveils Batman: The Killing Joke Details

killing-joke-e1463086199742-2625111BURBANK, CA (May 12, 2016) – Delve into the demented history of the Dark Knight’s arch nemesis – The Joker – as he sets out to prove insanity is only a horrifying moment away for anyone in the latest DC Universe Original Movie, Batman: The Killing Joke. Based on one of the best-selling graphic novels of all time, this R-rated, feature-length animated film brings together some of the key creative team behind Batman: The Animated Series with executive producer Bruce Timm at the helm and Kevin Conroy and Mark Hamill returning to their seminal roles as Batman and The Joker, respectively. Produced by Warner Bros. Animation and DC Entertainment, Batman: The Killing Joke arrives August 2, 2016 from Warner Bros. Home Entertainment on Blu-Ray™ Deluxe Edition, Blu-Ray™ Combo Pack, DVD and Digital HD.

Batman: The Killing Joke will be available on Blu-rayTM Deluxe Edition for $29.96 SRP, Blu-rayTM Combo Pack for $24.98 SRP, and DVD for $19.98 SRP.  The Blu-rayTM Combo Pack includes a digital version of the movie on Digital HD with UltraViolet. The Blu-ray™ Deluxe Edition will include all components of the Blu-Ray™ Combo Pack, along with an exclusive figurine of The Joker in a numbered, limited edition gift set.

Fans can also own Batman: The Killing Joke on Digital HD on July 26, 2016 via purchase from digital retailers.

Based on the acclaimed graphic novel of the same name, Batman: The Killing Joke takes a journey into the dark psyche of the Clown Prince of Crime – from his humble beginnings as a struggling comedian to his fateful encounter with Batman that changes both of their lives forever. Years later, and now escaped from Arkham Asylum, The Joker devises a plan to prove that one bad day can make anyone as insane as he is – setting his sights on Commissioner Gordon. It’s up to the Dark Knight to put a stop to The Joker’s latest scheme and save one of Gotham City’s finest. Following a gripping prologue introducing Barbara Gordon’s heroic adventures alongside Batman as Batgirl, Batman: The Killing Joke stays true to the authentic tale that has held fans’ imaginations for nearly three decades – spotlighting the birth of a Super-Villain, the fortitude of a Super Hero and the punchline that will leave you speechless.

Published by DC Comics in 1988, the two-time Eisner Award winning Batman: The Killing Joke graphic novel has maintained an unparalleled popularity throughout its 28 years of existence – as evidenced by its recent ranking as the best-selling graphic novel of 2015.

“Batman: The Killing Joke presents one of the most compelling stories in the annals of Batman’s adventures: the evolution of The Joker from normalcy to criminal insanity. This was a very challenging story to tell because of the intense, often disturbing storyline, but we are extremely pleased with how true to the graphic novel we have been in this original film.” said Mary Ellen Thomas, Warner Bros. Home Entertainment Vice President, Family & Animation Marketing. “Warner Bros. Home Entertainment is proud to release Batman: The Killing Joke as an authentic representation of its revered story for both longtime fans and new fans alike.”

The celebrity-laden cast is led by Kevin Conroy (Batman: The Animated Series, Justice League) and Mark Hamill (Star Wars franchise) as they reprise their seminal roles as the voices of Batman/Bruce Wayne and The Joker, respectively. The cast also features Tara Strong (Teen Titans; Batman: Arkham games), as Barbara Gordon and Ray Wise (Twin Peaks, RoboCop) as Commissioner Gordon.

Batman: The Killing Joke is directed by Sam Liu (Justice League vs. Teen Titans) from a script by Eisner Award-winning writer Brian Azzarello. Bruce Timm and Sam Register are executive producers, and Alan Burnett is co-producer. Benjamin Melniker & Michael Uslan are executive producers.

Batman: The Killing Joke – Enhanced Content

DVD

  • An exclusive sneak peek at the next DC Universe Original Movie.

Blu-ray™ Combo Pack

  • An exclusive sneak peek at the next DC Universe Original Movie..
  • Featurette – “Batman: The Killing Joke – Madness Set To Music” – Jim Gordon must bear witness to the most disturbing images any father could imagine while a maniac entices his break from sanity in song. This documentary looks at the step-by-process of one of the most crucial scenes in Batman: The Killing Joke, including the methodology James Tucker used as he storyboarded Brian Bolland’s stunning work for the screen; Dynamic Music Partners composers/lyricists’ creative merging of original music with the poetic words from the graphic novel to provoke the desired feelings and emotions for this critical scene; and actor Mark Hamill’s physical, devoted performance to capturing the world¹s most notorious Super-Villain in song.
  • Featurette – “Many Shades of Joker: The Tale of The Killing Joke” – Brian Bolland’s artwork is instantly recognizable to comic book enthusiasts all over the world. Known for his amazing cover art, it was a rare inclusion into the body of a graphic novel, Batman: The Killing Joke, that helped the perennial story of Batman and The Joker remain a fan favorite for decades to come.  Combined with the graphic novel’s original script – which is more than just the telling of a story, but an intricate map explaining every stop along the way to the end of a fantastic journey – this documentary reveals the artistic process behind The Killing Joke’s distinct style.  We’ll learn how artists and writers excelled at conveying story and human emotion one panel at a time, mesmerizing readers with unforgettable stories and humanized depictions of heroes and villains. And why after nearly 30 years in print, Batman: The Killing Joke is more thought provoking than ever, as its socio-economic themes are relatable to generation after generation.
  • From the DC Comics Vault– Two 22-minute episodes:
  1. The New Batman Adventures – “Old Wounds”
  2. Batman: The Animated Series – “Christmas with The Joker”

Blu-ray™ Deluxe Edition

  • Exclusive Limited Edition The Joker Figurine
  • An exclusive sneak peek at the next DC Universe Original Movie..
  • Featurette – “Batman: The Killing Joke – Madness Set To Music” – Jim Gordon must bear witness to the most disturbing images any father could imagine while a maniac entices his break from sanity in song. This documentary looks at the step-by-process of one of the most crucial scenes in Batman: The Killing Joke, including the methodology James Tucker used as he storyboarded Brian Bolland’s stunning work for the screen; Dynamic Music Partners composers/lyricists’ creative merging of original music with the poetic words from the graphic novel to provoke the desired feelings and emotions for this critical scene; and actor Mark Hamill’s physical, devoted performance to capturing the world¹s most notorious Super-Villain in song.
  • Featurette – “Many Shades of Joker: The Tale of The Killing Joke” – Brian Bolland’s artwork is instantly recognizable to comic book enthusiasts all over the world. Known for his amazing cover art, it was a rare inclusion into the body of a graphic novel, Batman: The Killing Joke, that helped the perennial story of Batman and The Joker remain a fan favorite for decades to come.  Combined with the graphic novel’s original script – which is more than just the telling of a story, but an intricate map explaining every stop along the way to the end of a fantastic journey – this documentary reveals the artistic process behind The Killing Joke’s distinct style.  We’ll learn how artists and writers excelled at conveying story and human emotion one panel at a time, mesmerizing readers with unforgettable stories and humanized depictions of heroes and villains. And why after nearly 30 years in print, Batman: The Killing Joke is more thought provoking than ever, as its socio-economic themes are relatable to generation after generation.
  • From the DC Comics Vault– Two 22-minute episodes:
  1. The New Batman Adventures – “Old Wounds”
  2. Batman: The Animated Series – “Christmas with The Joker”

Tweets Discuss Captain America Civil War

This week we talk all about Captain America: Civil War. And Anya gets mad about what she calls the 45 minute fight she says is in all Marvel movies…except this one.  We also determine that a Sharon – Steve match up is wrong  because Captain Carter is the OTP of all OTPs, so move over Lizzie & Darcy.  Anya also learns that she can’t talk if she’s sitting on her hands.  We also talk about the Black Widow movie (finally) and critique the pictures in the latest Rolling Stone article about Chris Evans. Yeah, there’s a lot of episode in here!

Dennis O’Neil: Slinging His Mighty Shield

Avengers 4 Cap Discovered

No, I haven’t seen the new Captain America entertainment, though I did walk past a theater that’s showing it a few hours ago. But I guess that doesn’t count.

I might be tempted to buy a ticket at that multiplex located at an outdoor mall in Nanuet, instead of the bigger, much closer 21-screener in West Nyack.

Allow me a digression.

The West Nyack theater has recently suffered some renovation that resulted in customers having to choose the seats they will occupy at the time they buy their tickets. They look at a numbered schematic of the theater’s interior, choose seats, buy tickets, enter the semi-darkness, look at the numbers on each aisle, count the seats until they reach the ones they rented in the lobby, and – glory hallelujah! – sink into upholstery and start staring at the screen, feeling, maybe, like Amundsen when he finally got to the South Pole. Then, our theatergoers can fiddle with controls on the arm rest and adjust the seat configuration from more or less upright – proper posture and all that – to virtually horizontal. This last might serve you well if you plan to nap, and considering how little joy I got from the last movie I saw there, that might have been a better use of my afternoon.

Anything not to like?

Well, for openers, I do not enjoy the search process. I catch a flick, I want to go in and find an empty seat with decent sightlines and, if I’m lucky, forget I exist for a couple of hours or so. There are occasions when boldly meeting challenges is proper, but moviegoing, I maintain, is not one of them. Then there is the matter of environment. Look, I bought my ticket sight unseen. I have no idea who, or what, will be sitting near me. A sweet grandmother who’s afraid that she’s being offensive by breathing, or a butt-cracker of a heavyweight thug who’s snacking on garlic while practicing for a belching contest, activities he has no intention of discontinuing, and if I complain, how’d I like to suck my dinner through a straw?

But whoa! Weren’t we discussing Captain America?

I’m kind of surprised that he’s still active, much less the hero of a movie (I didn’t see it in Nanuet, by the way) that, as I type this, is basking in box office grandeur. Check the stats, true believer: 181 million dollars worth of tickets sold, which makes Captain America: Civil War the fifth most profitable debut in film history. I’m surprised because I’ve long thought of Cap as belonging to a specific era. He was created at the outbreak of the second world war, obviously intended to embody the patriotism and determination the nation was bringing to the battlegrounds.

The war ended and we might have expected Cap to hang up his shield find some laurels to rest on. But he didn’t – not exactly. His monthly comic book adventures continued until 1949 when he just sort of disappeared.

According to a story that appeared much later, he spent the years between 1949 and 1964 frozen in an ice block. He was thawed and, though reinvented, has been a reigning good guy ever since.

Voltron Receives a New Trailer for Netflix Series

2F2DA35C-5959-401F-961D-BBC98B47C396The universe’s greatest protector will rise again in the all-new series DREAMWORKS VOLTRON LEGENDARY DEFENDER, premiering June 10, exclusively on Netflix.  Witness the rebirth of the legend with this ambitious reimagining of the fan-favorite science-fiction saga, promising galaxies worth of action, comedy, and adventure, as good battles evil in an intergalactic war ten thousand years in the making. These series will launch with an hour-long origin story called “The Rise of Voltron,” and will be followed by 10 episodes.

While this bold new series will be instantly recognizable to Voltron’s legions of dedicated fans, Executive Producer Joaquim Dos Santos and Co-Executive Producer Lauren Montgomery (The Legend of Korra, Avatar: The Last Airbender) have re-engineered core elements of the original show using all of the twenty-first-century technology and storytelling innovation at their disposal. With a killer mix of old and new animation techniques, creative transformations of the characters and designs and inventive plot expansions, this fresh Voltron saga will leave kids and super fans hungry for each new episode. Like the newly designed Voltron, which bears its old battle scars with pride, DREAMWORKS VOLTRON LEGENDARY DEFENDER honors the show’s venerated history while amplifying its strengths and scope tenfold.

The 100 Season 3 Hits DVD & Blu-ray on July 19

The 100 S3BURBANK, CA (May 9, 2016) – For the 100 on Earth, they have learned the hard way that in the fight for survival there are no heroes and there are no villains – there is only the living and the dead. Join stars Isaiah Washington and Henry Ian Cusick while they fight for the human race as Warner Bros. Home Entertainment (WBHE) releases the thrilling The 100: The Complete Third Season on DVD on July 19, 2016.  One of the top shows on The CW is based on the bestselling young adult book THE 100, by Kass Morgan, and has a built-in audience that is excited to see these characters come to life. The 100: The Complete Third Season will feature all 16 episodes and is available to own on July 19, 2016 for $39.99 SRP.

Due to overwhelming fan demand, The 100: The Complete Third Season also arrives July 19, 2016 on Blu-rayTM courtesy of Warner Archive. The Blu-rayTM release of The 100: The Complete Third Season includes all bonus features on the DVD version, and will be available at Amazon.com and all online retailers.

Reunited with the survivors of the space-station Ark that fell to Earth, Clarke Griffin and her band of juvenile delinquents have faced death at every turn: from a world transformed by radiation to the fierce Grounders who somehow managed to survive it, and the double-dealing Mountain Men from the fortified Mount Weather, whose civilized environment masked a horrible secret. Though Clarke was alternately challenged, supported and betrayed by her own people and alliances with the Grounders, they could always find common ground in survival. United with the Grounder tribes, Clarke and her friends faced off against the lethal forces of Mount Weather to rescue the remaining “Sky People” from the Ark who were being held captive in Mount Weather.  But victory came with a terrible price. The challenges continue in season three as they not only determine what kind of lives they will build, but what it will ultimately cost them.

The 100: The Complete Third Season returns with stars Isaiah Washington (Grey’s Anatomy), Henry Ian Cusick (Lost), Paige Turco (Person of Interest Franchise), Eliza Taylor, Thomas McDonnell (Suburgatory), Bob Morley, Devon Bostick, Marie Avgeropoulos (50/50, Percy Jackson & the Olympians: The Lightning Thief). The 100 is averaging 2.6 million viewers among P2+ households and has also been renewed for a 4th season and will return to the CW.

“With ratings up 6% compared to the prior season, Warner Bros. Home Entertainment is thrilled to release the much anticipated third season of the sci-fi hit The 100 on DVD with all new bonus content”, said Rosemary Markson, WBHE Senior Vice President, Television Marketing. “First they fought for themselves, then their friends, now they’ll fight for all of humanity.”

SPECIAL FEATURES:

  • A Short Lived Victory: Unlocking the Season 3 Finale
  • Arkadia: From Wreckage to Salvation
  • Ice Nation: Brutal and Fierce
  • Wanheda: Clarke’s Journey
  • Polis: Capital of the Grounders
  • The 100 Pre-Viz Stunts Season 3
  • 2015 Comic-Con Panel
  • Deleted
  • Gag Reel

16 ONE-HOUR EPISODES

  1. Wahneda: Part One
  2. Wahneda: Part Two
  3. Ye Who Enter Here
  4. Watch the Thrones
  5. Hakeldama
  6. Bitter Harvest
  7. Thirteen
  8. Terms and Conditions
  9. Stealing Fire
  10. Fallen
  11. Nevermore
  12. Demons
  13. Join or Die
  14. Red Sky at Morning
  15. Perversion Instantiation – Part One
  16. Perversion Instantiation – Part Two

Molly Jackson: It’s About Time

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The Marvel Cinematic Universe has been chugging along for the past eight years. For the most part, almost all of their films are considered hits with the fans. Their most recent offering is up to par for Marvel, pleasing comic and non-comic fans. In fact, there is only one big glaring mark against Marvel – for me at least. Where are my female-led movies?

We are talking eight years of a major blockbuster franchise. In the MCU, there is only one central female character, Black Widow, that has been in it from almost the beginning, and a handful of female supporting characters, like Pepper Potts, Sif and Jane Foster. You can make the argument that Scarlet Witch is now a central figure but she is still very new to the universe.

Before you start yelling at me, yes I know there is a female-led movie on the Marvel schedule. Captain Marvel is set for March 8th, 2019. So almost three years from now. So, eleven years into the MCU, we finally get a female-led movie that fans were asking for four years ago. But even before that, since the moment Scarlett Johannson appeared in Iron Man 2, fans have been asking for her to get a solo film. Or toys (or as I liked to put it, any recognition at all), as in the Black Widow flash mobs in 2015.

Kevin Feige, head of Marvel Studios, has finally gotten the hint. He told Deadline that they are committed to doing a Black Widow movie, after the current slate of films is done. So, maybe early 2020s, if we are lucky.

Traditionally, movie studios like to point to underperforming female-led movies and blame the gender of the character for a bad box office rather than any other issues, like script, direction, plot, editing, set design, general stupidity of the film. Really, who is to blame for Catwoman: Halle Berry or the writers/director/producers? Meanwhile, any high-grossing female-led film is ignored as a happy accident.

What it looks like to me is that Marvel is waiting to see how Wonder Woman does first. BvS might have been horrible, but Gal Gadot’s few minutes on screen really did the character justice. If Wonder Woman can strike gold with a lesser known actress for a troubled DC Cinematic Universe, then things will look brighter for Black Widow. Then on to Ant-Man and Wasp in 2018, to see how fans react to a female character in the title of the film. Finally, if Captain Marvel does well in 2019, I think Black Widow will be greenlit.

I don’t doubt Feige’s sincerity in wanting to do a Black Widow solo film. He has helped mold the character into a rock for the Avengers to lean on. To take her to the next level would be a dream. However, Marvel is traditionally stingy with pay and Scarlett Johannsson has proved her box office worth time and again. She can ask for a larger sum and it is totally justified. With Captain Marvel, they can pick a lesser-known actress and pay her less money for the honor career boost of being in a Marvel film.

The Marvel Cinematic Universe has given us a lot – most of it we didn’t even know we wanted until we had it! (Guardians of the Galaxy, am I right?) Still, fans have been asking from the second movie in for a Black Widow film. We have stuck with you this far Marvel, don’t let us down.

Mike Gold: Louis C.K. and Lewis and Clark

Horace and Pete

I stare at the mammoth pile of unread comics on my iPad and I get frustrated. I stare at my TiVo and I wonder if I’ll ever get to watch much of that stuff. I think of my Netflix and Amazon Prime accounts and I consider plucking my eyes out.

How the hell did this entertainment gaper’s block happen? It’s not as if I prioritize work, family and meals over passive goofing-off. I am and always have been committed to the latter, and I’ve got my priorities straight.

Amusingly, that media pile-up just might have gotten worse.

It turns out that one of my favorite new shows of the past year, Louis C.K.’s dramatic series Horace and Pete, has not been cancelled after all. Time Inc. said it was and everyone believed them, particularly after Louis told Howard Stern he was losing money on the series that he produces, writes, stars in, and makes available only on his website www.LouisCK.net. According to the Hollywood Reporter, Horace and Pete is in the black and might someday become available on other rent-a-show services.

Horace and Pete is not an easy program to watch. It is a very heavy drama largely starring people we associate with comedy, taking a broad definition of that term. The show has one of the best casts in American teevee history: Steve Buscemi, Edie Falco, Alan Alda, Jessica Lange, Steven Wright, Kurt Metzger and, of course, Louis C.K. It also sports a guest cast to die for, including an actor born under the name of Warren Wilhelm Jr. but better known as New York City Mayor Bill de Blasio. The ten episode first season concluded a couple months ago and is available on his above-noted website.

Because of the illusion he created on the Stern show and Time Inc.’s pulling the near-bankruptcy story out of its corporate ass, most people thought the show was dead. Not so; Louis simply hasn’t decided if he wants to do a second season as of yet. It sounds like he does, but the decision is totally up to him. When you own the show, finance it with your own money and distribute it yourself, you can do anything your little heart desires. As Mel Brooks said, “It’s good to be the king.”

This is seriously cool and I hope that Horace and Pete continues if for no other reason than to prove that a successful creator can do a major project completely his or her own way without answering to anybody but the unilateral public. We’ve been learning that lesson in the comics field, although seeing as how most comics creators are lacking access to Uncle Scrooge’s money bin we-all generally resort to crowdfunding – which is also a wonderful thing… as long as it lasts.

Louis C.K.’s operation comes at a time when production costs in virtually all media have lowered to the point where it is possible for people to apply that “do it yourself” attitude to their pet projects. He was smart enough to be among the first performers to take advantage of this in his own way, and, of course, he’s been successful enough to cover the deficit financing typical to most scripted television shows. More important, Louis C.K. is courageous enough to put his money where his mouth is.

Thus making Louis C.K. the Lewis and Clark of mass media.

Box Office Democracy: “Captain America: Civil War”

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I hesitate a little sitting down to write a rave review of Captain America: Civil War because a year ago I wrote a rave review for Avengers: Age of Ultron, and when I rewatched that to make sure I was all set for this new installment I found it rather tedious. Are these, perhaps, movies that trick us into liking them with their big action scenes, clever dialogue, and sweeping scores— but only really play in a big theater with a bucket of popcorn? Are there no legs to these films? Will we be as embarrassed of them in 20 years as we are of Batman Returns now? The correct answer to these questions is a resounding “who cares?” It doesn’t matter if these are immortal treasures, the Casablancas or French Connections of our time, only that they’re fun to watch now and they are, perhaps the most fun this side of Fast & Furious, and we should cherish and celebrate them even if they might be a bit fleeting.

I was the perfect age to be completely enamored with the Civil War comic book series. I was finishing up my junior year of college and I could not get enough of any super hero comic book with a political allegory thrown in. If you wanted to have someone talk your ear off about how Margaret Thatcher influenced British comics in the 80s with not even a whiff of proper context I was your guy. Civil War the comic felt timely and provocative while Civil War the movie feels decidedly less so. We seem less concerned these days about government surveillance and intrusion in to our lives. There was probably a good pivot to be made to police militarization and violence, especially when Captain America learns that the order is to kill Bucky on sight, but there’s seemingly no interest in exploring this and it’s hard to blame them when Marvel is interested in making a billion dollars, not in being provocative.

They’re going to earn that billion dollars, too. Civil War is a crisp, effective, action movie that provides ample fan service without feeling overdone. Early in the film I thought I was completely worn out by super hero action sequences, and then they get to the big signature set piece where all the heroes fight each other and I was completely riveted. It helps that their big dramatic fight scene has a brand-new wisecracking Spider-Man and a welcome returning Ant-Man to keep things light and glib and just the utter opposite of Snyder-esque. The final fight scene has that overwrought gritty feeling creeping in, but by that point the stakes have been jacked up so many times that I was willing to forgive it. It’s a dark violent fight but it’s so well directed and the cramped environment makes it feel immediate, imposing, and fresh. Civil War has some fantastic character moments but it needs to live and die by its action sequences, and with the exception of one that felt lifted from The Bourne Identity it consistently hit the mark.

I’m beginning to wonder if the Marvel Cinematic Universe is starting to strain under the weight of its own continuity. The scenes between Vision and Scarlet Witch were generally charming but they mostly felt like they were setting things up for future movies rather than relating directly to the action at hand. Similarly, I was thrilled to see Chadwick Boseman debut as Black Panther and while he’s a riveting presence (and an A+ costume) it felt like they were saving all the good bits for his solo movie, and while I’m excited to see it that movie comes out in two years, I paid for this ticket now. I understand that this is bigger than any one movie, but I want these events to feel important and self-contained and not just part of some endless march to Thanos or whatever the endgame after that is. Comic book movies should be evocative of their source material, but should avoid the more glaring pitfalls of sequential storytelling with excessive continuity when they can.

I like so much of what they put on the screen in Captain America: Civil War and most of my complaints seem to be about the things they didn’t do or problems outside the scope of a movie like this, and while I do think a more timely, more self-contained film would have been more enjoyable it doesn’t take away from how good it is now. We are looking down the barrel of a rough summer when it comes to standard-fare action movies, and when I’m sitting through Teenage Mutant Ninja Turtles: Out of the Shadows I’m not going to be thinking about how Civil War dropped too many hints— I’m going to miss how it could stage a compelling grandiose action scene and how none of the characters looked like expressionless CGI blobs. Civil War is as good as superhero action films get, or at least as good as they get with no Hulk.

Seriously, I feel Hulk-starved at this point.

Tweeks: LootCrate April 2016 Unboxing “Quest”

Watch as we unbox April’s Loot Crate. The theme was Quest and there were a bunch of super cool things inside like a David Bowie/Labyrinth shirt, a Viking horn cup you can wear, Harry Potter socks…and more.  The best thing?  Probably the box. Check it out and if you love it, go to lootcrate.com to get your own.  (But hurry, the deadline to get May’s box is May 19th at 9pm PT!)

Emily S. Whitten: Civil War in the MCU

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(Warning: Some spoilers ahead)

Captain America: Civil War is complicated, and sprawling, and intense, and funny, and dark, and in the end, nobody wins. It has one of the best multi-superhero fight scenes out there, and yet the first half of the movie is held together by a series of quiet and deeply personal moments that develop numerous character arcs without feeling random or forced. Neither side of the fight along which lines are drawn – over the issue of whether to sign the Sokovia Accords, which will hold the Avengers accountable to the United Nations after their actions in saving the world have caused multiple instances of massive civilian casualties – seems entirely right.

Captain America’s stance of not wanting to abdicate personal responsibility for the Avengers’ actions to people “with agendas” is shown to be dangerous when he violently defends his childhood friend and WWII army buddy Bucky (a.k.a. the Winter Soldier) against all comers, after Bucky is accused of having bombed the conference in Vienna where the Accords are to be ratified. On the other hand, Iron Man’s position of signing over accountability to the UN and his inability to ever consider that he’s “in over his head,” as the Spider-Man of the comics crossover observed, result in pretty much all of his friends ending up in prison for trying to stop the movie’s actual villain, Helmut Zemo, from activating an elite death squad that can be mind-controlled like the Winter Soldier. And with the intricacies of so many main characters with their own views on the issue, there’s a lot to unpack and consider.

So are you confused yet? If you haven’t seen the movie, a) go see it; what are you waiting for? It’s worth it! and b) I’m not surprised at the confusion. The cool thing about the modern MCU is also one of its drawbacks – these movies (thirteen and counting, with a lot more to come) have managed to stay believably within one universe and interweave references to each other in a fairly natural manner while still maintaining their individual styles.  That keeps each film fresh and interesting, while also ensuring we want to see more of the whole universe.

The downside of this is that eventually, with the ensemble movies in particular, there is a lot to pack in to make the films work, and they are in danger of collapsing under their own weight. It’s a testament to writers Christopher Markus and Stephen McFeely and directors Anthony and Joe Russo that they got all the moving parts built into this movie to work together like a well-oiled machine instead of dissolving into a messy disaster (did someone say Batman vs. Superman: Dawn of Justice?)

We’ve gotten to a point in the overall MCU story where to fully comprehend the depth of events in Captain America: Civil War, it helps to be familiar with at the very least The Avengers; Captain America: Winter Soldier; and Avengers: Age of Ultron. (It’s best if you’ve seen all the others, too.) What begins in The Avengers – S.H.I.E.L.D. recruiting a bunch of heroes who start out with pretty different viewpoints and struggle to form a cohesive whole – continues in Captain America: The Winter Soldier, where we see Steve Rogers/Cap’s resistance to following the government when it strays from his personal values and morality, and his belief in caring for individual people. In Avengers: Age of Ultron, we see the results of Tony Stark/Iron Man’s serious accountability issues in pursuit of what he sees as a better future, when he uses something he doesn’t fully understand to complete an A.I. that is supposed to protect the entire world but then tries to kill everyone instead.

By the end of that movie, there’s a fissure within The Avengers – who were not all that stable to begin with – and Captain America’s belief in personal accountability versus Iron Man’s futurist viewpoint stand in stark (no pun intended) contrast to each other.

Captain America: Civil War builds on this and on events of the previous movies by using the immense destruction in New York City during The Avengers and the destruction of the capital city of Sokovia in Age of Ultron as the backdrop for the opening act, in which yet another Avengers’ attempt to stop criminals ends up causing civilian casualties, when Scarlet Witch, the youngest Avenger, accidentally redirects a bomb blast meant for Steve Rogers into a building and kills several Wakandans on a peace mission (a nod to the accidental hero-caused explosion that killed civilians at the beginning of the comics’ Civil War crossover event). This leads to the Sokovia Accords, which 117 countries intend to sign, and which will make the Avengers accountable to the United Nations. The decision of whether each hero will sign the document or “retire” brings out the core issue around which the plot is built.

Although the movie starts with a bang, the series of quieter moments in the first half establishes the stakes and interpersonal relationships that each hero stands to lose when choosing a side as the plot builds the foundation of the civil war itself; creating a world that is less black and white than the comics crossover. And it almost goes without saying in the MCU, but once again the acting in the Marvel movies is top-notch across the board, and the casting choices for new characters are clear winners. Each of the headliners (Chris Evans/Captain America, Robert Downey Jr./Iron Man, Sebastian Stan/Winter Soldier, Chadwick Boseman/Black Panther, Scarlet Johansson/Black Widow, Anthony Mackie/Falcon, Jeremy Renner/Hawkeye, Elizabeth Olsen/Scarlet Witch, Paul Bettany/Vision, Paul Rudd/Ant-Man, Tom Holland/Spider-Man, and Don Cheadle/War Machine) truly embodies the characters we know from the comics and the previous movies; and brings the emotional heart of the movie to the forefront.

The first of the quiet emotional moments occurs soon after Wanda/Scarlet Witch’s mistake costs civilian lives. As she watches the newscasters vilify her, Steve turns the TV off, and together they accept shared blame for the tragedy, as he tells her that they have to learn to live with the collateral damage of trying to save the world because otherwise, next time they might not be able to save anybody. Their mentor/mentee relationship, and Steve’s recognition of her youth and inexperience in the face of the great power she is trying to wield, are clear. Another scene has Tony giving grant money to MIT students in an effort to assuage his guilt over his mistakes (including the creation of Ultron), when he is confronted in an empty backstage hallway by the mother of a boy who died in the Sovokian tragedy while doing aid work; she blames Tony for his death.

And then we have Steve attending the funeral of Peggy Carter, where he receives an almost beyond-the-grave message from Peggy to stand strong for what he believes in via a eulogy from her niece Sharon Carter (surprise, Steve! The pretty neighbor who was spying on you for S.H.I.E.L.D. in Winter Soldier is actually your first love’s age-appropriate relative!). And the introduction of Black Panther, occurring on either side of the bombing in Vienna, is composed of two deeply personal moments – the first of which shows T’Challa’s desire to be a politic leader who will make his peace-loving father proud, and the second of which flips to his intensity and willingness to take matters into his own hands after his father is killed by the explosion. (T’Challa also acts as an “undecided voter” in the war, in that his agenda is his own, not Cap’s or Iron Man’s; and Black Widow lends some other interesting shades of grey to the ideological debate down the line.)

The bombing sets off a chain reaction of events which results in insanely violent but elegant fights down stairways, on rooftops, and through highway tunnels as first the Bucharest police and then Black Panther try to take down Bucky, as Cap and his more recent sidekick Falcon try to protect him.

On a purely cinematic level, I absolutely adore the way that each superhero’s unique fighting style echoes the comics and looks completely natural on screen, the way Bucky and Cap fight almost as one person when they’re fighting on the same side, and the fun the movie-makers must have had choreographing these and the other hero team-up and civil war scenes. The end result of this fight, though, is everyone being captured and brought in to where Thaddeus Ross (who is now Secretary of State, what whaaaat) is haranguing Tony Stark on the phone about the whole mess. This leads to one of my favorite interactions between actors Robert Downey Jr. and Chris Evans as Stark tries to get Rogers to sign the Accords so he won’t be prosecuted.

Downey Jr. shows a vulnerable side of Stark that we haven’t seen very often since the first Iron Man, and Evans ability to emote with facial expressions shines as Steve comes close to signing before discovering that Tony has confined Wanda to the Avengers compound. Disappointment and disgust for Tony’s stance are written all over Cap’s face as he makes the final decision not to sign.

But tell me, have we forgotten about Helmut Zemo?

Who? One thing that’s so great about this film is that underneath all of the straightforward politics of Avenger-accountability, and the character moments, there’s also this little mystery growing. In the background of the superhero clashes, Zemo is seen tracking down old Hydra secrets and plotting to get a face-to-face meeting with the Winter Soldier. Once he does, the movie flips into high gear, with action scenes rolling into character introductions resulting in funny asides, and moving back into action.

Despite the intensity and dark elements in this film, it doesn’t lose the trademark heart and humor that runs through the MCU. Vision trying to cook for Wanda to comfort her even though he’s never tasted food; the introduction of Spider-man and his running fight-scene commentary; Ant-Man meeting Captain America (I love other heroes’ reactions to meeting Cap for the first time. I mean, he’s Captain America. I get it.); everything about Hawkeye (can I even encompass how much I love what these movies and Jeremy Renner have done with Hawkeye? Probably not); Cap’s two best friends/sidekicks grumping on each other (tell me there isn’t a little bromance jealousy up in there) – these are the bits that make the heroes seem like real people.

Even in the epic fight scene that has twelve superheroes squaring off against each other, the humor is not lost, and each hero gets to showcase his or her moves and have at least one lighter moment as the battle rages. Every. Single. Thing. About this battle is cool – but hands-down, the stars of the show are Spider-Man, doing his thing for the first time in the MCU proper; and Ant-Man, who literally takes over the scene and has a blast doing it. This is one fight scene I will inevitably rewind and watch twice during any home viewing of the movie (the Guardians of the Galaxy Xandar ship-crash scene is another one).

The aftermath of this fight leads to the final showdown, and for once, I’m not going to spoil things here. Suffice it to say that although hinted at previously, the movie took a turn you might not expect, and that the fallout from the final reveal resulted in an even more personal, we-ain’t-friends-no-more fight than the all-hands-on-deck brawl that came before. (It also brought an epic comic book cover from the crossover to the screen.) And in the end, out of the chaos of the civil war came almost no resolution (with one notable exception), actually less darkness than I expected despite the villain sort-of actually winning this round, and a question as to what the Avengers will look like when next they fill our screens.

I guess we’ll have to wait until May 2018 and 2019 to find out; but in the meantime, this movie is definitely worth the price of admission.

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