Batman: Caped Crusader Begins

I was going to wait, and maybe I should have for the sake of giving an all-out, full assessment of Amazon Prime's animated Batman: Caped Crusader. But here I am, succumbing to the need to scratch a big-time itch and comment on the first episode of executive producers Bruce Timm, James Tucker, Matt Reeves and J.J. Abrams' ten-part series.

I can right off the bat (pun intended) say this: Though this new incarnation may not be a veritable sequel to (or semi-retelling of) WB's 1990s Batman: The Animated Series, it sure looks it, despite taking place fifty years prior and give or take a few character adjustments. (I'm not objecting to the insinuated, aesthetic retread, I must point out; I'm just acknowledging how it strikes me, based on what I've seen.)

The advent episode is Copplepot/Penguin oriented, perhaps a wee enticer for the live-action, Max series that's set to spring. For the record, the Penguin is female in this instance, a mother, a Cass Elliot-styled, club singer and coined Oswalda, though she stays pretty much in sync with Paul Williams' 1990s version than, let's say, Colin Farrell's Soparanos-steered villain or Robin Lord Taylor's murderous, Norman Bates-ish bird. Nevertheless, it all comes out in the wash. The Penguin is the Penguin, no matter the reassignment, vocalization, timeframe or avenue of criminality ... I, uh, suppose.

For "In Treacherous Waters," Oswalda keeps competitor Rupert Thorne (an underused, DC baddie) under her thumb, and when this habit slips, she exhausts her frustration by killing one of her sons. Her second son, meanwhile, seeks protection in a maneuver that ends up involving Batman and a not-yet-costumed Barbara (Barbie) Gordon, a "spitfire" attorney who ironically stands in opposition to the "tough on crime" Harvey Dent. The situation doesn't sit well with the Penguin, who decides to annihilate the Gotham Police Station for pure, cathartic cause.

Despite the story's flamboyant margins, the exploit adheres to a general, 1940s, dark-detective scheme (in the Lamont Cranston/Richard Wentworth vein), which should please all the Eddie Mullers out there.    

The moody animation is, of course, attractive, with a Fleischer-inspired pigmentation carrying all the way through. The vocal talent feels (sounds) right, as well, with Hamish Linlater (Bruce Wayne/Batman), Minnie Driver, Paul Scheer, Christina Ricci, Diedrich Bader, James Marsden, Jason Watkins, Gary Anthony Williams, Krystal Joy Brown, John DiMaggio, Toby Stevens, Michelle G. Monilla, Eric Morgan Stuart and several others enlivening the characterizations.   

I'm anxious to view more, so I can get a better sense of how (for better or worse) the further character alterations might (d)evolve. I must admit, some of the teaser images look fascinating, in particular the Basil Karlo/Clayface redo (a hint at a Reeves, two-part movie yet to come?); but no matter the pervading traditions or daring modifications, I'm now invested. I'll keep viewing and assessing, and when all's said and done, share my outcome.

I saw the JL Fight the Fatal Five...

"Justice League vs the Fatal Five" is DC/WB's newest animated feature: a time-traveling, titanic clash between good and bad, delivered by a tested trio:  producer Bruce Timm, director Sam Liu and scriptwriter Alan Burnett. 

The premise: Five, super-terrorists from the future drop back in time to snuff out our present-day superheroes and terminate the human race. The vanguard consists of Emerald Empress, Tharok, Mano, the Persuader and Validus. (The beguiled Bloodsport guest stars in the mayhem's early phase, but doesn't link to the invaders. Various Arkham personas also cameo.) 

Fresh faces figure into the conflict: Miss Martian, Saturn Girl, Mister Terrific and Jessica Cruz, Limelight of the Green Lantern Corp. Star Boy, aka Tom Kallon also occupies the action in an absorbing but complicated way.  These fine folks assist the JL in the struggle, led by (no surprise) Batman, Superman and Wonder Woman. (In the process, Batman takes a fatherly shining to Miss Martian, making them this chapter's official, dynamic duo.)

Focus ultimately falls on Star Boy, who proves himself a power-pulsing, black-suited enigma, but is cool enough when in the JL's grasp, despite his erratic outbursts.  

In the process, Star Boy comes to terms with his origin. Though the staging is "12 Monkeys" anguish-wracked, it's more convincing and satisfying than any self-discovery found in Marvel's "Captain Marvel".  (With the latter, we're talkin' a longer, no-excuse-to-cut-corners, theatrical feature, too.) 

The drawback?  "JL vs Fatal Five'"s framework feels a lot like "JL vs Teen Titans" and "JL Dark", to name but two. If DC's filmmakers want to lengthen and strengthen their acclaimed, animation track record, they might consider rewiring the favorite formula. 

Now, don't misunderstand: The DC mythology (the moral heart of it) shouldn't be tampered with or disrespected: The damn wheel needn't be reinvented here.  It's also evident that not every animated film will reach the melodramatic heights of "Death of Superman" or "Killing Joke". Still, the cozy practice of sameness will dull even the best franchise, and no Best Buy, comes-with-action-figure gift set is gonna change that. 

With that said, "JL vs Fatal Five'"s results should serve their purpose, but let's hope that the ensuing DC/WB animated adventures take things to the next level. 

HAPPY 25TH ANNIVERSARY MASK OF THE PHANTASM!!!

On Christmas Day 1993, the first, full-length Batman animated feature occupied theaters. Though it wasn't the financial success of Tim Burton's live-action, Caped Crusader movies, "Batman: Mask of the Phantasm" still made a favorable impression on those who viewed it. Over the years, the film's reputation has only grown, making it one of the most applauded submissions in the Dark Knight's decades-spanning canon.

On November 12, 2018, for one night only, Fathom Events will once more project "Mask of the Phantasm" upon theater screens to mark its 25th anniversary release. 

Written by Alan Burnett, Paul Dini, Martin Pasko and Michael Reaves; and directed by Bruce Timm and Eric Radomski, "Mask of the Phantasm" sprung from the popularity of the WB's "Batman: the Animated Series", though granted greater depth than the show's half-hour slots could generally contribute. The movie remains of particular interest to fans for its origin segments of Batman and the Joker, which hold their own with subsequent, acclaimed retellings.

Like Burton's '89 film, "Mask of the Phantasm" depicts Gotham via symbolic dilapidation, as Batman is accused of a string of mobster murders. Though Joker dominates the backdrop and the film's finale, the actual murderer is a spectral, blade-clubbed vigilante named the Phantasm, who Bruce Wayne comes to discover is an individual near to his heart. The reveal may not be that huge a surprise, but the poignant way in which it's rendered has rarely been matched in any Batman movie, whether animated or live action, not to mention the printed page. 

Shirley Walker's soaring score is on a par with Danny Elfman's memorable orchestrations, and the movie makes effective, extended use of Kevin Conroy's Adam West-esque vocalization, as well as Mark Hamill's Blue Meanie-mimicked Joker. (Dana Delany, who would later enliven Lois Lane on WB's "Superman: the Animated Series", acts as the haunted Andrea Beaumont, with Efrem Zimablist Jr as Alfred Pennyworth; Robert Costanzo as Harvey Bullock; Bob Hastings as Jim Gordon; Hart "Supergirl '84" Bochner as Arthur Reeves; Abe Vigoda as Salvatore Valestra; Dick Miller as Chuckie Sol; and Stacy Keach as both the Phantasm's commanding voice and Beaumont's gangster-tied father, Carl.)

Many believe that "Mask of the Phantasm" would have been as effective via live action. That's understandable, considering the story's engrossing execution. The concept defines the Dark Knight's complex, atmospheric essence, capturing the character's Bob Kane/Bill Finger foundation through the cynical, Neal Adams '70s and those later, pensive phases of Frank Miller and Norm Breyfogle. There's no question that, if any DC animated entry should strike one as good, it's because "Mask of the Phantasm'"s sophisticated influence has, in one way or another, paved the way. 

There's no denying that "Mask of the Phantasm" is and always will be the epitome of what Batman was meant to be, could be and will forever be: an anguished, poetic blueprint that fans, creators and eager idealists continue to relish and revere. 

Revisit "Mask of the Phantasm" when you can, if not on the big screen, then on VHS or disc in the privacy of your home. The movie has more than demonstrated its noteworthy status and if for that reason alone, deserves a revived period of dutiful devotion.