I saw the Long Halloween (Part 2)...

The Long Halloween (Part 2), directed by Chris Palmer and scripted by Tim Sheridan (based on Jeph Loeb/Tim Sale's hot-selling DC series) hits the spot with rueful tricks and tragic treats, as Batman, Jim Gordon and Harvey Dent continue their investigation of the haunting Holiday Killer.

This chapter comes in the wake of the Joker's raucous, Arkham escape, while the Falcone/Maroni war prevails in its Fistful of Dollars context. Meanwhile, stealthy Catwoman claws from the shadows, assisting the Dark Knight when things turn grim, as often they will in forever-autumnal Gotham.

Poison Ivy (more poisonous than ever), the Scarecrow (scarier than ever) and Mad Hatter (madder than ever) become the main, interfering antagonists at various phases (Solomon Grundy and Calendar Man pay return visits, too), but the Long Halloween (Part 2) is the tale of how Dent birthed Two-Face.

As one might deduce, the identity of the Holiday Killer skids from Two-Face's manifestation, but why spoil the inadvertent hows and whys? Let's say that the crossroads are as heartbreaking as they are ghoulish, placing the saga on an impassioned plane, with insinuations of Robert Louis Stevenson, John Wyndham and Mario Puzo to ensure the sinister segments fit. 

That's high praise and warranted, for once the nefarious wreckage clears, the Long Halloween (as a seamless whole) is a memorable, noir-ish experience aimed at adults, but it sure as hell wouldn't hurt kids to watch. Within its costumed catacombs are quality life lessons for those of any age.

Pop some corn and gather up the family to view the complete saga for a fulfilling, growing-pains experience.

I saw Batman v Hush...

"Batman: Hush" is DC/WB's latest, animated (aimed for home viewing) effort. It's based on Joseph Loeb/Jim Lee/Scott Williams' graphic series, adapted by Ernie Altbacher (who injects plot twists) and directed by Justin Copeland. 

It introduces a swathed-faced villain who intends to destroy Bruce Wayne's life and reputation by trampling on Batman's crime-fighting legacy. In the process, Hush hordes the ever tempting, eternal Lazarus flames. The story's novelty is deciphering the villain's identity and the cause of his crusade. In other words, what's the bastard's secret (is he an antagonist we already know) and why is he so hush-hush about it? (Shades of "Mask of the Phantasm", you say? Maybe just maybe...)

Other villains appear throughout the eerie exploit as Hush does his dirty deeds (and in some instances, toys with them to achieve his goal), which include the Riddler, Bane (a Hush forerunner one could argue), the Scarecrow; the Joker; Harley Quinn; Clayface; Lex Luthor; Lady Shiva (quite civil with the Dark Knight this time out) and Poison Ivy (who'll make one itch with her Orion Slave Girl looks and ways).  

However, Catwoman has the meatiest part, with emphasis on her strained relationship with the Caped Crusader. The legendary love/hate tit for tat defines the story as much as its Hush element. To increase that amorous angle, Selina Kyle is rendered with heightened sexiness (well drawn, that is). It's almost impossible to pull one's eyes from her.

Dick Grayson/Nightwing also influences the conflict, assisting his mentor to squash Hush's spree, though (thank goodness) without  the contention that's stained their previous reteamings. Damian Wyane, Amanda Waller, Alfred Pennyworth and Lois Lane fill the gaps, while Commissioner Gordon and Batgirl do what they can to maintain the "peace"; it's always nice to see father and daughter on crime-fighting sprees.

Superman makes an appearance, as well, albeit tricked into taking a stand against his Gotham pal (boo!). On the possible plus side, their clash holds its own with "Batman v Superman'"s fierce finale, even if stationed much earlier in the plot.

I wouldn't put "Hush" in the same avant-garde category as "Gotham by Gaslight" or "Batman Ninja". It's more straightforward than those and more on par with the "Son of Batman" submissions. That still categorizes it as quality entertainment.  

On that note, I believe "Hush'"s content is worthy of a live-action translation. Who knows? With more mega-buck Batman flicks on the horizon, it wouldn't be surprising if "Hush" (or various parts of it) affected them. 

An Alternate Reality: I saw Gotham by Gaslight...

"Gotham by Gaslight" is a new DC/WB animated feature, directed by Sam Liu, produced by Bruce Timm and adapted by Jim Krieg, loosely based on the famous graphic novel of the same name by Brian Augustyn and Mike Mignola (and to a lesser extent, "Master of the Future" by Augustyn and Eduardo Barreto).  

As the title implies, the story places Bruce Wayne/Batman (voiced by Bruce Greenwood) in an alternate past, in 1889 Victorian Age Gotham City to be exact, with the Dark Knight investigating a Jack the Ripper resurgence. 

Selina Kyle (Jennifer Carpenter) plays a significant part in the sinister journey, and there's a swell fight scene between Batman and the Ripper inside a dirigible as it floats over the city. However, the real suspense lies in unmasking of the Ripper's identity.  

And so, who might the fiend be among Batman's many rogues?That's where the story becomes tricky and perhaps for some, jarring, as it takes Augustyn's concept down a different stretch. Even in its revisionist form, one might assume the sadistic culprit to be the Joker, the Scarecrow or Mad Hatter, but in this parallel track, the Ripper turns out to be one of Batman's closest allies. (No, it's not Anthony Head's Alfred, though the butler-did-it angle would have been a wry nod to such tongue-in-cheek referencing.)

Because of the revelation, I can only say, I'm glad this story is relegated to its own alternate-reality/Elseworld landscape, but at the same time, I can't help but get upset whenever good is exposed as bad, even if the revelation surfaces within a sideline niche.

What rescues "Gotham by Gaslight" from its depressing unveiling is its stylish execution. This is one of the best looking, animated Batman films to come down the pike: a wonderfully weird antithesis to those excellent, colorful "Batman '66" sequels, which plays in the lurid style of Hammer Studios (think "Dr. Jekyll and Sister Hyde" meets "Hands of the Ripper" with some nifty steampunk laced in). It also mirrors the "The Killing Joke" and "Mask of the Phantasm" in its pensive pacing.

To enhance the film's brooding mystique, Selina is enormously alluring, with a deep, determined charm that better fits royalty than criminality. Her support of our hero is more defined (therefore, secure) in this story line, but it never impedes upon the detective's proceedings. If anything, Selina is more like a potential Emma Peel than the Catwoman and offers her own brand of Watson-esque, inquiry. Though she doesn't come anywhere near her traditional Gotham guise, for the sake of this particular vision, her reserved position is a benefit, since the story already holds enough eccentric personas, including an exotic-dancing Poison Ivy and a trio of street-thugging Robins.  

On the whole, I must commend this adaptation's ambition. Like its graphic-novel source material, it takes Batman in a unique direction and yet stays faithful to his mythology, regardless of the Victorian decor and of course, the bold reinterpretation of one of his traditional defenders. (For the record, there are additional, old-era/Elsewhere Batman stories in print, and to see animated versions where he teams with Harry Houdini or enters the Civil War would be beyond dandy, though only as long as the translations don't get too cute or daring in their re-interpretive designs. Batman should always be Batman, no matter what the designation.)

"Gotham by Gaslight" is now available via DVD/Blu-ray and pay-per-view.  

Collection Recommendation #11: Batman '66 Meets Wonder Woman '77

An on-screen teaming of Adam West's Batman, Burt Ward's Robin and Lynda Carter's Wonder Woman wouldn't have been so far-fetched a few decades back. A couple of Justice League/DC video-taped team-ups featuring West and Ward had become a reality in the '70s (remember Hanna-Barbera's "Legend of  the Superheroes"?); and "Wonder Woman", like West/Ward's classic series, was known to invite big-name stars to the show and sprinkle it with good-spirited camp. Of course, if the crossover had occurred, it would have likely taken place in "Wonder Woman'"s third (Disco Era) season, though a crafty flashback could have connected the earlier periods. 

For what it's worth, such a crossover has reached fruition, and it even features an intriguing, time-linking prelude. "Batman '66 Meets Wonder Woman '77" is a 6-issue collection now available in one, easy-to-grab, affordable (hardback) volume, but to the chagrin of some, the content may prove as peculiar as it's fulfilling.

In this instance, writers Marc "Bruce Wayne: the Road Home" Andreyko and Jeff "Batman '66 Meets the Man from U.N.C.L.E." Parker give us the more recent Dark Knight adversary, Ra's al Ghul, who rejuvenates himself within the legendary Lazarus Pit to resume his post as League of Shadows guru. Along the way, he faces Bruce Wayne, whom he first met during the crime fighter's youth: circa WWII, when Diana Prince/Wonder Woman just happened to be on hand to rescue the youngster. (BTW: the latter initiates a surprising, new genesis for the Caped Crusader.)

Yes, an interesting concept, which does click for the most part, except the look and texture feels post '90s even when we're in the '40s, '60s and '70s, with characters sometimes appearing in tune with their original stations, yet at other times stepping from out molds that are far too extrapolated.

For example, though Ward's Boy Wonder consumes most of the plot, he's replaced (er, that is, becomes) Nightwing in the story's final phase. Whether Ward is, in fact, supposed to be playing the "matured" crime fighter is anybody's guess, since the depicted costume and height variance thwarts a precise impression. One's imagination is left to decide the matter, though for most of us, the idea of recasting would seem illogical, if not undignified. Clarity (via physical emulation or prevailing verbiage) would have helped. 

Also, though West's Bruce Wayne/Batman is represented by an apt likeness, Carter's Diana Prince/Wonder Woman does seem to fluctuate throughout the adventure (as she does in DC/Dynamite's "Wonder Woman '77 Meets the Bionic Woman": soon to be reviewed). At the same time, there's no mistaking the actress' enchanting glow, even when her physicality is blurred. In fact, the mighty Amazon's placement among the panels becomes the team-up's predominate highlight. 

On the whole, therefore, the artwork of David Hahn (as assisted by Karl Kesel; Bill Williams; Wes Abbot; Alex Ross; and "Madpencil") wavers in its execution, though when it counts, never fails to give the exploits a movie-serial vivacity, no matter what the decade. Fans will also appreciate the parade of supplemental characters who visit the panels: some in significant supporting roles and others relegated to cameos.

On the side of virtue, we find Batgirl (an implied, older Yvonne Craig) and Catwoman (okay, her virtue is debatable): at first represented by a villainous Eartha Kitt, who's then replaced by a Julie Newmar/Lee Meredith variant, acting at one point as the Dynamic Duo's for-appearance-only escort to Paradise Island. There's also a sprightly visit from Deborah Winger's Wonder Girl. 

Alas, as a missed-opportunity, Lyle Waggoner's Steve Trevor comes and goes, with any resemblance to the actor being at best minor. A definitive take would have made the performer's inclusion more ironic, since Waggoner was, after all, West's main competitor to portray Batman.

On the henchmen side, we're offered Ra's Al Ghul's daughter, Talia (both in adult and child form); Cesar Romero's Joker; Frank Gorshin's Riddler; and nondescript (though highly detailed) versions of Mr. Freeze; Killer Croc; Clayface; Copperhead; and Cheetah: a grand group for sure, though again, the modern manifestations often distract from the nostalgic feel. In other words, their appearances within their particular landscapes are welcome, but still present an uncanny-valley awkwardness.

In a similar fashion, the story's sprawling backdrops and intricate interludes seize one's attention with their mythological monsters, assailing warriors and CinemaScope maze, but are otherwise a bit much, contradicting what the original shows could have afforded during their runs. (On second thought, such ingredients could have been featured way-back-when, but would have been nowhere near as lustrous as they're drawn and pigmented within this parallel track.)

Again, such see-sawing forces "Batman Meets Wonder Woman" to stand as something other than its intent, which becomes further punctuated by its slick '70s segment. On the other hand, compared to most current, published superhero sojourns (whether DC or Marvel), the adventure avoids becoming condescending or politically highbrow. In that respect, even if the conceptualization seems more a thing of its own, in heart and soul, it does capture the originals' moral sensibilities: an honorable asset. 

On the whole, there's enough good (even well-crafted cleverness) in "Batman Meets Wonder Woman" to pave the way for more DC/Dynamite decades-hopping experimentation. The ending sure implies a Justice League emergence; so why not tinker with the various crossover potentials? It's always nice, too, to see our old favorites interacting again, if not on the television screen, then at least on the printed page, where (no matter the outcome) an imaginative seed can always take root. 

I saw Batman vs Two-Face...

As far as animated, lighthearted Batman adventures go, "Return of the Caped Crusaders" was the best '16 spawned and far eclipsed the on-its-heels "Lego Batman Movie", which for whatever confounding reason gained a widespread, theatrical release over the former. 

To most fans (young or old alike), "Return" was a joy-beyond-joy experience and as such had big shoes to fill,. So, does the highly anticipated sequel, "Batman vs Two-Face" rise to the occasion? Well, it's not as bold as the first re-entry, but still an honorable companion piece. The thing is, I (and I'm sure many others) expected an adaptation of Harlan Ellison's long-thought "lost episode" as the basis for the film, especially since it was recently adapted as a DC graphic novel. With that not being the case, "Batman vs Two-Face", directed by "Return'"s Rick Morales and written by its writers, Michael Jelenic and James Tucker, becomes (for better or worse) a "lost-and found", movie-length episode of an entirely different kind. 

To its advantage, West and Ward again vocalize Bruce and Dick/Batman and Robin, though there's underlying sadness here, since West passed away only a few months prior. Nevertheless, we do have William Shatner adding to the gaudy glee, portraying Harvey Dent/Two-Face (in a role that some claim West had hoped Clint Eastwood would have played if only filmed in the '60s). Shatner's contrasting tones work well for the character(s), with a signature approach for Dent and a rough, mean one for Two-Face. In animated form, Dent also resembles a '60s version of Shatner: ideal for the nostalgic atmosphere.

In this instance, Dent's transformation comes via a Hugo Strange Jekyll/Hyde lab mishap. In his traditional mode, Two-Face mistakenly goes after Batman (and Robin) to avenge his horrid alteration, but receives a rehabilitative "cure", which initially links to the clever King Tut: a delusional two-face in his own right. Throughout it all, we come face-to-face with a string of familiar personas and on-target voices which enhance the coin-flipping villain's anguished caper. 

There's Julie Newmar reprising her role as Catwoman, joined by movie Catwoman Lee Meriweather as Lucille Diamond, manipulative public defender. Desmond Dumas supplies the voices of Joker, Bookworm and the film's narrator; Wally Wingert that of the Riddler and King Tut; and William Saylers as Penguin. In addition to voicing Strange, Jim Ward costars as Commissioner Gordon; Thomas Lennon as Chief O'Hara; Lynne Marie Stewart as Aunt Harriet; Steven Weber as Alfred Pennyworth and a Two-Face thug, plus we get a special-guest appearance from Sirena Irwin's Dr. Quinzel (Harley Quinn yet-to-be). 

Holy stupendous line-up, indeed! Of course, "Return" offers every bit as much in this regard, which puts "Batman vs Two-Face" at a second-comer disadvantage. What we're basically given in Two-Face's retold reign of crime is a long, cameo cavalcade, accompanied by nods and spoofs of literary duality and a mental twist that puts an envious Robin (as well as all of Gotham) at a hideous disadvantage: clever, but not enough to elevate this sequel over its predecessor. 

Otherwise, in its brightness and throwback staging, "Batman vs Two-Face" makes for a speedy and fulfilling chunk of fun. It could also further paved the way for additional "Batman '66" animated movies, but without West, we can only anticipate an imitator to occupy his spot. That'll work, but if there's anything "Batman vs Two-Face" confirms, it's an official end to a sentimental era, of which West was a most essential part.

("Batman vs Two-Face" is now accessible per any number of home-viewing options and will be available on disc Oct 17.)