The Flash

It’s high time for me to talk about my other favourite DC superhero.

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The Flash
Creators: Greg Berlanti, Geoff Johns, Andrew Kreisberg
Starring: Grant Gustin, Candice Patton, Danielle Panabaker, Carlos Valdes, Tom Cavanagh, etc.
Aired: 2014-Present
Rated TV-PG

The Flash is the second of (currently) four shows that make up the CW’s DC universe, usually dubbed the “Arrowverse.” And it is by far the best. The third season just hit Netflix, but things got started back in Season 1 with 11-year-old Barry Allen witnessing his mother’s death at the hands of a mysterious figure who appears in a bolt of lightning. No one believes his version of the story, so his father is blamed for the murder. Fast forward a decade or so, and Barry’s working as a (ridiculously young) CSI tech in his hometown of Central City. Ever since the incident with his mother, he’s been obsessed with finding proof of the “impossible,” and he gets his wish one night when a particle accelerator at nearby S.T.A.R. Labs explodes, causing him to get struck by SCIENCE!-infused lightning. When he finally wakes up after a nine-month coma, Barry discovers he has super speed. With the help of the team of scientists who were working on the particle accelerator (Harrison Wells, Cisco Ramon, and Caitlin Snow), he learns how to use his powers to become a superhero. Good thing, too, since he’s not the only person who got superpowers in the explosion, and most of the other new “metahumans” in Central City put them to less than altruistic purposes. When he’s not chasing them down, The Flash works to find out what happened to his mother, woo his longtime crush Iris West, and, of course, fight the Big Bad of the season, who usually has similar powers to his own.

So why is this the best of the Arrowverse–and, in my opinion, the best CW show ever? Well, for one thing, out of all the live-action superhero stories I’ve seen, this is the one that best captures the comic book spirit. It makes absolutely no attempt to make its stories more “grounded” or “mature” than their source material, but instead does its best to embrace the wackiness at every opportunity. It’s got colourful costumes, goofy dialogue, giant psychic gorillas, convoluted time travel, parallel universes, and enough technobabble to make Spock’s head spin. There are big crossover events with the other shows in the Arrowverse (which tend to be hit or miss, thanks to those shows’ inferior nature). Every season ends with an epic finale, but along the way there are plenty of light-hearted episodes dealing with the metahuman of the week. There’s even a freaking musical episode!

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And it’s amazing.

That’s the first reason I got hooked on this show: it’s just so darn fun. The action is cool, there’s a good amount of humour sprinkled throughout, and most of the stories are campy and cheesy in the best possible way. What has kept me watching, though, even through some of the show’s less fun episodes, are the characters. Every member of the main cast is extremely likable in their own way. Barry himself is the kind of hero who will stop a bank robbery, give the would-be robber a heartfelt talk about how to change his life, and then re-paint someone’s garage on the way home. All while making awful speed puns. He’s a caring, optimistic hero who tends to inspire people both in- and out-of-universe. Of course, he struggles with his own set of flaws, mainly not thinking things through before doing them (a logical flaw for a speedster), but he usually manages to work through those things and emerge as a better person.

Then there’s the supporting cast: Detective Joe West, Barry’s loving, supportive father figure/Commissioner Gordon figure; Caitlin, the frosty-tempered but warm-hearted S.T.A.R. Labs team medic; Iris, who starts out pretty one-dimensional but eventually grows into a strong woman worthy of the Flash’s affection; and Harrison Wells, who is technically a different character every season because he keeps getting replaced by alternate-universe versions of himself. But whether he’s a wise mentor, a grumpy anti-hero, or the designated comic relief, he’s always entertaining thanks to Tom Cavanagh’s flexible acting skills. My personal favourite character, though, is Cisco. Not just because he’s the biggest nerd in an already nerdy cast (always an endearing trait), but because he is, if possible, even more principled and pure-hearted than Barry. He’s always quick with the jokes and one-liners, but he’s also perfectly capable of saving the day when he needs to. All these characters share a very heartwarming bond of friendship, proving over and over again that they’d do anything to help each other.

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And no wonder. How could you look at Cisco’s adorable face and NOT love him?

With occasional exceptions, the show also tends to have excellent villains. The Big Bads have, so far, always been evil speedsters with personal grudges against Barry, which did feel a tad repetitive by the third season, but each one still manages to be menacing in his own unique way. My least favourite is Season 2’s Zoom, because he got the least amount of characterisation, but even he wasn’t bad. The other two evil speedsters, the Reverse-Flash and Savitar, are equally great in my book. But there are plenty of memorable meta-of-the-week villains, too. The Trickster is the closest thing we’ll ever get to a live-action Mark Hamill Joker, and he even manages to make an epic Star Wars reference. Grodd is the aforementioned psychic gorilla, and while his CGI appearance sometimes leaves a bit to be desired, he’s still plenty intimidating. Then there’s the cool, sarcastic, morally conflicted Captain Cold, whom I love with all my heart, whether he’s fighting for or against Team Flash.

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He’s just a really chill guy.

Of course, while it is a glorious DC comics show, The Flash is also a CW show, and it comes with many of the problems that that implies. There are far too many romantic subplots, and they take up far too much screen time. Lots of conflicts arise because the characters don’t communicate well enough, or make stupid decisions, or just happened to be written by someone who decided they should be arguing that day. The special effects are not exactly cinematic in quality, and neither are all of the supporting actors. But as someone who has watched more CW junk than she’d like to admit, I have to say that those flaws are much less noticeable in this show than in most of its fellows. The romance is annoying, but it never overtakes the main plot. The special effects aren’t perfect, but they’re far from terrible for TV. And some of the conflicts may be unnecessary, but at least they’re usually resolved within an episode or two rather than being dragged out through a whole season, as I’ve seen happen elsewhere.

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I guess you get over your problems quicker when you can run faster than the speed of light.

I’ve heard some people say The Flash has gone downhill with each season. While I can understand why some might think that way–the repetitive story arcs, the more serious tone of Season 2, etc.–I’m not sure I agree. Yes, the first season is probably still my favourite, but that’s mostly because it was my first introduction to The Flash and his universe. Later seasons may have had similar Big Bads, but they also brought in more great characters, more development for existing characters, and, of course, more comic book wackiness. Season 3 also brought a significant change to the show, one that seems like an exceptionally bold move for the CW (though it has plenty of precedent in the comics). Of course, it could all be undone within the first few episodes of Season 4. For now, though, I maintain that The Flash, with all its flaws, is a thoroughly enjoyable show that brings several wonderful superheroes (and supervillains) to life.

If it keeps up this way, I’ll be running back to this show for years to come.

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“Run, Barry, run!”

Grade: A-

P.S. In case anyone was wondering about my opinions on the other shows in the Arrowverse, the short version is: Arrow’s pretty good for the first two seasons, then gradually becomes unwatchable by Season 4; I couldn’t finish the first season of Supergirl because it was preachy, overly political trash; Legends of Tomorrow is good whenever it focuses on characters who were introduced on The Flash.  Also it has Rory Williams playing the Doctor, so there’s that.

Wonder Woman

Today is a happy day, my friends. It is a day that shall live on in history.

We finally have a good female superhero movie.

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Wonder Woman
Director: Patty Jenkins
Writer: Allan Heinberg
Starring: Gal Gadot, Chris Pine
Rated PG-13

Diana is a princess of the Amazons, a race of warrior women created by the Greek gods to protect the world from evil. She’s grown up on the island of Themyscira, which is magically hidden from the rest of the world, and has trained since she was a little girl to be the greatest warrior her civilisation has ever known. She gets her first chance to really use those skills when a man comes to Themyscira: Steve Trevor, a World War I pilot who crash-lands near the island and accidentally brings a bunch of angry Germans after him. When Diana finds out that the entire “world of men” is at war, she believes only one person could be responsible: Ares, the god of war, sworn enemy of the Amazons. But the rest of her people refuse to help, leading our hero to steal some special weapons (including a sword aptly called the Godkiller) and run away with Steve to try and save the world. Tank-flipping and lasso-throwing ensue.

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I am Diana, princess of Themyscira, and I am here to save the DC universe!

Wonder Woman is not the best superhero movie ever made. In fact, this has been such a great year for movies that it’s not even the best superhero movie of 2017 (that would be Logan). But it’s special. I drove for an hour to get to the earliest possible showing, just because I wanted to be there when the most famous superheroine of all time finally got the movie she deserved. I’m a woman, and I love superheroes. I can relate to male heroes when they’re written and acted well, but when all the cool ones are male, it starts to feel like Hollywood writers think fans like me don’t exist. Either that or they think it would be totally implausible for a woman to be a cool hero capable of carrying her own story, and that’s even worse.

And even with all the good early reviews, I was still a little bit nervous about this movie. There are so many ways Wonder Woman could go wrong on the big screen, and with the DCEU’s track record so far, I didn’t have a whole lot of faith they could do her justice. But they did! This movie is everything I could possibly have hoped for, in a female superhero movie, in a Wonder Woman movie specifically, and in a DC movie. I loved it!

But before I gush any further, I will admit that Wonder Woman has some flaws. The biggest one, for me, was the overuse of slow motion. It’s not as bad as it was in the Snyder-directed movies, but it does get to be a bit much during most of the battle scenes. Slow motion is kind of a pet peeve of mine, because unless it’s done exceptionally well, it usually just makes a scene cheesier than it needs to be. Also, as is so often the case with superhero movies these days, the villain in this one is a bit weak. His motivations are vague, and he doesn’t really get much of a personality. He’s played by a good actor who does his best to sell the part, but it’s still pretty forgettable.

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This chick, on the other hand, was successfully creepy.

Also, the movie does take some liberties with Wonder Woman’s origin story, the biggest of which is that she enters “man’s world” during the first world war instead of the second. I kind of wish the writers had kept to the original time period, if only because punching Nazis is the greatest and most time-honoured of superhero traditions. But since the villain is the god of war, I guess it does make sense that he would be around for the War to End All Wars, which ended up sparking most of the major conflicts of the 20th century. And finally, I don’t think the “bookend” scenes at the beginning and end of the film, showing Diana in modern-day Paris, were strictly necessary. But maybe that’s just because I don’t appreciate being reminded that this movie takes place in the same universe as Broodingface vs. Sulkypants.

Now, on to the good stuff! Without a doubt, this movie’s greatest strength is Wonder Woman herself. Gal Gadot absolutely nails the role, bringing an infectious joy to the character alongside tons of physical confidence. There is no moral ambiguity about Diana. She’s a kind, compassionate, brave hero who wants to make the world a better place. Her weakness is that she’s a little too optimistic, wanting to believe that all people are good and would never harm each other unless they were under the influence of an evil god. Naturally, the horrors of World War I prove to be more than a little disillusioning for her, and she ultimately has to decide whether she still wants to fight for humanity, despite all our faults, or just give up on the species altogether. But along the way, we get a bunch of endearing scenes that just show her falling in love with the world: seeing a baby for the first time, or getting introduced to things like snow and ice cream. Her unfamiliarity with the social norms of the 1910s also lead to a lot of comical moments, and, shock of all shocks for a live-action DC character, she actually has a sense of humour herself! She’s a three-dimensional character with a compelling arc, and my word, is she incredible in a fight. I could spend hours just watching the scene where she walks across No Man’s Land in full Wonder Woman attire, deflecting machine gun fire off her bracelets. I think I actually let out an audible squee during that scene.

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“I am no man!”

But Diana isn’t the only great character on display. Steve Trevor is also a lot of fun to watch, as per usual for a Chris Pine character. He, of course, falls love with Wonder Woman over the course of the movie, and their relationship develops in a very natural, believable way, as each of them is shown learning from and inspiring the other. You know, like how a relationship should be. And Steve is every inch the hero his girlfriend is, just without the tank-flipping ability. It would have been easy to make Wonder Woman look good by making Steve weak or “un-masculine” in some way, as has been done so many times in movies about tough action girls. But this movie doesn’t go that route, instead portraying both of them as brave, capable heroes with different strengths and weaknesses. Which, again, is the way it should be! 

They’re joined by lots of colourful side characters, from Steve’s British secretary, Etta Candy, to the ragtag bunch of multicultural soldiers and ex-soldiers he’s friends with. They’re all mostly there for comic relief, but most of them get some good character moments as well. Also…a heroic soldier named Steve, played by a guy named Chris, who leads a band of misfit soldiers during a world war, dates a tough brunette, and crashes a plane into the ocean? This movie is like the alternate universe version of Captain America: First Avenger!

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Like that other Steve, he also looks good in a uniform.

Anyway, leaving aside the fact that it’s about a woman for once, this is simply a great superhero movie. It has awesome fight scenes (apart from the slo-mo), plenty of humour, a dash of ridiculousness, and, most importantly, a hero who is unafraid and unashamed to fight for truth, justice, and human decency. It respects the hero’s roots (even throwing in some nods to specific comic book storylines), but takes her in slightly different directions when it suits the story. It doesn’t try too hard to be “gritty” or “realistic,” but instead just gives us good characters so that we become emotionally invested in their journey. Oh, and Wonder Woman’s theme music remains among the coolest I’ve ever heard in a superhero movie.

Wonder Woman also leaves us with an important message: No one person can solve all the world’s problems, even if that person has superpowers. But everyone, superpowers or not, can choose to do good. And that choice is always worthwhile.

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“I will fight for those who cannot fight for themselves.”

All that to say, superhero movies are no longer a “man’s world,” and I could not be happier, either as a woman or a superhero fan. And as a DC fan, well…this movie actually gives me some hope for the rest of the Justice League movies. All may not be lost for my favourite super-team.

May Wonder Woman be a sign of things to come.

Grade: A for Amazon

Guardians of the Galaxy, Vol. 2

Time for some thrilling heroics–and great ’80s music!

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Guardians of the Galaxy, Vol. 2
Writer and Director: James Gunn
Starring: Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Bradley Cooper, Michael Rooker, Pom Klementieff, etc., etc…
Released: May 5, 2017
Rated PG-13

Fair warning: The following review assumes that you have seen the first Guardians movie. If you haven’t, go and do so immediately.

After a brief flashback to show Peter Quill’s parents together back on Earth, this sequel begins a few months after the first movie left off. Our heroes are now famous for saving the galaxy, so of course they’re using their reputation to make money. They succeed in their latest mission–killing a tentacled space monster that was eating a precious resource on a planet called The Sovereign–but thanks to Rocket’s kleptomaniac tendencies, they still find themselves being pursued by a horde of angry starships. They’re saved in the nick of time by a mysterious figure…who turns out to be Peter’s long-lost father. Space dad says he’s been searching the galaxy for his son, but he’s not the only one on the group’s tail. Nebula’s still out for revenge on Gamora after the events of the last movie. The Sovereign, good at holding grudges, hire Star-Lord’s old band of Ravagers to hunt down the Guardians. Yondu, captain of said Ravagers, has his hands full with mutinous crew members and his own mixed feelings about the Terran kid he raised. And in the midst of the ensuing hijinks, it becomes clear that the galaxy needs saving again.

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Who you gonna call?

 

Guardians of the Galaxy is one of my favourite parts of the MCU, which is saying something. The first movie took an obscure comic that featured a talking tree, and turned it into the rebellious love child of Star Wars and Firefly, with a soundtrack truly deserving of the name “Awesome Mix Vol. 1.” It made me smile a lot. And most of the other Marvel movies that have been released between 2014 and now haven’t been half bad, either. So this sequel had a lot to live up to.

It did not disappoint.

This movie has everything that made me love the original: humour, memorable characters, crazy action, and dancing. But it also ups the ante in a lot of ways, raising the emotional stakes for all the heroes and giving many of them some much-appreciated character development. Baby Groot is adorable, which is no surprise to anyone who saw the trailers. There are lots of laughs, some truly epic action scenes, and a surprisingly emotional climax. Everything feels bigger and brighter than the last time around.

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Except for Groot. He’s smaller.

But before I get into what I really loved about the movie, let me get my few complaints out of the way. As is the nature of sequels, this one doesn’t feel quite as fresh and original as, well, the original. Yes, we have reached a point in pop culture where the sheer novelty of seeing a raccoon and a talking tree save the galaxy in a big summer blockbuster has worn off a bit. What a time to be alive. I also didn’t find this movie quite as funny as the first one–not because there were fewer jokes, but because more of the jokes were a little on the raunchy side, and to me, raunch is not especially funny. Drax would probably say I have “hang-ups,” but whatever. Even if you like that sort of thing, a few of the earlier jokes seem to be reaching a bit. Finally, this movie has FIVE stingers in the end credits, which seems excessive, even by Marvel standards. And some of them didn’t make a lot of sense to me because I know nothing about the original Guardians of the Galaxy comics.

But Vol. 2 has one very important thing that its predecessor, and most of the other Marvel movies so far, lacked: a good villain. Marvel finally did it! They created a villain whose motive makes sense, who poses a genuine threat to our heroes and their universe, who the audience comes to hate for very good reasons, but who is also kind of fun to watch. And I think it’s largely because of the villain that I found this movie even more emotionally satisfying than its predecessor. It felt like something was really at stake when the Guardians teamed up to fight this new threat, and it brought out their heroic sides beautifully.

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“And if you don’t love me now/You will never love me again…”

But I can’t give all the credit to the villain. Like I said, everyone goes through a lot of character development in this story, even some semi-villainous people from the first movie, like Yondu and Nebula. We get to see more of the screwed-up sisterly relationship between Gamora and Nebula, which is something I really wanted in this movie. We get to see Rocket, and the rest of the team to some extent, trying to figure out how to parent Groot, who does indeed act like a particularly troublesome baby for most of the movie. And we get a lot more of Star-Lord’s backstory, including more glimpses of what it was like to be raised by space pirates, and several big revelations about his extra-terrestrial heritage. Family is a major theme throughout the movie. Everyone’s problems seem to be caused by their families in some way, but familial love is also what gets them through most of those problems. And of course, the Guardians themselves are basically a big dysfunctional family, as they openly acknowledge in this movie. They may argue a lot, but when push comes to shove, they’ll do anything for each other. Which leads to some heartwarming moments and some misting of the ol’ eyeballs.

All this does give Vol. 2 a more serious tone than its predecessor, but it doesn’t get rid of the fun. Even in the most emotional, epic moments, we’ve still got Rocket and Star-Lord arguing about tape, Baby Groot being a troll, a big monologue about David Hasselhoff, and a Pac-Man reference. These are still the funny, oddball characters we know and love from the first movie, but now they have just a little more depth to them than before. And personally, I think that’s a good thing.

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“I’m Mary Poppins, y’all!”

We also get a few new characters this time around. Peter’s alien father, Ego, has a layered personality and a complicated relationship with his offspring that adds a lot to the story. But my favourite addition to the cast is Mantis, an empathic alien who can feel what another person is feeling as soon as she touches them, but still manages to be socially awkward. She’s cute and funny, and she strikes up an amazing friendship with Drax that leads to some of the movie’s funniest scenes.

Of course, the movie does indulge in a few of Marvel’s staple cliches, but even they come across as less annoying than usual. Sure, there’s some gratuitous Dairy Queen product placement, but how can I get mad at a movie for promoting the Zune, of all things? Our heroes do face an army of faceless goons a couple times, but at least this time they’re starship drones instead of living things, and the people controlling them are played for laughs. Even the Stan Lee cameo didn’t annoy me this time around–maybe just because he seems to fit in better in the Guardians’ crazy galaxy.

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‘Nuff said.

I might have to watch the movies again once or twice to decide which Guardians movie is my favourite, but I know it’s a close call. They’re both a ton of fun, and this one has a more uplifting message: Appreciate your family, even if they’re not perfect. And listen to more Fleetwood Mac.

Seriously, I forgot how awesome “The Chain” is.

Grade: A

Batman Beyond

I am on a mission to experience every amazing TV show and movie that the DC Animated Universe has to offer. And the next stop on that journey is Batman Beyond.

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Batman Beyond
Writers and Directors: Loads, but mainly Butch Lukic, Dan Riba, Alan Burnett and Paul Dini
Starring: Will Friedle and Kevin Conroy
Aired: 1999-2001

Batman Beyond is the sequel series to Batman: The Animated Series, taking place in the same continuity. It starts off many years after Batman’s last chronological appearance in Justice League Unlimited, with a prologue that shows his decision to hang up the cowl after his failing health forces him to pick up a gun to defend himself. Twenty years later, Gotham is as crime-ridden as ever, and Bruce Wayne is a recluse with only his guard dog for company–until he runs into a teenager named Terry McGinnis, who stumbles upon the Batcave. At first Terry agrees to keep the secret to himself. But when his father is murdered for knowing too much about the dealings of a corrupt CEO, he decides to steal the Bat-suit (which has received a few upgrades over the years) and bring the killers to justice. Bruce isn’t happy about this at first, but once he sees Terry in action and understands his intentions, he agrees to teach him the ways of crimefighting. The rest of the show follows Terry’s adventures as the new Batman, battling foes that range from a gang of teenage Joker wannabes to the radioactive supervillain Blight, all while trying to keep his grades up. He occasionally clashes with Police Commissioner Barbara Gordon, picks up a part-time sidekick named Max, and is constantly guided by Bruce’s expert, if grumpy, advice.

This is actually the last major show in the DCAU that I watched, and not just because it’s a little harder to find than any of the others. I was honestly pretty reluctant to try out a show about a Batman who wasn’t Bruce Wayne or even any other member of the established Bat-family. How could some random kid from the future ever hope to be worthy of the name?

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And one with an emo haircut at that!

Well, as it turns out…he kind of is. Terry’s a compelling character in his own right, with a sarcastic sense of humour, a bit of a rebellious streak, and the same upright morals and compassion that helped make the original Batman great. And since the we never really got an origin story for the Dark Knight in this universe (except for the flashbacks in Mask of the Phantasm), it’s nice to be able to watch someone becoming Batman. Terry starts out as a hotheaded kid with a super suit and some natural athletic ability, but over the course of the show, he gradually becomes a better detective and fighter until he’s almost at the level of his mentor. Note that I said almost. Thankfully, said mentor is still a major character who appears in almost every episode. Even though he’s no longer the protagonist, Bruce has lost none of his awesomeness with age, and he delivers some of the show’s best lines and coolest scenes.

One of my favourite things about B:TAS was its dark, noir-style atmosphere. Atmosphere is also one of Beyond‘s biggest strengths, but this show ditches the noir in favour of cyberpunk. We’ve got flying cars (including the Batmobile!), super-advanced robots, futuristic slang, gene splicing as a fashion trend, and a city-scape that could have been ripped straight from Blade Runner. I love it. Not only does it provide a cool backdrop for the action, this setting also allows the writers to explore neat sci-fi concepts like artificial intelligence, instant gratification technology, the morals of messing with DNA, and dangers like nuclear waste and pollution.

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Gotham’s a lot…shinier, these days.

The funny thing about this show is that, from what I can find on the Internet, it seems to have been conceived as a way to get younger kids into Batman–thus the idea of making him a high school kid. But in addition to having just as much nuanced, mature writing as its predecessor, it’s actually far less child-friendly. It features lots of gruesome deaths that occur just off-screen, more brutal violence in general, and lots and lots of drug metaphors. Unlike in B:TAS, drugs are never mentioned by name (isn’t it weird how censorship changes over time?) but several episodes show the consequences of addiction in rather graphic detail by inventing sci-fi substitutes for real illicit substances. Many of the villains are still tragic, but this show really drives home the fact that “tragic” isn’t always the same thing as “sympathetic.” Beyond villains have a tendency to act like they could be redeemed, up until the last second when you realise that they were either faking those good impulses or they’re just much too far gone.

When you come down to it, this show is good for the same reason that B:TAS and every other show in the DCAU is good. It’s smartly written, constantly going beyond (heh) the basic superhero premise of “good guy fights bad guys” to explore deeper questions about what makes a hero and a villain. The voice acting is top-notch as always, as is the animation. And the theme song…well, like the one for B:TAS, it does a great job of establishing the story and the universe where it takes place in just a few seconds. And in the words of Terry, it’s “unbearably cool.” Take a look-see:

My problems with this series can basically be boiled down to three. 1) It establishes that Bruce and Barbara Gordon were in a relationship at one point. If I were to list all the reasons I think that pairing is sick and wrong, it would take up the rest of this review. I will never understand why cartoon writers are so obsessed with making it a thing. So in my mind, it never happened, and Barbara is just losing her memory in her old age. 2) Speaking of relationships, this show focuses on Terry’s just a wee bit more than I would like. One of the many things I love about the original Batman is that he never had a steady girlfriend who knew him as Bruce Wayne, so he never had to do what I call the “secret identity dance,” where the hero constantly has to make excuses to a love interest about why they’re sneaking out every night. Terry does a lot of that, and it’s rather dull as conflicts go. His girlfriend, Dana, is also rather dull. 3) I wish the show could have done more with Blight. He’s something of an archnemesis to Terry in the first season, and an effective one, but he just kind of disappears after that. Seems like a bit of a waste to me.

But those are minor issues, in the grand scheme of things. For the most part, this is an excellent show that lives up to its predecessor in almost every way.

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“Very good then, Mr. McGinnis. Welcome to my world.”

A note on formatting: In the version of the show that I watched (which I streamed from Amazon), several of the episodes are listed out of order. They’re self-contained enough that it’s not usually a big deal, but once in a while a character will mention something from a previous episode that you won’t get if you’re watching in the Amazon order. Also, like B:TAS, this show never got a proper finale during its own run, but it does have a movie (Batman Beyond: Return of the Joker) and its storyline gets wrapped up for good in an episode of Justice League Unlimited called “Epilogue.”

Whatever order you watch it in, I highly recommend this show, especially for fans of the original Batman series.

Grade: A

Iron Fist

Everyone’s favourite superhero team-up is back. That’s right: Marvel and Netflix made another show!

Iron Fist begins with Danny Rand returning to New York City after being presumed dead, along with his billionaire parents, in a plane crash that happened 15 years ago. But he’s really spent the last 15 years learning kung fu in the mystical land of K’un-Lun, which exists in another dimension, and now that he’s skilled enough to channel the Iron Fist, a magical punching power, he’s come back to try and make his home city a better place. So he’s basically Bruce Wayne if he were a hippie. Or Oliver Queen if he sucked less, or Stephen Strange if he were more into punching…you get the idea. This isn’t the most original show ever.

But the Meacham family, who have taken over Danny’s company, have other plans for the Iron Fist, as does the Hand, that ninja army that invaded New York in Daredevil season 2. With the help of a few fellow martial arts practitioners, Danny spends his first season trying to take down the Hand, avoid the Meachams’ schemes, and figure out what he’s meant to do with his powers.

You know, besides punch drug dealers. That’s a given.

This is the first Marvel/Netflix show to get panned by critics, and it’s not too hard to see why. First of all, a lot of people were biased against it before it even came out because, as mentioned above, it’s yet another story about a rich white guy who goes to a vaguely Asian place, learns kung fu, and ends up being better at it than any of the Asian people who taught him. It’s an old, old story with a ton of racial baggage, and it’s taken directly from the comics. So I’m not sure there was a way to avoid it in an Iron Fist adaptation. But it certainly won’t make anyone happy who was hoping for a more socially progressive Netflix show.

Even if you can overlook the problematic premise, this show has some pretty glaring flaws. For the most part, they’re flaws that the other Defenders shows have also struggled with. For example, just like Luke Cage, and Jessica Jones to some extent, this series is very badly paced. Hardly anything happens for the first three or four episodes, although things do pick up quite a bit once Claire Temple (my queen!) shows up and the Hand formally challenges Danny.

Colleen Wing’s awesomeness doesn’t hurt, either.

In my review of Luke Cage, I said I would have liked the show better if it were  a few episodes shorter, but I think Iron Fist has a different problem. I don’t wish it were shorter. I just wish the first few episodes had taken place, not in the white-collar offices of New York City, but in K’un-Lun, to show Danny training, develop his worldview and relationships with his fellow warriors, and, I dunno, maybe show the part where he got his powers from punching a freaking dragon! How do you give your character a backstory like that and not show it onscreen?  I can guarantee you, my opinion of this show would have gone way up if it had opened with our hero fighting a dragon.

What is the point of wearing your dragon-punching clothes if you’re not going to punch a dragon? Answer me that!

Speaking of our hero, I’m not a huge fan of Danny as a character. Finn Jones does a decent job playing him, and he comes across as a likeable guy with an appealing sort of innocence to him, but I just don’t buy him as a legendary kung fu warrior. Maybe it’s because he looks so much like a 20-something guy you’d see hanging around a pot shop in a Rocky Mountain tourist town, or the straight-faced bits of fortune cookie wisdom he’s always spewing, but I just have a hard time believing that anyone would be intimidated by this guy. It doesn’t help that most of his fight scenes leave a lot to be desired, especially compared to the ones in Daredevil. Overall, I found the Iron Fist to be the least interesting character in his own show. The side characters are a different story, which I’ll get to in a minute.

But all that being said, I think some people are being a little too hard on this show. It has its weaknesses, for sure, but it also has some notable strengths. Besides the pacing, one thing that disappointed me about Luke Cage was its lack of good villains. Iron Fist, thankfully, does not have that problem. The Big Bad of the season is Madame Gao, who has always been the most intimidating Defenders villain, and she hasn’t lost any of her old menace. The delightfully dysfunctional Meacham family brings a stronger inter-villain dynamic than I’ve seen since the first season of Daredevil, and the father, Harold Meacham, is a special kind of creepy. (Although that might just be because it’s so surreal to watch Faramir being a horrible father.) Even the minor Hand members Danny fights tend to be pretty memorable, especially the guy who nearly beats him while drunk and uses his liquor bottles as weapons. I kind of want a show about that guy now.

Apparently this delightful actor auditioned to play Iron Fist, before Finn Jones was cast. Hmm. Awkward.

The other “good” characters are just as interesting. Of course we have Claire Temple in all of her usual awesomeness, and she even gets to do a little fighting this time around, which is great. But I was also surprised by how much I liked Danny’s love interest, Colleen Wing. She’s a kind-hearted lady with a passion for teaching, who lives by a code of honour but still has some dark secrets up her sleeve. Plus she fights with a katana, and I have a major soft spot for katanas. Jessica Henwick does a great job playing her, and honestly I felt a lot more invested in her story arc than Danny’s.

All in all, I think this is a decent show that could have been a lot better. It’s got some great characters, some decent story ideas, and a few cool fight scenes. But this is the last stand-alone series before the Defenders team up, and it just doesn’t feel like it had as much effort put into it as its predecessors. The lead character is kinda bland, the action isn’t nearly as cool as it should be, and a lot of time that should have been spent on the awesome, over-the-top wuxia scenes you’d expect from a show like this is instead spent on corporate politics and pointless subplots. While it never sinks to the level of, say, Arrow, it never really rises above the unfortunate premise it shares with that show, either.

“My name is Danny Rand. After 15 years in heaven, I have come home with only one goal: to save my city.”

I just hope the actual Defenders show is better than this. Or that Daredevil season 3 and the Punisher series come out soon. Now that I’m thinking about it, one mediocre show out of a potential six isn’t really that bad. I’m not writing off the Marvel/Netflix team-up just yet.

Grade: C+

Batman: The Animated Series

Holy awesomeness, Batman!

Image result for batman the animated series

If you’ve been reading this blog for any time at all,  you know I love all things related to the Dark Knight. So it may come as a surprise that, until recently, I had never watched Batman: The Animated Series, which is considered by many to be the definitive portrayal of the character (outside the comics, at least). It was just a matter of being born too late, I guess. I wasn’t even old enough for Sesame Street when this show first aired, and by the time I started caring about superheroes, I thought I had outgrown cartoons in general. (Yeah…there was a time in my life when I actually thought I was mature and dignified. Fortunately, it was just a phase.)

So it wasn’t until recently that I finally decided to track down this 25-year-old cartoon series and see what all the fuss was about. I was not disappointed.

For those who haven’t seen it (I know you exist!), the show’s premise is pretty self-explanatory. It’s four seasons of self-contained episodes about Batman fighting the villain of the week and occasionally teaming up with Robin, Batgirl or another sidekick. No complicated story arcs, just a simple, kid-friendly show. And it’s the most consistently intelligent, fun and all-around awesome superhero show I’ve ever seen. Why do I love it so much? Let me count the ways:

A silent guardian. A watchful protector. A dark knight.

The intro. From the minute the WB symbol turned into a pair of headlamps from a police zeppelin (I love that Gotham has police zeppelins, by the way), I knew I was in for something special. The grand, sweeping music and the dark, noir-style animation establish the show’s atmosphere perfectly. And the image of Batman standing on a skyscraper with lightning flashing behind him is just so iconic. It’s everything you need to know about him packed into a few seconds.

The music. Did I mention that yet? This is one of the few cartoons ever to get a fully-orchestrated soundtrack, and it makes me wonder how modern cartoons can stand to settle for less. Here, the music makes everything seem so much bigger than you expect on your average kids’ show. It always hits the right emotions, making the villains creepier, the action more urgent, and Batman more triumphantly awesome. Apologies to Hans Zimmer, but there’s just no music that captures the essence of Batman better than that soaring brass anthem. And there’s one more thing that makes this soundtrack special: unlike 99 percent of all mainstream movie and TV scores, it was primarily composed by a woman. I’m adding Shirley Walker to my list of inspiring female artists.

His laugh is a trifle more…contagious than other versions.

The voice acting. Obviously, I’m mainly talking about Kevin Conroy and Mark Hamill here. But really, all the acting is top-notch in this show. The only recurring voice that I didn’t love was the first Robin–he seemed a little too whiny to me. But even he got better by the end of the series (because NIGHTWING!) and everyone else, even minor one-off characters, seemed perfect. But Conroy and Hamill stand out because they manage to take two characters (Batman and the Joker, respectively) that have been interpreted and re-interpreted hundreds of times, and own them so thoroughly that even someone who was raised on the Nolan movies like me can still look at a comic and automatically read it in their voices. I like all the live-action Batmen I’ve seen, but I didn’t understand how truly, terrifyingly awesome the character could be until I watched the episode “Nothing to Fear” and heard the immortal line, “I am vengeance. I am the night! I am Batman!” for the first time. I don’t think anyone else could make that line send chills down my spine the way Conroy did. And as for Mark Hamill’s Joker…well, let’s just say not many actors can be genuinely hilarious and genuinely scary at the exact same time. Mark Hamill can.

“Puddin’, you really put the ‘fun’ in funeral.”

The tragedy. Here’s what really sets this show apart from other superhero works, and even other DC cartoons (which are all excellent, by the way). A lot of writers seem to focus almost exclusively on Batman’s hunger for justice and desire to punish wrongdoers. That’s certainly an important part of his character, but B:TAS focuses on what I think is an even more important part: his desire to save people. And when I say “people,” I mean everyone who’s in danger in his city, including the villains. That’s where the tragedy comes in. Keep in mind that this is a show where no one ever dies–at least not on screen. The bad guys’ evil plans always fail, good always prevails, and everything stays PG along the way. But it still manages to create some of the most heartbreaking stories I’ve ever see on TV, and it’s largely thanks to the villains. With the exception of the Joker, almost every recurring villain on this show will make you feel sorry for them at some point. Most of them start out relatively normal and are driven to do terrible things by a combination of mental illness and traumatic circumstances. And Batman often goes out of his way, not only to avoid killing them, but to try and help them heal from whatever it was that turned them into monsters. After all, he’s pretty messed up in the head too, so he understands where a lot of Gotham’s costumed criminals are coming from. But while he may be able to save the innocent citizens of Gotham from the villains, he’s never able to save the villains from themselves. And it’s very clear that he finds it difficult to forgive himself for that. If you’ve ever had a loved one who struggled with mental illness, or just went down a wrong path in life, there are some episodes in this show that will feel like a punch to the gut.

I DARE you to watch this scene with dry eyes.

Don’t get me wrong–there are plenty of funny, light-hearted episodes, along with some truly heartwarming moments. But for some reason, I admire a kids’ show more for making me teary than for making me laugh. Maybe just because it’s rarer. And the intelligent, understated way this show approaches such heavy subject matter as grief, mental illness and domestic abuse is a step beyond anything I’ve ever seen in a kids’ show. Or most adult shows, for that matter. It keeps things child-friendly, but never becomes childish. Like all great kids’ entertainment, it can be enjoyed by people of all ages, at the same time, for different reasons.

And no matter what age you are, this car is awesome.

Of course, it has the occasional dud episode. And I’m not a huge fan of the different animation style in the fourth season. But for the most part, B:TAS is everything I’ve ever wanted from a Batman story and more. And it even has a movie! Batman: Mask of the Phantasm, which is just as well-made as the show (actually more so, since it had a bigger budget), but is a little more consciously aimed at adults. Then there’s the spinoff shows, the crossovers, etc…Point is, everything about this series is fantastic and wonderful, and I just wish I had watched it sooner.

Grade: A+

P.S. Here are my very favourite episodes, for the curious:

Nothing to Fear (only because of that one Batman line)
Heart of Ice
Joker’s Favor
Appointment in Crime Alley
Perchance to Dream
Almost Got ‘Im
The Man Who Killed Batman
Baby-Doll (this is my number one favourite, but we’re going in chronological order here)
Harley’s Holiday
Never Fear
Legends of the Dark Knight
Mad Love

Logan

Well, this year’s round of superhero movies is off to a fantastic start. First it gave us the first good Batman movie in years, and now it’s given us the first good Wolverine movie…ever.

Image result for logan movie

Logan takes place in 2029, a time when semi trucks drive themselves and robots have taken over the farming business, but other than that, not much has changed. Except that the X-Men are gone and mutants in general are all but extinct. Wolverine (who prefers to go by his dog tag name now) is eking out a living as a limo driver on the Mexican border, while caring for an increasingly senile Charles. While the former Professor X’s mind is wearing out, so is Logan’s body, thanks to a mysteriously reduced healing factor. Life seems pretty pointless and grim for the former hero, until one day a woman shows up begging for his help to transport a little girl to a place called “Eden” in Canada. He quickly learns that this is no ordinary little girl–she’s a genetically engineered mutant with a posse of evil scientists and cybernetically enhanced soldiers after her…and she’s got a very familiar-looking set of claws. Though reluctant at first, Logan eventually agrees to help Laura (also known as X-23), and so he, Charles, and the girl set off on the bloodiest road trip since Mad Max.

The X-Men movies have always been pretty hit-or-miss. For every X2, there’s been an Origins: Wolverine. For every First Class, we got a Last Stand. One movie would have interesting characters and fun action, and the next would have…none of that. And the franchise hasn’t had a coherent continuity in years. But I think I can say with confidence that Logan is not only the best X-Men movie thus far, but probably the best one we’re ever going to get.

To be fair, I’m sure plenty of real X-Men comic books included dinosaurs.

One slightly odd thing about it is that, not only does it establish that X-Men comics exist in this universe, but one of them is even a major plot point. This gives Logan a chance to say what he thinks about comic books: “Maybe a quarter of it happened, and not like this,” he rants at one point. “In real life, people die.”

Normally that’d sound rich coming from any of the X-Men, especially Wolverine, but in this movie, it feels very appropriate. This movie is all about mortality–and by that, I don’t just mean that lots of people die in it. Although they do. But even when you take away all the gory death, most of the story is just Logan and Charles dealing with how much it sucks to get old. Wolverine, once the most battle-hardened, invincible warrior in his universe, needs reading glasses and ibuprofen. Professor X, who used to be able to see the minds of everyone on the planet at once, barely knows who he is anymore. Their reactions to being brought down by time this way range from comic to tragic, and they’re relatable and honest in a way very few action movies, and certainly no X-Men movies, have ever shown us. After all, in real life, people do die, no matter how strong or smart they were to begin with, and they don’t come back the next time the writers feel like making a few more bucks. So as you get older, how do you respond to that knowledge? How do you go out with style, and how do you leave behind a legacy worth remembering? Those are the questions this movie asks. They’re a heck of a lot better than, “Do you know what happens to a toad when it’s struck by lightning?”

One possible answer to those questions goes as follows: you pass the torch to a younger person. Which brings us to the fantastic ball of awesomeness known as Laura.

Here’s one child you don’t send to her room after a tantrum.

This kid is incredible. She may be 11 years old, but that doesn’t mean she can’t match Wolverine in both fighting skills and pure ferocity. And when the two of them fight side-by-side, it’s something to behold. Movies and TV have brought us a lot of tiny warriors over the years, but Laura still manages to establish herself as something unique. Unlike, say, Eleven from Stranger Things, you never get the sense that she’s vulnerable, even though, just like Eleven, she was raised in a lab as part of a science experiment. She always seems like she can take care of herself, and, if anything, it’s the rest of the world that needs to be protected from her. Like Charles says, she’s “very much like [Wolverine].” And over the course of the movie, the two of them form a sort of dysfunctional father-daughter relationship that eventually blossoms into something more meaningful. Wolverine, once the definition of a savage killing machine himself, now has to teach this girl how to be more human. It’s kind of a touching story, and is portrayed with a lot of subtlety and grace. If anyone’s worthy of taking up the Wolverine mantle after Hugh Jackman gives up the vein-popping business, it’s Laura.

I also have to give credit to Laura’s actor, Dafne Keen, who had never appeared in a theatrical movie before this one. She pulls off such a wide range of emotions, often with no dialogue, that her acting even looks impressive next to Hugh Jackman. Plus, I have a deep respect (and envy) for all people who are bilingual. Curse my stupid American brain!

Yes, Old Man Charles. You are right to judge.

I can’t believe this is still an issue nine years after The Dark Knight came out, but I saw a lot of under-12-year-olds in the theatre where I saw this, so I’ll say it again: just because it’s a superhero movie, that doesn’t mean it’s for kids. Children should be kept as far away from this movie as possible. It’s incredibly gory, laden with swearing, and just all-around dark and gloomy. But as long as people realise who its target audience is (you’d think the rating would be a clue), I don’t think that’s necessarily a bad thing. When Deadpool first became a mega-hit, I was a little worried about the inevitable wave of R-rated superhero movies that would follow it. What if the directors of future Avengers, Superman, or–heaven forbid–Spider-Man movies took Deadpool‘s success as a free pass to fill their stories with gratuitous violence, profanity, and sex? But Wolverine has always felt like an R-rated character stuck in a PG-13 world. He’s supposed to be a half-crazy berserker whose weapon of choice is a set of huge metal claws, and yet in previous X-Men movies, he was always stuck in fights that were barely allowed to show blood. This movie gives him a chance to bloody those claws, and I feel like we’re seeing for the first time what this character was always supposed to be like.

He’s the best at what he does. And what he does isn’t very nice.

Not that some of the R-rated stuff doesn’t feel a little unnecessary. For example, I can understand Wolverine and the bad guys cussing like sailors, but Charles? Really? There’s also a flash of pointless nudity early on that feels like it was thrown in just because the filmmakers knew they could get away with it. On the other hand, this is the first Wolverine-centric movie in a while that hasn’t felt the need to show off Hugh Jackman’s backside, so you have to respect that.

Both Hugh and Sir Patrick Stewart have made it clear this will probably be their last X-Men film, which is sad, but I don’t think they could have ended on a higher note. Aside from the minor issues mentioned above, pretty much everything about this movie works. The acting is top-notch, as one would expect. The story is as subtle and thought-provoking as the action is intense and visceral. The cinematography, the music, the dusty desert landscapes where most of the film was shot…it all works together to create a great backdrop to a truly beautiful, tragic story. And the Johnny Cash song during the credits is just the icing on the cake.

Somehow, I think the Man in Black would approve of how his music is used in this movie.

Despite the film’s “in real life, people die” theme, I think should mention that it doesn’t ever feel like it’s actually dissing comic books. That X-Men comic I mentioned earlier actually becomes something of a symbol of hope by the end of the movie, showing that people–especially children–need happy stories in their lives. But this is the rare comic book movie that shows life more as what it is, than what we’d like it to be. And once in a while, you need that kind of story, too.

Grade: A