DISAPPOINTING NEW MOVIE: THE FLASH

THE FLASH (2023). Director: Andy Muschietti.

Justice League member the Flash/Barry Allen (Ezra Miller) wants to go back in time to save his mother's life after she was murdered and her husband, Barry's father (Ron Livingstone), unfairly arrested for the crime. (I believe this development is taken from the long-running Flash TV series). Although Batman (Ben Affleck) warns Barry not to mess with the timestream, he does it anyway, but finds that he's now in a parallel universe where Batman (Michael Keaton) is a lot older and there are no other super-heroes. Barry also encounters a younger version of himself, but when his younger self gets his powers, Barry loses them and may not be able to return home. Worse, the entire planet is threatened by an invasion of General Zod (Michael Shannon of Man of Steel) of Krypton. The two Flashes, plus the Senior Batman, team up to find Kal-El, who has not yet emerged as Superman, but find an imprisoned Kara (Sasha Calle) -- or Supergirl -- instead, Can their combined forces save the world and get Barry back where he belongs? 

Ezra Miller as the Flash

Oy vey! The character of the Flash has a rich history that was exploited by the TV show, but this movie pretty much ignores all that and comes up with a plotline simply borrowed from the comic book mini-series (and the resultant animated film) Flashpoint. There are so many ideas, villains, and plots that could have made for an enthralling movie, but while The Flash has its entertaining and exciting moments (such as our hero saving a bunch of infants that are thrown out of a maternity ward window high in a skyscraper) and is often visually striking, it is way too long and often too silly -- as well as featuring too many fairly dull battle sequences -- for this to be a contender. I think Ezra Miller [We Need to Talk About Kevin] is a fine, sensitive actor and he gives a very good performance, and Keaton certainly makes his mark in his first appearance as Batman in decades -- he comes off better than he did in the first Batman. Calle, Shannon, and others make little impression, however.  

Michael Keaton as Senior Batman

In this movie The Flash is an amalgam of Barry Allen and his nephew Wally West, who took over the role of Flash after Barry's (temporary) death. (It is Wally who has to keep eating to keep his energy up, not Barry.) A weird touch has quick CGI images of all of the actors who have played Superman -- George Reeves, Christopher Reeves, and even Nicolas Cage, who wanted to play Superman but never did -- flying across the time stream (??) -- and a really stupid post-end credit sequence has Barry encountering Aquaman who is on a drunken bender. (Presenting the dignified Aquaman as a drunk, which makes no sense at all, is similar to the way Marvel movies have turned the equally dignified Thor into a Las Vegas lounge act!) Ultimately The Flash seems pointless because -- SPOILER ALERT -- he not only doesn't save his mother but the alternate earth he winds up on is obliterated by Zod! (In the final moments of the film the Flash doesn't seem particularly disturbed by the deaths of billions -- WTF?) Then Batman shows up again only this time he's played by George Clooney! Wonder Woman also gets a brief cameo. 

Verdict: Some may think the movie is fun, but it's also a badly-plotted mess. **1/4. 

GOOD NEW MOVIE: THE BATMAN (2022)

The Batman in a contemplative mood

THE BATMAN (2022). Director: Matt Reeves. 

In a Gotham City wracked by corruption and vice, the determined Batman tracks down a serial killer whose victims include the mayor. That's the essentials of the plot of this movie, which turns out to be far better and more entertaining than I would have imagined. Effectively directed by Matt Reeves, The Batman boasts a terrific look -- thanks to cinematographer Greig Fraser and some excellent art direction -- and despite a few variations manages to get into the spirt of the comic books. Michael Giacchino has also contributed a creepy score that adds immeasurably to the picture.

Pattinson as Bruce Wayne

And then there's Robert Pattinson, who plays the Batman and Bruce Wayne and is incredibly intense in the part. One could argue that Pattinson makes absolutely no distinction between Bats and Bruce -- in the comics Wayne did his best to act like a frivolous playboy to keep people from suspecting the truth -- but The Batman makes it clear that Batman is the real person and Bruce is the phony identity. In any case, Pattinson's performance works beautifully. In this movie Batman is so grim that he often scares the very people that he's just saved (as often happened in the comics). 

Pattinson with Zoe Kravitz

There are other good performances as well. Zoe Kravitz as Selina Kyle (Catwoman); Andy Serkis as Alfred the butler; Paul Dano (of Prisoners) as the Riddler; Jeffrey Wright (of Casino Royale) as Lt. James Gordon; and John Turturro as Carmine Falcone. Colin Farrell makes a weird, unrecognizable Penguin. The film has a deliberate pace -- and one too many anti-climaxes -- but it held my attention, and I have to say I was delighted to see not a trace of camp. Matt Reeves also directed Cloverfield. 

Verdict: The Dark Knight done right. *** 1/4. 

FAIR NEW MOVIE -- AVENGERS: INFINITY WAR

 Robert Downey Jr and Benedict Cumberbatch  

AVENGERS: INFINITY WAR (2018). Directors: Anthony and Joe Russo.

A dangerous cosmic entity known as Thanos (Josh Brolin, in a computer-generated performance) wants possession of several powerful rings so that he can remake the universe the way he wants to, and eliminate half of the population -- and although he is opposed by a great many heroes, including the Avengers and the Guardians of the Galaxy, he essentially succeeds (until the sequel, of course). Aside from a few dull stretches, Avengers: Infinity War is not boring and mercifully moves at a fast pace, although I can't imagine how people who are not "Marvel fans" and have not seen all of the Marvel movies might get into this. As others have noted, not a single character is ever actually introduced to the viewer. (Fortunately, being a long-time comics fan, I knew who most of these people were, or were supposed to be.) The movie is a noisy amalgamation of cute quips uttered by characters (ostensibly so they can keep up their courage), serious moments that are touching for twelve-year-olds, and lots of explosions and flying bodies. The film has been widely overpraised by people who, I suspect, read nothing but comic books and only see comic book movies, having no other frame of reference. As noted, I am a big super-hero fan, and know that comics are not always juvenile and mindless, but I don't confuse them with Shakespeare or Citizen Kane, either. That being said, AIW has some great art direction and striking cinematography, and action scenes that often seem more cluttered and busy than especially effective. The "human" drama in this -- if you can call it that -- has to do with the love story of the Vision and the Scarlet Witch, as well as the love-hate relationship between Thanos and his "daughter," Gamora (Zoe Saldana, giving a very good performance). One could add that Bruce Banner (Mark Ruffalo) has trouble turning into the CGI Hulk, although there seems little point to this (aside from Ruffalo perhaps wanting his actual face to be seen more in the movie). There are interesting things in the picture, but this notion that it is the "culmination" of every other Marvel super-hero movie is ridiculous. Personally, I have never found Thanos to be a very interesting villain, even in this, and have always thought he was just a pale imitation of Jack Kirby's Darkseid, who should be showing up in a DC Universe movie any year now. With the exception of X-Men: Apocalypse and Logan, I think Marvel's X-Men films are much better than the Avengers series.

Verdict: A lot of sound and fury signifying very little, but some fun for the inner geek. **1/4. 

THE BLACK PANTHER

THE BLACK PANTHER (2018). Director: Ryan Coogler.

When his father dies, Prince T'Challa (Chadwick Boseman) will become the new king of the mysterious African nation of Wakanda, but first he has to face more than one challenger to the throne. M'Baku (Winston Duke) is defeated after a fierce struggle, but T'Challa has a tougher time with Erik "Killmonger" (Michael B. Jordan) -- a mercenary who is also T'Challa's cousin, raised in the states -- and there is a real danger that this peaceful, if isolated nation with its incredibly advanced technology (mostly stemming from its mountain of a metal called vibranium) will try to take over the world under Killmonger's regime. The Black Panther is based on a Marvel Comics character who first appeared in the Fantastic Four comic over fifty years ago. Although the ruler of a nation with its own troubles, he became an on again-off again member of the Avengers, a situation that is repeating itself in these movies. The Black Panther isn't a perfect film by any means, but it is absorbing and fast-paced and very well-acted by the handsome Boseman, Jordan, and Duke, as well as by Letitia Wright as T'Challa's sister Shuri; Angela Bassett as his mother, Ramonda; Lupita Nyong'o as his ex-girlfriend, Nakia, who wants to use her country's advances to help the rest of the world; and Danai Gurira as General Okoye, who leads an army of skin-headed warrior women. Andy Sirkis and Martin Freeman, the only Caucasians in the cast, are also good as the villainous Ulysses Klaue and the CIA agent, Everett Ross, respectively. Some of these characters appeared in the comic books while others are new. The picture has some fairly good action sequences (such as a fight on the edge of a waterfall), and boasts impressive and intriguing settings and costumes. The FX are also top notch, showcasing some remarkable aircraft and other devices. Even the Black Panther's costume is a device.

Of course, we have to contend with the fact that Wakanda is not a democracy, and despite the fact that women have contributed a great deal to this society, they apparently can not challenge the king for the throne, adding a misogynous tone to the proceedings. One also has to wonder how this advanced country can choose who rules the nation by having one challenger beat the crap out of another! Perhaps these very things will be addressed in future movies or at least in the comics!

While I agree that The Black Panther has been over-praised, I was amazed at the sheer hatred it got as well. Some viewers may well have been reacting to the far-fetched concept (Wakanda apparently has an express subway line in the underground), but, sadly, others were undoubtedly bothered because the black characters dared to be intelligent and technologically superior. It's a movie. Get over it!

Verdict: Very good to look at, often exciting, well-acted, and somehow stirring. ***.

JUSTICE LEAGUE

The heroes of the Justice League

JUSTICE LEAGUE (2017). Director: Zack Snyder.

A demonic figure named Steppenwolf (Claran Hinds) sends monstrous para-demons to Earth in order to claim three "mother boxes" (sort of an alien computer) secreted in Atlantis, on Paradise Island, and somewhere among ordinary humans. When the three boxes are connected, it could signal the end of mankind. Batman (Ben Affleck) and Wonder Woman (Gal Gadot) gather together other heroes to combat this menace: a teenage super-speedster, the Flash (Ezra Miller of We Need to Talk About Kevin); Aquaman (Jason Momoa), who is more at home under the ocean; and Cyborg (Ray Fisher), who is mostly mechanical. The team (never really referred to as the "Justice League") use one of the Mother Boxes to resuscitate Superman (Henry Cavill), who was killed at the end of Batman V Superman. One of the best scenes in the movie features the battle between a confused, newly awakened Man of Steel with the other heroes as they try to get through to him in his confused and hostile state. While Justice League is an improvement over Batman V Superman, it's still disappointing considering the talent involved and all the hard work and fine FX that went into the production. While there is some excitement and suspense to the action sequences, they still often look like confused and cluttered video games. There is an admirable attempt to add some flesh and blood to these heroic and colorful characters, not only by the screenwriters but by the actors who play them; Affleck and Gadot are especially notable, and Jeremy Irons makes an excellent Alfred, Batman's butler and aide-de-camp. It is also strange that the minor character of Steppenwolf should have been chosen as the primary antagonist when his nephew Darkseid would have been a much better choice. Many of the concepts in the film are based on ideas by writer-artist Jack Kirby, who created the "Fourth World" mythos that is referenced in the movie. Changes from comics to film are numerous: Barry Allen was not a teen when he became the Flash and the business with his father being in jail for murdering his mother was carried over from the TV series. Aquaman was brusque, bearded and long-haired only for a brief period in the comics. Lois Lane and Ma Kent are nearly unrecognizable. For more about the comic books see The Silver Age of Comics.

Verdict: Now that the characters and the team have been introduced, perhaps the sequel will be a more memorable movie, although this has its moments. **3/4.

THOR: RAGNAROK

Chris Hemsworth and Tom Hiddleston

THOR: RAGNAROK (2017). Director: Taika Waititi.

"Asgard is not a place -- it's a people."

Thor (Chris Hemsworth) manages to defeat the fire demon, Surtur and his impressive dragon, but then learns that he has to take on his sister, Hela (Cate Blanchett), who happens to be the Goddess of Death! (In the early Thor comic books Thor and Hela were not related). But while Hela is wreaking havoc on Asgard, Thor is imprisoned on a strange planet ruled by a weird character named the Grandmaster (Jeff Goldblum), who pits Thor against his special champion in an arena -- the Hulk (Mark Ruffalo)! Will Thor be able to convince his fellow Avenger, as well as his untrustworthy brother Loki (Tom Hiddleston) and a fierce Valkyrie (Tessa Thompson) to escape the Grandmaster and rescue Asgard from Hela? What do you think? Marvel's Guardians of the Galaxy was a huge and unexpected hit, and it was played mostly for laughs, so it was decided to try the flippant, almost campy approach with this latest installment of the Thor series (following Thor and Thor: Dark World). As much as I may lament this approach in most instances, the fact remains that Thor: Ragnarok is better and much more entertaining than the previous Thor films. Although the characters perhaps dally too long on the Grandmaster's planet, the film is fast-paced, colorful, full of some amazing FX (including a gargantuan canine) and well-done action scenes, and features some amusing and lively performances. Hemsworth and Hiddleston make good, somewhat friendly brothers and adversaries, Goldblum is fine as a campy version of an old Marvel cosmic character; and Blanchett [Blue Jasmine] basically steals the movie with her stylish and impressive turn as the dark goddess Hela. There is also nice work from Anthony Hopkins as Odin; Benedict Cumberbatch as Dr. Strange; Karl Urban as Skurge; and Idris Elba as Heimdall. The art direction is striking, as is Javier Aguirresarobe's cinematography; and Mark Mothersbaugh's music is effectively "grandiose" when required. NOTE: To read about the comic book adventures of Thor see The Silver Age of Comics.

Verdict; Too silly and flip perhaps but undeniably well-made, good to look at, and exciting. ***.

THE FANTASTIC FOUR/ DOOMED: THE UNTOLD STORY

The Thing

THE FANTASTIC FOUR (1994). Director: Oley Sassone.
DOOMED: THE UNTOLD STORY OF ROGER CORMAN'S THE FANTASTIC FOUR (2015). Director: Marty Langford.

Roger Corman co-produced the first film adaptation of Marvel's Fantastic Four comic book, but whether it was never meant to see the light of day, or if Corman and others were paid off so that this low-budget treatment wouldn't interfere with a big-budget version from Fox (with Marvel in control, which it wasn't with this production), or both, is debatable. Doomed! is a documentary in which various actors and other participants in the production discuss making the film, as well as the disappointment and betrayal they felt when they learned after all their efforts that the film would never be released. Told by Roger Corman that he had received a check for a couple of million dollars, probably not to release the picture, Alex Hyde White (who played Reed Richards and is the son of Wilfrid Hyde-White) remarks in Doomed! that "Everyone did well except us, the people that made the movie." Two brothers even spent their own money putting together an orchestra to play their ambitious score for The Fantastic Four. Apparently, wisely or not, nearly everyone involved with the film was convinced that the movie would be a big, big break for their careers. Unfortunately, that was not the case. This was a Roger Corman film, and the cost of the production was only a million dollars. Hardly enough to make a super-hero blockbuster. Doomed! is an entertaining, well-done documentary bolstered by interviews from personable actors such as Hyde-White and Joseph Culp (who played Dr. Doom and is the son of Robert Culp) and several crew members and creative types.

As for the film itself, it has surfaced in bootleg tapes and is on youtube. The Fantastic Four is not terrible by any means, but it can't compare to the version that eventually emerged ten years later: Fantastic Four. The acting is a mix of solid and professional (Hyde-White, Rebecca Staab as Sue Storm) and the uneven and amateurish (like a high school play) , and one mistake was to include a silly (if well-acted) character named the Jeweler (Ian Trigger) who is sort of an annoying substitute for old FF foe, the Moleman. The FX are uneven, but there is a nifty enough climax with the Human Torch trying to outrun a devastating light beam in order to save New York City. There are confusing elements in the script, and instead of our heroes gaining powers due to cosmic rays, there's something about a space project called "Colossus" that never makes that much sense. There are also odd moments, such as when after the foursome's spaceship crashes on earth, the boys seem to take forever to wonder where Sue is. Joseph Culp's performance as Dr. Doom is problematic -- he has a great voice, but he over-gesticulates and often speaks over-portentously as if he were playing a character in a cartoon. Perhaps the best thing about the movie is an excellent score by David and Eric Wurst with its attractive theme music. Virtually all of the actors in the film went on to have many more credits.

Meanwhile, the big-budget Fantastic Four had a sequel entitled Fantastic 4: Rise of the Silver Surfer, and the series was unsuccessfully rebooted with Fantastic Four in 2015.

Verdict: Doomed! ***.
              The Fantastic Four. **1/2.

A BRIEF HISTORY OF COMIC BOOK MOVIES

A BRIEF HISTORY OF COMIC BOOK MOVIES. Wheeler Winston Dixon and Richard Graham. Palgrave Macmillan; 2017.

This is indeed a very brief overview of comic book and comic strip adaptations that comes off more like a long article than a book. Chapters look at characters from the DC Comic universe, such as Superman and Batman; the characters of the Marvel Universe, such as Iron Man and the Fantastic Four; Japanese anime; and independent films such as Teenage Mutant Ninja Turtles. The book is breezily written for the most part, makes some good points about these movies, but in some ways comes off like a well-done term paper. There are no photographs. It's strange that the publisher didn't invest in some pictures and thicken the book's page count.

Verdict: Publish or perish? **1/2.

THOSE COOL COMIC BOOK HEROES!

Superman vs Nuclear Man from Superman IV

THOSE COOL COMIC BOOK HEROES! 

This week Great Old Movies looks at films that star famous super-heroes such as Superman and Batman. We first look at comic book heroes whose exploits were adapted for cliffhanger serials (such as Blackhawk and Spy Smasher), then jump to films of the seventies and more recent flicks such as Wonder Woman. We've also got a section on animated features, most of which star Batman or Superman. In other words, we've got more super-powered and/or heroic (or villainous) characters than you can shake a stick at! Enjoy!

NOTE: All of the heroic characters covered this week originally appeared in comic books with the exception of Captain Midnight, whose exploits were first charted on the radio and in the serial before he got his own successful comic book series. 

CAPTAIN MIDNIGHT

Dave O'Brien as Captain Midnight

CAPTAIN MIDNIGHT (15 chapter Columbia serial/1942). Director: James W. Horne.

Captain Albright (Dave O'Brien) also uses the costumed and masked identity of Captain Midnight, although everyone seems to know the two are the same. He is aided by his buddies, Ichabod or "Icky" (Guy Wilkerson) and the spunky Chuck (Sam Edwards). A scientist named John Edwards (Bryant Washburn) has invented a special range-finder weapon that he hopes to sell to Washington, but the nefarious Ivan Shark (James Craven) and his gang want to get their hands on it first. Captain Midnight and his own gang, including Major Steele (Joseph W. Girard) and Edwards' daughter, Joyce (Dorothy Short), have their hands full trying to stay alive, outwit Shark and either keep the invention out of Shark's hands or get it back once he's stolen it. Shark also has a daughter named Fury (Luana Walters of Shadow of Chinatown), who helps her father and bosses around his henchmen.

There are some terrific cliffhangers in this serial. In chapter three Midnight finds himself trapped on a plane without a parachute and a cockpit rapidly filling with deadly gas. Midnight is nearly cut in half by a buzz saw in chapter four, and most of the supporting players are nearly crushed by moving walls with electrical charges in chapter fifteen. There is an excellent business with a water tank death trap in a cage inside Shark's HQ in chapter six, and even wilder is a fire pit in chapter ten in which Midnight is trapped on a revolving platform above the flames even as a huge block descends from above. Fury and Joyce have a brief tussle in chapter five. O'Brien is fine in the lead and the others are okay, but James Craven [The Purple Monster Strikes] really steals the show with his portrayal of the nasty and determined Ivan Shark, who is also a master of disguise, causing lots of problems because of it throughout the serial. Lee Zahler's music is right on target. O'Brien and Short appeared together in Spooks Run Wild.

Captain Midnight was adapted from a popular radio show (it became a TV series in the fifties). When this serial became equally successful, it was decided to turn it into a comic book -- in which the character can fly without a plane, unlike the serial -- which was published by Fawcett and lasted nearly seventy issues.

Verdict: Humor, frenetic action, and a fast pace add up to one very entertaining serial. ***.

SPY SMASHER

Kane Richmond

SPY SMASHER (12 chapter Republic serial/1942). Director: William Witney.

Jack Armstrong (Kane Richmond) discovers that his identical twin brother, Alan, is secretly the heroic Spy Smasher. The nefarious Nazi Mask (Hans Schumm) wants to flood the U.S. with counterfeit currency, and that's just one of his schemes, which keep SS hopping through this serial's 12 action-packed chapters. The Mask has a "batplane" which can rise straight up into the stratosphere, and an electric ray gun that can knock airplanes out of the sky. Spy Smasher, which was based on the very popular Fawcett comic book, is full of exciting cliffhangers: SS in a mining car loaded with grenades with a fiery conflagration ahead of him and a steel door in front (1); a torpedo room that floods with water (3); a descending frieght elevator that nearly squashes our hero (5); a conveyor belt with rapidly spinning and deadly blades (6); another mining car that heads directly for a fiery doorway; and others. Our hero appears to die in the penultimate chapter, and someone in his uniform is indeed dead. The serial is full of furious fisticuffs and superior stunt work, and the locations are wisely chosen.

Kane Richmond [Stage Struck] makes just about the perfect serial hero: square-jawed, handsome, imposing, and looking great in his uniform instead of silly. He strikes just the right note as both Jack and Alan. Marguerite Chapman [Man Bait] hasn't that much to do as the nominal heroine/love interest, but Tristram Coffin [Up in the Air], as usual, is notable as a cameraman and quisling secretly working for the Mask. Hans Schumm may not go down in history as one of the more memorable serial villains, but he's effective enough in the part. The music is attributed to Mort Glickman, who bowdlerizes Beethoven's 5th symphony to create some rousing and classy theme music.

Verdict: One of the best of the Republic super-action serials. ***

SUPERMAN II: THE RICHARD DONNER CUT

Ursa and General Zod blow the hell out of Grand Central

SUPERMAN II (1980). The Richard Donner Cut.

Richard Donner, who directed the first Superman, did a lot of work on the sequel -- the two were filmed concurrently, actually -- before being fired. Some of his work was redone by the director of record, Richard Lester. This cut assembles the version as it might have looked in theaters if Donner had not been dismissed.

At the end of Superman, the Man of Steel (Christopher Reeve) stops Lex Luthor's missile from wiping out California, but he doesn't realize that the explosion of this same missile in outer space has freed three notorious and vicious Kryptonian villains from their prison, the Phantom Zone. Hulking Non (Jack O'Halloran), bitchy Ursa (Sarah Douglas), and imperious General Zod (Terence Stamp) make their way to earth where they find they have developed the same powers as Superman. Before long they have invaded the White House where the not-so-good general forces the president (E. G. Marshall) to his knees. "Oh, God," says the president. "Zod," corrects the general. Where is the man of steel? Lois Lane (Margot Kidder) has finally figured out his secret identity and the two make love in his Arctic Fortress of Solitude. Then Superman decides to quit being the Man of Steel, always off saving the world, so that he can spend his life with Lois; he uses Kryptonian technology to do this. (This begs the question: since it was Superman that Lois fell in love with and not Clark Kent, would she really want him just as an ordinary human?) Too late, he discovers what has happened in Washington D.C., and makes his way back to his fortress as an ordinary man ... what a guy -- he doesn't even wear gloves! Conveniently, he is able to get his powers back.

The centerpiece of the film in any version is the battle between the revivified Superman and the three villains in New York City (rechristened "Metropolis," of course). Beautifully shot, edited, and choreographed, this sequence remains one of the best superhuman battle scenes in any comic book movie. (Today's super-hero films often present very sloppy and poorly articulated battle sequences.) A special highlight is when the bad guys use their super breath to literally blow dozens of pedestrians -- who are after their blood after they seem to have killed the Man of Steel -- down the streets near Grand Central Station. Buses are thrown, towers are toppled, Zod and his colleagues bounce Superman around and vice versa, and the special effects throughout are still outstanding.

This version (and probably the theatrical version as well) of Superman II has its problems, mostly having to do with Gene Hackman and his cohorts, played by Ned Beatty and Valerie Perrine. The movie is "adult" enough to show Lois and Superman in bed (although this is by no means a sex scene), so why does it have such stupid humor as Perrine flushing a toilet in the Fortress of Solitude? These campy characters never fit comfortably into this or even the original movie anyway. Hackman gives a perfectly good comic portrayal, but his presence is not required. The sequences with him are tedious, and there is dialogue in the film that betrays a dated seventies sensibility. Continued from the first film, the whole business with Superman's dead father, Jor-El (Marlon Brando) somehow counseling his son, raises more questions than it answers. Anti-climactic and twenty minutes too long (even it it's shorter than the theatrical version), Superman II is nevertheless a very worthwhile comic book flick. Reeve and Kidder are fine but the picture is nearly stolen by Terence Stamp, who makes a rather sexy and very sinister General Zod -- it's a terrific performance. And he is nearly matched by Sarah Douglas as the strutting, sexy, and highly anti-social Ursa. John Williams contributes his usual effective scoring, and Geoffrey Unsworth's cinematography is first-rate. As in the first film, Superman reverses time again, so that Lois no longer knows his secret identity (this was done differently in the theatrical version, I believe), but that insures that events that no longer could have happened are referred to afterward -- confusing, as usual. Followed by Superman III.

Verdict: Worth it for the Times Square battle if nothing else. ***.

BATMAN FOREVER

Jim Carrey and Tommy Lee Jones

BATMAN FOREVER (1995). Director: Joel Schumacher.

"Why can't you just die!" -- Two-Face.

Bruce Wayne (Val Kilmer of Kill Me Again), who is secretly Batman, has his hands full with the combined threat of former employee Edward Nygma (Jim Carrey), who has reinvented himself as the Riddler and marketed a mind-sapping "box" for public consumption, and former D.A. Harvey Dent (Tommy Lee Jones of Eyes of Laura Mars). now the notorious Two-Face. A further complication is the seductive psychiatrist Chase Meridian (Nicole Kidman of Birth), who gets excited by first Batman and then his wealthy alter ego. Batman Forever also introduces Dick Grayson (Chris O'Donnell), an acrobat whose family is killed by Two-Face and who becomes Robin. Kilmer is fine as the Gotham Knight, but the picture is pretty much stinked up by the campy approach personified by Jones and especially an over-the-top, epicene, and really irritating Carrey, who not only appears to be channeling Carol Burnett, but who seems determined to turn this in to a Dumb Jim Carrey Project at any cost -- Frank Gorshin was actually better in the role. Kidman is okay as a kind of kewpie doll shrink -- "I'll bring the wine, you bring your scarred psyche," she tells Batman --  and O'Donnell is more than okay as an older "boy" partner; he was actually 25 at the time. Michael Gough, as usual, makes an excellent Alfred. At times the movie is as silly as any episode of the old TV series and aside from some striking scenic design and a brief bit of excitement as the very end, has few redeeming features. The action sequences are not well-handled, Stephen Goldblatt's cinematography is too often murky and cluttered, and Elliot Goldenthal's musical score is effective but highly derivative. Followed by Batman and Robin.

Verdict: Seems like it's six hours long. **.

WONDER WOMAN (2017)

Wonder Woman (Gal Gadot) on the battlefield

WONDER WOMAN (2017). Director: Patty Jenkins.

During WW1, Steve Trevor (Chris Pine) of British Intelligence, winds up on the island of Themiscrya, where he is pursued by Germans and encounters Princess Diana (Gal Gadot of Batman V Superman) and a horde of warrior-like Amazons. Against her mother Hyppolyta's (Connie Nielsen) wishes, Diana decides to take off on a boat with Trevor and do what she can to stop Ares (David Thewlis), whom she believes is responsible for the current miserable state of the world. Never mind that it's hard to believe that an officer in British Intelligence would want to just take this strange gal with him on a secret mission, but Diana proves her mettle when she puts on her costume and reveals astonishing super-powers. Aside from Ares, Diana's adversaries include General Ludendoirff (Danny Huston of Hitchcock), and the disfigured Dr. Maru (Elena Anaya), a specialist in poison whose latest gas can seep through gas masks. As played by the talented Gal Gadot, this Wonder Woman (although she's never referred to as such), is an impressive heroine who combines strength and courage with compassion, and as such is a noble and inspiring figure. But the film itself is slow and unconvincing at times, with sporadic bursts of excitement and light show-battles that we've all seen before. The music (Rupert Gregson-Williams) helps and there is outstanding cinematography (especially in the Themiscrya sequences) by Matthew Jensen. Chris Pine is only adequate as Steve Trevor, who was as American as apple pie in the comic books. Robin Wright of House of Cards makes a notable Antiope, but she isn't around for very long. (If you're wondering why Adolf Hitler doesn't get into the action, remember this is World War One, not World War Two.)

Wonder Woman first appeared in comics in the forties. To explain away inconsistencies, it was decided that the Wonder Woman of WW2 (not WW1 as in this movie) was the "Earth-1" version and the Wonder Woman of modern times was from "Earth-2." Apparently the Wonder Woman of this movie is the same person and is simply immortal.

Verdict: Gadot is impressive; the movie less so. **1/2.

ANIMATED HEROES

Here's a round-up of several animated super-hero features:

Superman/Shazam: The Return of Black Adam (2010). This DVD compilation of short films features Superman and Captain Marvel battling the sinister Black Adam and also shows how homeless youth Billy Batson became the great Captain Marvel. A Spectre story has the ghostly detective Jim Corrigan solving the murder of a Hollywood producer and providing a very final solution. Green Arrow, with the help of Black Canary (to whom he successfully proposes), saves the life of a young princess targeted by both the bow-slinging assassin Merlyn and the dizziness-inducing Count Vertigo. In perhaps the best story, written by Joe E. Landsale, disfigured western anti-hero Jonah Hex looks for a missing friend and discovers a murderous hooker who is left to a dark but satisfying fate -- it comes off like an EC horror story. All of these stories feature excellent animation, drawing, and direction, with good scoring as well. The big surprise is that a number of name actors do the voice work: Gary Cole, Alyssa Milano, Thomas Jane, Malcolm McDowall, and even James Garner [!] as the old wizard, Shazam. Once upon a time actors used to resort to dinner theater -- now they do voice characterizations for classy cartoons instead! ***.

Son of Batman (2014). Director: Ethan Spaulding. Batman discovers that he has a son, Damian, by his friendly enemy Talia al Ghul. Damian spent ten years with the League of Assassins run by Talia's father and is like no ten-year-old you ever saw. When Ras al Ghul is murdered by the mercenary Deathstoke, Damian vows to kill him. Meanwhile Kirk Langstrom has been importuned to help Deathstroke create mutated warriors that resemble bats. Nightwing and Killer Croc also get into the action. Written by Joe R. Landsdale, this emerges as a very classy cartoon, very well-directed and beautifully drawn. ***1/2.

Amanda Waller of Batman: Assault on Arkham

Batman: Assault on Arkham (2014). Directors: Jay Oliva; Ethan Spaulding. Cold-blooded Amanda Waller, who runs Task Force X of the Suicide Squad, a group of conscripted criminals whose heads are implanted with bombs in case they disobey her, has the group infiltrate Arkham Asylum to kill the Riddler, who knows too much about them. Her team consists of Harley Quinn, Deadshot, King Shark,  KGBeast (who is quickly killed by Waller), Killer Frost, Captain Boomerang, and Black Spider. Batman not only has to contend with this task force, but with the fact that the imprisoned Joker has hid a dirty bomb that could kill millions somewhere in Gotham. While one could argue that this is more a Suicide Squad movie than a Batman flick, Assault on Arkham is well-done, exciting and suspenseful. CCH Pounder makes a great Waller, and the other voice characterizations are also on the money. ***.

Batman vs. Robin (2015). Director: Jay Oliva. Very young Damian Wayne is now living with his father, Bruce Wayne -- who is not exactly Father of the Year --  and going out on dangerous adventures with Batman as the new Robin. Damian is rebellious and disagrees with his father's code against killing. He falls under the influence of a murderous vigilante named Talon, who belongs to a secretive group of the wealthy known as the Court of Owls. Will Talon's persuasiveness cause Damian to give in to his dark side? Like recent Batman comics, Batman vs. Robin is dark and has some interesting psychological aspects to it. Written by J. M. DeMatteis. ***.

Justice League: Gods and Monsters (2015). Director: Sam Liu. Instead of the regular Justice League, this movie presents an alternate universe (and less interesting) version of Superman, Batman, and Wonder Woman, who are criticized for their overly violent methods in dealing with criminals. Then they find they are being framed for the murders of scientists such as Ray Palmer (Will Magnus also figures in the plot).The robotic villains are uninteresting and the movie is more gruesome than it needs to be. Instead of an Amazon, this Wonder Woman comes from New Genesis, home of the "New Gods." Superman is the son of General Zod, and Batman is a vampire. Ultimately, this is just mediocre. Benjamin Bratt sounds completely different as Superman than he does as his normal self. **1/2.

Batman: Return of the Caped Crusaders (2016). Director: Rick Morales. Someone had the idea of making a full-length animated feature of the old Batman TV show of the sixties, and using the voices of Adam West, Burt Ward, and Julie Newmar to play Batman, Robin, and Catwoman. The femme fatale and her uncertain partners, Riddler, Joker, and Penguin, do their best to stymie or kill the heroes and get away with the loot. Batman is turned evil with a potion created by Catwoman, and a machine spits out duplicates of the Caped Crusader who do his nasty bidding. The movie is ... cute, but forgettable. The animation is fluid, however, and the movie looks good. **1/2.

Batman: Bad Blood (2016). Director: Jay Oliva. When Batman is seemingly killed, Dick Grayson takes over as the Caped Crusader with the help/hindrance of little Damian Wayne (or Robin), and the assistance of Batwoman, Batwing, and Alfred. Meanwhile, Damian's mother, Talia al Ghul, and the League of Shadows, enact a deadly plot to take over the world. Talia is surprisingly malevolent in this, more like her father, and proves she has little maternal love for her child. The movie does not decline to deal with Batwoman's gay sexuality, which is handled positively. With fluid and exciting visuals, a good musical score, and a host of creditable voice actors, this adds up to a very entertaining animated Bat-flick. ***

The Joker from Batman: The Killing Joke

Batman: The Killing Joke (2016). Director: Sam Liu. In this disappointing adaptation of a classic graphic novel, we are presented with a possible origin for the Joker, who was once an unsuccessful comic whose life took a tragic turn, but too much time in this film is taken up with the lame character of Batgirl. Unconvincing sequences include Batgirl and Batman suddenly having sex (not graphically portrayed) on a rooftop, and The Joker getting Batman to laugh out loud with a joke that isn't even that funny. Much of the story takes place in an abandoned amusement park where the Joker tortures Commissioner Gordon. As usual, Kevin Conroy makes a perfect Batman/Bruce Wayne, and Mark Hamill is splendid as the Joker. It's strange that this was given an "R" rating when it doesn't seem that different from other DC animated features that are generally rated PG-13. **1/2.

Justice League Dark (2017). Director: Jay Olivia. When the Justice League comes up against a magical menace that causes innocent people to murder friends and family, Batman gathers together a team that can deal with the supernatural aspects of the case: John Constantine, Zatanna, Deadman, Jason Blood (aka the Demon Etrigan), with some extra help from Swamp Thing. The main villain at first appears to be old-time JLA foe  Felix Faust, but there are even more sinister forces at work. The movie is well-directed and exciting, with excellent voice characterizations. The actors include everyone from Jason O'Mara and Jerry O'Connell to Alfred Molina. Based on a short-lived DC Comic book. In this movie Jason Blood and the Demon are at last separated and the centuries-old Blood (a knight at Camelot) passes on. ***.

Teen Titans: The Judas Contract (2017). Director: Sam Liu. Based on a storyline that appeared in the New Teen Titans comic book in the 90's, this has new member Terra (Christina Ricci), joining the group at the direction of villainous Deathstroke, who is in the employ of Brother Blood. Blood, who appeared in New Teen Titans, but was not part of this particular storyline, is well-voiced by Gregg Henry. This animated feature has its fun and exciting moments, but in no way does it compare to the original comic book stories. **1/2. 

X-MEN: DAYS OF FUTURE PAST

Michael Fassbender as Eric Lensheer aka Magneto

X-MEN: DAYS OF FUTURE PAST (2014). Director: Bryan Singer.

"So, you were always an asshole?" -- Logan referring to Erik.

Around 2027 mutants and their human supporters are besieged by robots known as Sentinels and the world is in a terrible state. To prevent this scenario from ever coming about, Logan (Hugh Jackman), is sent back in time -- or rather his mind is -- to inhabit his body in 1973. The plan is for Logan, with his knowledge of the future, to help Charles Xavier (James McAvoy of Victor Frankenstein) and Erik Lensherr (formerly known as Magneto, although he is not referred to as such in this movie) prevent shape-shifting Mystique (Jennifer Lawrence of American Hustle) from murdering the creator of the Sentinels, Dr. Bolivar Trask (Peter Dinklage). Logan's first task is to break Erik (Michael Fassbender) out of prison, where he has been shut away after allegedly murdering JFK (he claims he was actually trying to save him). But can these three men prevent an angry Mystique from bringing about the very future they fear? This movie is very loosely based on a classic storyline in the X-Men comic book, but it eliminates the Brotherhood (of Evil Mutants) and adds a tense climax wherein Magneto lifts up an entire stadium and places it around the White House. The movie makes other changes as well. Quicksilver (Evan Peters) is Russian in the comics, but in this he's American and can run as fast as DC Comic's Flash. Another big change is that in the comics Trask is of "normal" size whereas in the movie he's a "little person" -- what that's supposed to mean except perhaps for the indication that people who are different can still discriminate against other people who are different?  -- but the movie never explores his feelings in that regard. The performances throughout the film are excellent, with Fassbender taking top honors as Erik. Ian McKellan appears briefly as the older Magneto, a role he created on film, and he's fine, as is Patrick Stewart as the older Charles Xavier (although one can't quite see James McAvoy turning into Patrick Stewart no matter how many years have gone by). Nicholas Hoult [Jack the Giant Slayer] scores as Hank McCoy, better-known as the Beast, and there are what almost amount to cameos from Halle Berry (Storm) and other characters/actors from the earlier films. This has an interesting and moving conclusion, and a good score by John Ottman.

Verdict: Those X-Men just keep on comin'! ***.

X-MEN: APOCALYPSE

A Really Bad Guy: Apocalypse (Oscar Isaac)

X-MEN: APOCALYPSE (2016). Director: Bryan Singer.

In 1983 Erik Lensherr (Michael Fassbender), also known as Magneto, a mutant terrorist, has been leading a quiet life with his wife and daughter when his true identity is discovered and a confrontation with police leads to their deaths. Now his mind is in the perfect place for him to team up with En Sabur Nur (Oscar Isaac of Star Wars Part VII), the world's first mutant, born in 2500 A.D., and better-known as Apocalypse. Nur wants to remake the world over by demolishing human society, and Magneto -- at first -- is only too willing to help him. His former friend, Charles Xavier (James McAvoy) and even fellow terrorist Mystique (Jennifer Lawrence) are out to stop the two men and their mutant allies. The trouble with X-Men: Apocalypse -- the sixth X-Men movie (the 8th if you count the two Wolverine films released before this one) -- is that it suffers from over-familiarity and despite a somewhat impressive main villain, lacks a really strong story or sense of desperation. This is another prequel, with younger actors completely taking over from those cast in the first X-Men -- Patrick Stewart and Ian McKellan are nowhere to be found. The X-Men comic and its many spin-offs (Apocalypse actually first appeared in X-Factor) have been published for so many decades now that the movies have their own interpretation of the characters, hence Peter (Pietro) Maximoff --  apparently Magneto's son -- is no longer a brooding, unpleasant Russian but a hip teenage American, who (as in the last film) has been reinvented to be more like The Flash. The movie's most striking sequence has Flash -- I mean, Quicksilver (Evan Peters) -- rescuing all of the students from Xavier's mansion when it explodes. I don't recall Professor Xavier ever being able to stop time in its tracks the way he does in this movie. X-Men: Apocalypse isn't bad, but it does take a long time to get started, and despite some decent effects, the pace isn't great and the action scenes not that well delineated. Fassbender, who is quite good as the conflicted Erik, has emerged as the dynamic star of the X-Men movies. Hugh Jackman only appears briefly as Logan and was given three of his own films.

Verdict: Perhaps one trip to the well too many? **1/2.

MOVIE COMICS: PAGE TO SCREEN; SCREEN TO PAGE

MOVIE COMICS: Page to Screen; Screen to Page. Blair Davis. Rutgers University Press; 2017.

This is one of a number of books on the subject of film adaptations of comic strips and comic books since the 1990 publication of my Comic Book Heroes of the Screen. Movie Comics is an intelligent and well-researched look at even older strips (my book concentrated on super-heroes) including Mickey Mouse and other Disney cartoon characters. Davis looks, in turn, into comic books that were inspired by individual films, or just by The Movies themselves. Davis examines such strip-into-films as Skippy, Li'l Abner, Dick Tracy, Joe Palooka, and Prince Valiant, and comic book-into-films (and TV shows)  such as the Superman TV series with George Reeves and The Adventures of Captain Marvel serial, among many others. Davis can occasionally be accused of being painfully obvious in his assertions -- typical of academic books -- but unlike many academic books Movie Comics is readable and accessible as well as informative.

Verdict: Engaging and pretty thorough look at its subject if not necessarily the last word. ***.

BATMAN V SUPERMAN: DAWN OF JUSTICE

Superman (Henry Cavill)  vs Batman (Ben Affleck)

BATMAN V SUPERMAN: DAWN OF JUSTICE (2016). Director: Zack Synder.

Some of the public are losing faith in Superman (Henry Cavill) of Metropolis and fear he may be too powerful, which is also a concern of Gotham's Batman (Ben Affleck). Meanwhile, the Man of Steel is disgusted by Batman's violent vigilantism. When Lex Luthor (Jesse Eisenberg) kidnaps Superman's mother, Martha (Diane Lane), he tells him he can only save her by killing the Batman. The Man of Steel has no intention of murdering anyone, and tries to get Batman to work with him to save Martha and take down Luthor, but their misunderstandings about their different approaches only lead to conflict. Years ago I complained that some comic book and comic book-like movies were much too mindless, but now they've gone to the other extreme. Unfortunately, Batman V Superman mistakes a continuous grimness with seriousness, but ironically none of it is very profound. The picture has an admirable intensity, and while no one wants to return to the camp and silliness of the old days, couldn't all these billions of dollars and all that work have been employed to make a more entertaining movie? In some ways Batman v Superman comes off like a mere prelude to the upcoming Justice League of America movie, the idea of which I find less exciting after sitting through the somewhat tedious 151 minutes that make up this film. The picture has some interesting elements and sets up clever situations (the conflict between Bats and Supes has already been explored in the comics) but its action scenes are more frenetic than well-done, and half the time you can't really tell what's happening. With the exception of a dreadful, almost-camp, boyish geek version of Lex Luthor played by Eisenberg [Cursed] , the acting is excellent, with both Affleck [Hollywoodland] and Cavill [Immortals] quite adept at the new ultra-intense super-hero style. Amy Adams is also quite effective as Lois Lane, as is Holly Hunter as a senator. Wonder Woman (Gal Gadot) shows up at the end to help the fellows fight Doomsday, and is fine, and there are cameos by the Flash, Aquaman, and Cyborg (what, no Green Lantern?) to set up the next DC Universe movie. A confusing prologue shows an attack on Gotham by what appears to be Brainiac, but the film never makes it clear exactly what's happening, and in general the screenplay is mediocre. [Apparently Batman v Superman starts off where Man of Steel ended, and the antagonist is General Zod, but couldn't there have been some attempt made to remind viewers of this?] Moments of cuteness happen so infrequently that they're jarring, such as when Batman asks Superman if Wonder Woman is with him, and he responds "I thought she was with you." There are guest appearances from Anderson Cooper, Andrew Sullivan (!), Nancy Grace and others, all commenting on one hero or another. Too many anti-climaxes by far.

Verdict: Very talky and not a hell of a lot of fun but there are a few good scenes. **1/2.

FANTASTIC FOUR (2015)

The supposed Dr. Doom

FANTASTIC FOUR (2015). Director: Josh Trank.

I thought the original Fantastic Four film franchise, which consisted of two films, was perfectly good, but the FF was rebooted with this mediocre, but not totally awful, picture, which fans and critics seemed to hate, to put it mildly.  Fantastic Four does have a number of problems, the first being that the cast appears to be a little too young. As Reed Richards or "Mr. Fantastic," Miles Teller [Whiplash] completely lacks the charm of Ioan Gruffudd in the original films. Kate Mara [House of Cards], as Susan Storm or the "Invisible Girl" looks, as usual, as if she's twelve. [Michael B. Jordan and Jamie Bell play, respectively, the Human  Torch and the Thing.] The origin of the team and how they gained their powers has been changed from a trip to outer space and an encounter with cosmic rays, to a journey to an alternate dimension called "Planet X." The "Dr. Doom" (Toby Kebbell of Dawn of the Planet of the Apes) of this movie only remotely resembles the venerable character from the comic books (admittedly Doom was a bit different in the previous films as well). There are too many military complications in this, and a tiresome plot, but there are some interesting touches, and the film, while disappointing, is not that bad. There's a good score by Marco Beltrami and Philip Glass. As of now Marvel is no longer publishing its flagship title (which first appeared in 1961!), and the failure of this film will probably not change that situation any time soon, for shame. See The Silver Age of Comics for more info on the FF.

Verdict: Better stick with the X-Men. **1/2.