TERRIFIC TEAM-UP IMAGE: AQUAMAN & AQUALAD

TERRIFIC TEAM-UP IMAGE: AQUAMAN & SUPERMAN, DEFENDING THE DEEP!

 

TERRIFIC TEAM-UP IMAGE: AQUAMAN & THE FLASH (VOIDSONG)

TERRIFIC TEAM-UP IMAGE: AQUAMAN VS OCEAN MASTER & BLACK MANTA

TERRIFIC TEAM-UP IMAGE(S): ATLANTIS KING VS KING SHARK

I saw Aquaman 2

DC/WB's Aquaman and the Lost Kingdom, directed by James Wan, who cowrote with David Leslie Johnson-Goldrick (et al), is the filmmakers' long-awaited sequel to the 2018 blockbuster. For the follow-up, the Arthurian legend is retooled as a buddy movie, with emphasis on Jason Momoa's titular protagonist, aka Arthur Curry, making amends with his brother, Patrick Wilson's exiled Ocean Master, aka Orm (in a Thor/Loki-fied deal), to combat Yahya Abdul-Mateen II's vengeful Black Manta, aka David Kane. 

The premise is tried-and-true enough to hold one's interest (as it avoids any out-of-the-box hiccups), with the brotherly component making the best use of the formula's angst, rivalry, amusement and redemption, framed by global-warming humbuggery, 20,000 Leagues tech and for cuteness sake, a surrogate, baby Aqualad. 

To fortify the formula further, Black Manta is more ruthless this time out, in particular, when he taps the Black Trident, summoning a hidden, hellish kingdom with the power to flatten all of Atlantis and beyond. In his sleek, head-to-toe armor, Black Manta is nothing short of an aquatic Darth Vader as he carries the ancient world's relentless evil, pressing a significant, story asset, for any heroic fable is only as good as its villain is bad. 

The movie's supporting performers and their characters reinforce the inflating tensions: Dolph Lundgren's King Nereus; Nicole Kidman's Atlanna; Temura Morrison's Tom Curry; John Rhys-Davis' Brine King; Martin Short's Kingfish; Randall Park's Gus Gorman-esque Dr. Stephen Shin; and Amber Heard's Mera, whose role may have been shortened for this sequel, but her regal presence is still felt. 

In fact, the successful ensemble feels more than right to birth Aquaman 3, except that WB execs wish to steer the DC, cinematic franchise in another direction. (Perhaps if The Flash had hit bigger, that would have given more cause to keep a strand of Zack Synder's multiverse in play.) On this basis, it's easy to get sentimental over what may be a so-long chapter, but at the same time, a sense of betrayal can't be denied. To rephrase, it's a tad hard to invest in something, no matter how sublime, if the rug is being pulled from under it (case in point, DC/WB/Max's Swamp Thing, revival series).

Regardless of the studios' plans, Lost Kingdom is now part of hero-cinema history, which by that relegation, means it won't be soon forgotten, anymore than Kick-Ass 2, Sin City: A Dame to Die For, Wrath of the Titans, Ewoks: The Battle for Endor and Conan the Destroyer have been. After all, round-two myths never die; they just get revisited. 

TERRIFIC TEAM-UP IMAGE: AQUAMAN & GREEN ARROW: DEEP TARGET #1 (INHYUK LEE)

TERRIFIC TEAM-UP IMAGE: AQUAMAN/GREEN ARROW: DEEP TARGET #4: (MARCO SANTUCCI)

 

TERRIFIC TEAM-UP IMAGE: AQUAMAN/GREEN ARROW: DEEP TARGET #3 (JONBOY MEYERS)

 

HAPPY BIRTHDAY 80TH, OLIVER QUEEN & ARTHUR CURRY

 

Collection Recommendation: Aquaman, the Complete Filmation DC Classic Series

Aquaman became an A-list superhero to many through the Filmation Associates '60s "Adventures of..." television episodes. Initially matched with the Man of Steel as part of "The Superman/Aquaman Hour of Adventure", the thirty-six story stretch converted to a repackaged, half-hour format when Kal-El's episodes joined those of Batman and Robin. (The Aquaman banner-series hosted other superheros in separate segments, including the Flash, Green Lantern, Hawkman, the Atom and the Teen Titans. Ah, DC bliss...)

The fourteen-minute, '67-'70 Aquaman solo segments hold (to all who grew up with them) classic status, with remarkable pacing and colorful imagery. Each compact adventure presents the expected good-over-evil formula (similar to Adventure Cartoon/Trans Lux's "The Mighty Hercules"), but the underwater milieu distinguishes it from most other children's productions of the period, with of course, the obvious exceptions of Marvel's preceding, Sub-Mariner cartoons and Gerry Anderson's puppet-performed "Stingray". 

Such associated, legendary DC names as Arthur Curry and David Hyde aren't part of the series' scheme, but that's okay. For this saga, Aquaman, King of the Seven Seas, is a viable enough label, as are Aqualad and Mera. Oh, and while we're namedropping, let's not forget their pals, Tusky the walrus and those valiant seahorses, Storm and Imp.

The stories are similar, with baddies attempting to invade Atlantis, many of whom are sea-based, with others emanating above--way above, that is, like outer space--only to be thwarted by Aquaman's exceptional, physical prowess and sweeping, telepathic command of his oceanic friends. 

Among the villainy, Black Manta, Aquaman's prime antagonist, stands out. He's an aquatic Darth Vader, a decade before Vader arrived, with a demeanor as cold and hard as his menacing exterior. (Too bad more of the pirating egomaniac wasn't woven into the series, but what's there is effective and remains the incarnation to which most middle-age folks subscribe.)

Monsters (a nifty, common denominator among '60s kid-adventure shows) are faithful highlights throughout, my favorite specimen being a Venusian serpent that adapts extraordinary size when saturated by Atlantean water: a sort of submerged variant of Ray Harryhausen's "20 Million Miles to Earth" Ymir.  Cool... (For the record, a group of resurrected Vikings are just as monstrous in their own weird way, rather like Buddy Baer's creepy conquistador in "Giant from the Unknown". Neato...)

To liven the characterizations, the assigned voices all hit the mark, with Marvin "Robby the Robot" Miller as Aquaman; Jerry "Adventures of Gulliver" Dexter as Aqualad; Diana Maddox as Mera; and television icon, Ted Knight, not only as the robust narrator, but as Black Manta and varied personas throughout the series' run. 

Indeed, Filmation did an outstanding job with this adaptation. It deserves a look (or sentimental revisit) for anyone into superhero lore and still stands as the best representation of Paul Norris and Mort Weisinger's oceanic Arthurian king. Considering some of the spectacular (re)interpretations that have since surfaced (the James Wan blockbuster included), that's saying a lot.  

Though one can catch episodes of "Aquaman" on Boomerang and samples via Dailymotion and YouTube, for a guaranteed binge of splashy fun, the entire WB/Filmation DVD (2-disc) collection can be purchased at Amazon for a fair sum: 

https://www.amazon.com/Adventures-Aquaman-Complete-Collection-Classic/dp/B000TSTEMS/ref=sr_1_fkmr1_1?ie=UTF8&qid=1546551642&sr=8-1-fkmr1&keywords=aquaman+animated+series+dvd.

Aquaman: Haters Gonna Hate If the Box Office Is Great

There’s no disputing it: James Wan's "Aquaman" may not have tickled every viewer on every personal level, but it sure as hell surfaced Trident-triumphant at the worldwide, Yuletide box office. Still, for some infuriating reason, certain snippy sources downplay its success, implying that it didn't rake in what it could  have. Really? Get out!!!

On the other strange hand, a major misfire like "Fantastic Beasts 2" gets a bandwagon pat on the back. Its abysmal performance is countered by claims that it did well beyond the U.S.  Nice... So did Disney’s "John Carter", which didn't get a pass. Why?

It’s a political thing, I suspect. Propagandist fodder, even when disguised, will always rise high in the mainstream media’s eye. Anything otherwise, and that includes middle-of-the-road stuff, will be maligned, no matter how strong the accolades or ticket sales: grand case in point, David Leslie Johnson-McGoldrick and William Beall's Atlantean anthem. Perhaps if "Aquaman" used a world-is-melting-'cause-too-many-of-us-sneezed-on-it theme, its reported success would be across-the-board accurate.

As it stands, the DC/WB movie is a solid action yarn with flashback, origin stuff thrown in. In other words, it's a common, comic-book movie. That, in its own right, hits a sour note with some. (Bill Maher ring a bell?) Those ostentatious sorts would rather embrace "Last Jedi'"s murkiness than something cool and clear-cut.

I don’t know where "Aquaman'"s success will take it, whether it'll fortify the yet budding Justice League's prospects or eclipse them. The success or failure of "Wonder Woman 1984" and "Shazam!" is yet to be seen, with either outcome impacting where Jason Momoa’s Arthur Curry lands or rather splashes. However, spitting on the movie's shine makes no sense. In fact, that surly practice might even brighten the movie's gleam, if its fans call foul, and it appears, some have already done so. 

To the haters, all I can say is sorry, but "Aquaman" won—won big-time. Live with it. Respect it. Swim on...

I saw Aquaman...

I like Jason "Game of Thrones" Momoa (found him darn effective in the ill-fated Conan remake), but he always struck me as a trifle...well, unique for DC's Arthur Curry, aka Aquaman, even when (at long last) garbed in the traditional orange and green. I mean, when it comes to casting Lobo, will WB go for a brawny, clean-shaven, fair-haired dude? At this stage of the reinvention game, would it be any surprise?

For me to get into the Momoa/Curry vibe, I gotta take the characterization in the context of let's say, "The Man from Atlantis", where for all intents and purposes Patrick Duffy's "Mark Harris" may have been, in fact, Aquaman, Sub-mariner or someone in-between: Depthon, Son of the Ocean, anyone?

Okay, so "Aquaman" isn't quite the long-haul Aquaman we all know in this big-budget instance. Does that mean the film is any less a splash because of it?

I'll say this much, for an official, pseudo knock-off, this brisk James Wan-directed flick serves its purpose, along with its Will Beall/David Leslie Johnson-McGoldrick script. The collaborative effort presents the basic story of how Curry was born of human and Atlantean parents, portrayed by Nicole "Batman Forever" Kidman and Temuera "Green Lantern" Morrison. There's no superfluous, preachy, environmental gobbledygook to cloud the premise (praise Atlan!), and to keep things even more nice and simple, the movie dishes a reasonable scenario for Aquaman to tackle: His tyrannical half brother, Orm, aka Ocean Master, played by Patrick "Watchmen" Wilson, wishes to rule Atlantis and then all of Earth; our hero objects.  

Curry's stance, however, comes with some healthy coaching (past and present) from his mentor, Vulko, played by Willem "Spider-man" Dafoe. There's also Yahya Abdul-Mateen II's revenge-driven David Kane (aka David Hyde)/Black Manta to increase the torrential pumping. (BTW: the Black Manta outfit is spot-on, reinforcing the classic character's status as the aquatic Darth Vader...or is Vader the galactic Manta? Either way, it all comes out in the villainous wash...)

The thing is, the melodrama never hits the point of extraordinary. The visuals are pretty enough (in a Christmas time/"Close Encounters" sort of way), though I'd have preferred something more in line with George Pal's "Atlantis: the Lost Continent" (less can be more). And don't get me wrong, after a spell, Momoa's cynical Curry does, in fact, get into the full-blown groove, thanks to his determined, wife-to-be, Mera, played by Amber Heard and (even if he's only on the aggressive sidelines), her dad, Dolph "The Punisher" Lungren's Nereus. Still, for the sake of my initial viewing, the whole purpose and plan seemed a little too little and way too late. (Really, this notion of begging Aquaman to battle an obvious threat felt strained in "Justice League". We know he'll help if the circumstances require it, so why dance around the obvious?)

Though nonessential banter stalls Curry's under-the-sea (and even land-based and Earth's Core) rise, the movie does, in fact, have one consistent attraction: Heard's Mera. Whether or not one has a bug up the kazoo over the Johnny Depp situation (feel free to look it up), the actress is a honey-and-a-half: always has been, always will be. In old Hollywood, she'd have been a preeminent, film-noir vixen and was long ripe for the pickin' for any superhero flick. She's tall, curvy, sparkly, supportive of (if not essential to) Curry's crusade and more than the titular hero, this live-action Mera mirrors her comic-book inspiration.

Alas, beauty alone won't make a picture great. At best, "Aquaman" is a solid Camelot variant. With matters unhinged at WB (i.e., with Ben Affleck and Henry Cavill ousted and "Shazam!'"s required reshoots), one can't help but wonder if "Aquaman" will die on the seaweed vine, thus paving the way for that predicted Justice League reboot. (Then again, "The Flashpoint Paradox" could fix it all, if but bestowed the chance.)

Despite what happens, I still believe that certain characters are meant to march (or swim) onward, and that includes Momoa's aquatic avenger. For many, a sense of sorrowful shame will be felt if his aesthetic wave doesn't rise high enough, but in the end, it's the box office that'll decide if Momoa continues to patrol the seas--and for better or worse, what elements of the DC cinematic universe remain or recede. 

I saw Batman and Superman Fight to Unite!!!

Frank Miller claims there’s no way Batman and Superman would ever like each other. Heck, because they come from different crime-fighting vantages, maybe he’s got a point. However, I’ve seen the two team countless times over the decades among various sources, and I’ve come to accept their allegiance as one of the “World’s Finest”. 

With that said, seeing these two at odds can be disconcerting and intense (as Miller's "Dark Knight Returns" demonstrates), and yes, the conflict can be even acceptable, if there's a positive, logical resolution to it. 

That resolution does, in fact, occur in Zack Synder’s “Batman v Superman: Dawn of Justice”, which for all its contentious pre-imagery, turns into (SPOILER!!!) a touching buddy movie, divided into three, justice-founding parts, thanks to the scripting skills of David S. Goyer and Chris Terrio.

The initial phase is the set-up: Lex Luthor (Jesse Eisenberg) plots to foil Superman (or any available representation of good, for that matter), while Clark Kent/Superman (Henry Cavill) and Bruce Wayne/Batman (Ben Affleck) increase their cynicism toward each other: each perceiving the other as reckless extremists. They should know better than to indulge in such petty, personal tactics, but then so should the general public, a portion of which is quick to deride both heroes, despite the fact that they go to great lengths to help and protect people, and yes, sometimes leave destruction in their paths, but with the assurance that the terrorists will always meet defeat.

The collateral damage, however, irks Senator Finch (Holly Hunter), and she implements a crusade and hearing on the matter, focusing her wrath on Superman, regardless that General Zod (Michael Shaunnesey) would have destroyed the world as we know it without Kal-El's intervention. She also blames Superman for deaths caused by a dictator named Anatoli Knyzaev (Callen Mulvey), with whom Luthor has ties. Indeed, why condemn the obvious cretins when an honorable extra-terrestrial is ripe for the picking? 

In a roundabout link to the senator's view, we come to realize that the sectors over which Batman and Superman preside, whether Gotham, Metropolis or beyond, are rough and mean, itching for hope, but just as inclined to celebrate an ugly underbelly and scoot it to the highest heights of praise. It’s an upside-down world in need of revelation, of an essential second wind. Batman and Superman are the potential beacons of inspiration who can crush the dire misconceptions, but Luthor's behind-the-scenes manipulations intend dull the luster of their stellar deeds, further bolstering Batman's existing wariness of Superman and indirectly churning controversy where there would be otherwise none. But fear not. Good has a way of evening out and rising above the scum. 

To attain this "rise", our duo must first take the bait and battle, though the primary brawl results from Luthor kidnapping Martha Kent (Diane Lane) and coercing the Man of Steel to fly forth and kill the Dark Knight in exchange for his mother's life. This scenario constitutes a large part of the film's second phase: an energetic, though unsettling feast for the senses, with one mighty entity gaining the upper hand over the other and back again. Prior to such, Alfred Pennyworth (Jeremy Irons), Lois Lane (Amy Adams) and Perry White (Laurence Fishburne) interact with their champions throughout the mounting conflict, offering encouragement and disdain, as does Diana Prince/Wonder Woman (Gal Gadot), albeit initially on surreptitious terms and essentially with Wayne. 

Though tensions run high, Batman and Superman do eventually acknowledge Luthor's ploy. When the arch criminal realizes they're wise to him, he triggers his backup plan--along with the film's powerful third act--using Zod's extracted DNA to hatch an even greater “devil”: the ferocious, mutating Doomsday.

The creature exceeds Zod’s strength and destruction, and Batman, Superman and Wonder Woman must team to stop the mad monster. (Sorry folks, contrary to conjecture and hope, Bizarro and Riddler don't enter this chapter, but the Hulk-proportioned Doomsday is more than enough mega-villain to cover their absence.)

Visually, the film mirrors Snyder's stylish "Watchmen", with scenes tinted in hazy pigments, which complement its lingering sense of doom. The exchange of heroes is also similar to "Watchmen", with various shades of gray surfacing among the principles, but with a clear-cut distinction surfacing as to what constitutes good and bad; thus establishing a staunch Steve Ditko philosophy that extends beyond the film's climax.  

Ben Affleck, regardless of his controversial casting, is quite good as Wayne/Batman, and what a commendable accomplishment coming off the heels of Christian Bale's sterling portrayal. He remains credible throughout, his mood swings identifiable as he presses on for justice. Affleck's presence is also old-school: a throwback to the past when actors like Buster Crabbe played a variety of heroes. Previously, Affleck portrayed Matt Murdock/Daredevil, as well as Superman, in an indirect way, in the George Reeves speculative bio-pic, "Hollywoodland", in which Diane Lane also starred.

The same crossover dynamics can be attributed to Cavill, who's acted in the mythological epic, "Immortals", as well as portraying Napoleon Solo in the "Man from U.N.C.L.E." remake. He also does an impressive job in matching Affleck's unflinching stance, making his second film portrayal of the Man of Steel much edgier. This troubled Superman works seamlessly into the film's early, despairing moments. Cavill also draws us deeper into Superman's frustration when people reject his gallantry, and through his Kent persona, that woe turns into an empathetic, slow burn. 

Gadot nicely completes the trio: an exotic, old-world Amazon, whose shrewd charms shine through her unassuming Diana Prince guise. Her sparkling eyes are always peeled for clues and ways to assist her predestined super friends. Above all, she believes in doing the right thing and is therefore as honorable an emblem as Batman and Superman, and one can therefore assume that she'd also be susceptible to the same illogical derision they face, if not for the fact that she's remained under the radar for a century. 

Eisenberg, on the other hand, is the personification of cunning evil, his wry, comedic tone comparable to Sherman Howard's much underrated Luthor in the much underrated "Superboy" series: fun, yes, but as Lois Lane astutely acknowledges, "psychotic". One can't help but dislike the son of a gun, but he also gains one's contemptuous respect, which should placate those who may have dismissed Eisenberg's persona as irreverent, based on his trailer footage. 

These character-driven additives stir a mighty big powder keg of suspense, all augmented by Hans Zimmer pulse-pounding score: a well crafted, emotional formula, which inspires us to question our current views of good and bad and then tears them down, only to refashion them into a valuable lesson. No matter how one may try to justify the bad or defame the good, an indisputable distinction between the two will always surface. There's no amount of in-fighting or invading villainy that can control the circumstances long enough to prove such wrong: no jealous Luthor or all-mighty Doomsday who can climb to the top and rule, as long as individuals focus on what's right and ensure that justice prevails. 

Batman, Superman and Wonder Woman, as well as the other members of the growing Justice League--Jason "Conan/Game of Thrones" Mamoa's Aquaman; Erza Miller's Flash; and Ray Fisher's Cyborg are insinuated personas in this, too--may lack universal support at the start, but by the picture's tear-jerking cliffhanger, they--and we--will know which side to choose. 

Without question, this "World's Finest" adventure may be excessively hard-hitting, even shamelessly rough around the edges, and the conflict between the Dark Knight and Man of Steel is never all that convincing, but at least the story forces us to choose an ideological platform. That, in its own right, should fuel discussion among fans and the general public for quite some time, or at least until the next cinematic chapter hits theaters.