REVIEW: BATMAN VS. TWO-FACE

CAST (VOICES)

Adam West (Family Guy)
Burt Ward (Futurama)
William Shatner (Star Trek: TOS)
Julie Newmar (Return To The Batcave)
Steven Weber (2 Broke Girls)
Jim Ward (Ultimate Avengers)
Thomas Lennon (17 Again)
Lynne Marie Stewart (Pee-Wee’s Big Adventure)
Jeff Bergman (The Cleveland Show)
Wally Wingert (The Ant Bully)
William Salyers (Pandora’s Clock)
Sirena Irwin (Justice League: Throne of Atlantis)
Maurice LaMarche (Futurama)
Lee Meriwether (The Munsters Today)

Batman and Robin are invited to a top-secret demonstration hosted by Professor Hugo Strange and his assistant Dr. Harleen Quinzel, that may eventually change the future of Gotham forever. Along the way, Batman takes a stop at Gotham State Penitentiary to visit Catwoman (whose suicide attempt from the first movie somehow failed) to give her a book on poetry by Elizabeth Barret Browning; something to keep her occupied for the next 36 months of her life until she is let out of prison for good. At the laboratory, they meet district attorney and Bruce Wayne’s ally in the war against crime, Harvey Dent, who is famous for having stopped a coin counterfeit, keeping a two faced quarter as a souvenir from the case.Batman-vs-Two-Face-previewHugo Strange believes that good and evil are all but one-sided and has created an “Evil Extractor” to which the volunteering criminals, Joker, Penguin, Riddler, Egghead and Mr. Freeze, will be purified of their corruption. Batman bluffs it off, saying that there are no easy fixes to the straight and narrow path, but Strange conducts his experiment anyway, despite the fact that it will make the jobs of Batman, Robin and Harvey obsolete. All goes well until the Joker entices his compadres to overload the machine. Noticing this, Professor Strange orders Dr. Quinzel to shut it down…but is too late, and Harvey (as opposed to acid from the comic book mythos) is horribly scarred by the explosion of the containment vat, with Batman being successful in saving the right side of his face.2Harvey, now re-christened Two Face, goes on a crime spree as seen in the opening credits, all of which his attempts are foiled by the Dynamic Duo. He is eventually whisked to a hospital where his face has been given reconstructive surgery. His sanity has apparently been restored as well. Now returning to his old job (as the assistant to the assistant district attorney), Harvey spends the next six months in charge of his own fate, but at the same time, King Tut and his henchmen have been robbing an biplane while at Wayne Manor, Aunt Harriet is getting ready for a soiree in Bruce and Dick’s place while they investigate the crime as Batman and Robin. After implying comparisons between King Tut and Two Face, Batman and Robin return to the Batcave where they realize that a double decker bus company are planning to hold the millionaires, including Alfred and Aunt Harriet, hostage. They arrive on the bus via Batmobile and fight Tut and the Tutlings while Alfred escorts the patrons to safety. Unfortunately, the Dynamic Duo are subdued by a pair of twin snakes with knockout venom.4In an urn trap as seen in King Tut’s debut episode, Batman and Robin are to be entombed in the foundations of the Pyramid Towers that are soon to be erected above the digging spot where they are trapped. Cement pours over them and when it appears as though they are doomed, they press the back of their soles against the sides of the jars, triggering the Batjets. They fly to confront King Tut in one final battle and a brick restores his memory. As they take him away, a pair of twins seize the jewels that were stolen by the Tutlings. Batman, Robin, Commissioner Gordon and Chief O’Hara interrogate King Tut as Harvey waits in the shadows, with O’Hara constantly hitting Tut on the head with his baton. Lucille Diamond, the king’s defendant, intervenes and ushers them out of the room so that she can speak to him. At Tut’s trial, she implicates that the concussion is nothing more than a threat to a mild-mannered man. Chief O’Hara tearfully confesses to hitting Tut and Harvey calls Batman as his next witness, but Professor Mackel Roy himself admits his guilt, ready to suffer the minimum penalty of being rehabilitated in prison. After the sentencing, Harvey shares a highball with Bruce Wayne, much to Dick’s annoyance at bearing the hardships of a third wheel.3Harvey is then due to a attend a charity for underprivileged twins at the Winning Pair casino just as Bruce and Dick resume their identities as Batman and Robin once more. A package has arrived at Commissioner Gordon’s office, a World Atlas book marked for Batman…with its pages eaten away in three holes. Robin surmises the culprit to be Bookworm and the duo race off in the Batmobile to find him at the Gotham City Library where a fight ensues and the three priceless books that Bookworm had his eyes on have disappeared. Batman and Robin deduce that the stolen books were all about duality, but Two Face has already been reformed and try to find another way behind it. Regardless, they head to an abandoned sign factory with Two Face and the twins waiting for them. After defeating the twins, Two Face pins them with a large number two and the flip of his coin landing on the right side spares their lives. Once they have left, Batman believes that Harvey has made a lot of enemies in his career and they are all out to destroy it. Harvey, meanwhile is having some problems of his own after he makes a phone call to… Two Face, who kidnaps Professor Strange as part of their scheme.004a2326Robin is punished to his room by Batman after nearly getting into a row about Harvey’s involvement in Two Face’s plans and Catwoman, who by now has been stood up, escapes the pen by switching places with Lucilee Diamond. Following Harvey to the laboratory, Robin is ambushed by Two Face and Professor Strange corrupts him with the same gas of the extractor that mutates the left side of his body. Batman is forced to fight his beloved sidekick and cures him back at the Batcave, following Two Face to the casino where he is in fact revealed to be Dent, having suppressed his bad side (á la Dr Jekyll and Mr. Hyde). Once the Dynamic Duo are strapped to a large silver dollar, he unmasks Batman and deduces Robin’s true identity, then Two Face invites the Joker, Penguin, Riddler, Mr. Freeze, Egghead, Shame, Clock King and Catwoman to an auction for the highest bidder of Batman’s true identity. With Catwoman’s help, Batman and Robin defeat the villains, but Two Face gets away on the biplane stolen by King Tut, intending to use the evil gas to remake Gotham City in his image. The Dynamic Duo manage to shoot him down towards a flaming factory where Batman goes one on one with Two Face having completely taking over Harvey’s body. In a battle of wits, Batman urges Harvey to regain self control and he does, defeating Two Face for good as they escape the factory.batman-vs-two-face-trailerThe next morning, Batman and Robin use the Batwing to cure the infected Gothamites and return that night to Wayne Manor where Harvey holds an auction for a bachelor party. Batman appears before everyone, and to his delight, ends up having the first person to bid for him being none other than Catwoman. In the post credits there is a memoriam for Adam West, who portrayed Batman. It also stated “Rest Well, Bright Knight”.1In the hearts of some, maybe even all, Batman fans, Adam West will always hold a cherished place. Batman Vs. Two-Face doesn’t satirize like its predecessor, but fully embraces the original series’ campiness, with one concession: the inclusion of a villain considered too dark and gritty for the series at the time. According to legend, Clint Eastwood was all set to take on the role of Two-Face before studio execs thought he’d scare off young viewers and put the kibosh on it. Always leave ’em wanting more. It’s sad for me to think of what might have been. If only someone had the brilliant idea of bringing Adam West and Burt Ward in to revisit the classic series in animated form earlier, we may have been able to witness the two squaring off against Poison Ivy or Scarecrow or Harley Quinn. But, as it is, this is as good of a send off as our Bright Knight could ever have asked for.

REVIEW: BATMAN: RETURN OF THE CAPED CRUSADERS

CAST (VOICES)

Adam West (Family Guy)
Burt Ward (Return To The Batcave)
Julie Newmar (Star Trek)
Jeff Bergman (Gremlins 2)
Wally Wingert (American Dad)
William Salyers (Judging Amy)
Steven Weber (2 Broke Girls)
Jim Ward (Ben 10)
Thomas Lennon (Balls of Fury)

The official plot synopsis reads as follows, “It’s back to the 1960s as Batman and Robin spring into action when Gotham City is threatened by a quartet of Batman’s most fiendish foes – Penguin, The Joker, Riddler and Catwoman. This time, the four super-villains have combined their wicked talents to hatch a plot so nefarious that the Dynamic Duo will need to go to outer space (and back) to foil their arch enemies and restore order in Gotham City.

What a dose of Nostalgia. The opening credits incorporated many classic comic book covers with some fantastic animation. I could not stop watching. Fascinating, funny, festive, friendly, and very alliterative, the actors, writers, and animators knocked this out of the park.

I was thoroughly amused throughout. None of the dozens of punchlines are particularly surprising, but they are all fun, and many of them require the set-up, animation, and acting to be meaningful.

The movie does get a bit dark. In one particular scene, Robin is horrified by a punch that doesn’t follow Marquess of Queensberry rules. Robin’s reaction to that punch and subsequent actions keep the movie grounded and friendly. I have to give special acclaim for Burt Ward, here — his exuberance and delivery hasn’t changed an iota.

Does the movie get some things wrong? Like the Joker’s hidden mustache? Yes and perhaps. There are dozens of things that are not quite like the 60’s show, and hundreds of things that are spot-on perfect. I don’t recall hearing the Riddler’s music cue, but the Batman theme is incorporated well in many places. The producers have already mention that some of the “mistakes” are intentional, such as the colors of Robin’s logo being flipped in a throwaway shot, an homage to mistakes in previous animations. I will be watching this many times.

The sequel has already been announced, with William Shatner as Two- Face.This is the most enjoyable movie I’ve seen in years. Highly recommended.

REVIEW: RETURN TO THE BATCAVE

CAST

Adam west (Family Guy)
Burt Ward (The New Adventures of Batman)
Frank Gorshin (Star Trek)
Julie Newmar (My Living Doll)
Jack Brewer (Clueless TV)
Jason Marsden (Full House)
Lyle Waggoner (Wonder Woman)
Lee Meriwether (The Munsters Today)
Betty White (Th Golden Girls)
Amy Acker (The Cabin In The Woods)
Curtis Armstrong (New Girl)
Brett Rickaby (The Crazies)
Julia Rose (Something’s Gotta Give)
Erin Carufel (Untraceable)
Jim Jansen (Death Becomes Her)
Andy Umberger (Angel)
Joel Swetow (The orvilel)
Nikki Ziering (American Pie 3)
Ivar Brogger (Andromeda)
Carl Ciarfalio (Casino)

TV reunions can be pretty painful to watch. It usually just seems like a bunch of overly familiar clips, fluffy talking head retrospectives, and maybe some misguided attempts at material that really should’ve been put to rest a decade or three earlier. If you happened to catch Return to the Batcave when it debuted a couple years back, you already know that this 90 minute special isn’t anything like that.
As you could hopefully guess from the title, Return to the Batcave takes a look back at the Batman television series that aired on ABC in ’60s.  The framing story is set in the present, as original stars Adam West and Burt Ward are delivered phony invitations for a charity auto show. Some cackling criminal offscreen swipes the Batmobile from under them, and to ensure that those orphans don’t suffer any more than they already have, he types with a sniffle, Adam and Burt set off to reclaim the Batmobile and Oof! Wham! Pow! whoever’s responsible. (It’s really not much of a mystery, but play along anyway.) Along the way, they stumble onto clues suggesting that the theft has something to do with their past, and as they reminisce about the show, it’s time to cue the flashbacks.
 The sequences set in the here-‘n-now are played with the same sort of campy, goofy sense of humor as the original series, down to the garish set design and Dutch camera angles. The flashbacks are treated a little more seriously, with Jack Brewster and Jason Marsden stepping into the roles of Adam and Burt. The camp may be dialed down, but these flashbacks aren’t dry, monotone re-enactments. They’re teeming with some of the lurid details from any one of the stars’ tell-all books, everything from Burt Ward’s divorce, Adam West’s relentless womanizing, Ward’s excessive man-basket unsettling the religious right, Fredric Wertham’s accusations of homosexuality between the Dynamic Duo, struggles with the censors, Ward almost getting skewered after a disastrous one-night stand, and internal bickering.  Since it’s not just E!’s True Hollywood Story with a bigger budget, everything from the original casting (including some actual footage of Lyle Waggoner testing as Batman) to the series’ numerous guest stars (including Cesar Romero demanding makeup be smothered over his moustache and a food fight with Vincent Price on the set, to rattle off a couple) to Burt Ward getting bruised, battered, and par-broiled during botched stunts (I don’t have a parenthetical reference for this one) is covered.
 This isn’t a shameless, half-thought-out ratings grab — Return to the Batcave manages to capture the spirit of the original Batman series. A lot of the gags in the framing story got a laugh, particularly quips about the structure of these sorts of reunion specials and more subtle ones like Adam West suggesting they drive his car because it’s already been established. I don’t know how many liberties the movie took with reality for the flashback sequences, but they’re certainly interesting enough, spouting off a bunch of stories I hadn’t heard before. If you’re a fan of the original television series, then…well, you probably already saw this when it originally aired…but if not, I guess you have a chance to now. There isn’t much on this DVD aside from the movie itself, but at least it’s cheap.
Return to the Batcave captures a lot of what made the original TV series such a blast to watch, and if you like the show, there’s a pretty good chance you’ll feel the same way about this reunion movie

REVIEW: LEGENDS OF THE SUPER HEROES

CAST

Adam West (Return To The Batcave)
Burt Ward (The New Adventures of Batman)
Frank Gorshin (Star Trek)
Jeff Altman (Highlander 2)
Charlie Callas (Switch)
Gabriel Dell (Earthquake)
Howard Morris (Splash)
Mickey Morton (Starchaser)
William Schallert (Santa Barbara)
A’leisha Brevard (American Pop)
Garrett Craig (The Blue Knight)
Howard Murphy (Satan’s Mistress)
Danuta Rylko Soderman (The 700 Club)
Bill Nuckols (Sunset Cove)
Rod Hasse (Hero at Large)
Barbara Joyce (Hothead)
Gary Owens (That 70s Show)
Ruth Buzzi (Freaky Friday)
Pat Carroll (The Little Mermaid)
Alfie Wise (The Cannonball Run)
Ed McMahon (Bewitched)

Image may contain: 1 person, sittingOn January 18, 1979, NBC aired Legends Of The Superheroes: The Challange, an hourlong special in which Adam West, Burt Ward, and Frank Gorshin reprised their Batman, Robin, and Riddler roles from the campy ’60s Batman series, alongside a cast of legendary TV comedians and generic hunks. The show had the heroes dealing with a series of traps laid by a team of supervillains, with each trap setting the stage for a wacky skit. Intended as a live-action Superfriends, LOTS came off more like a live-action version of Scooby’s All-Star Laff-a-lympics.But even The Challenge wasn’t as wretched at what NBC aired the following week: Legends Of The Superheroes: The Roast, in which the cast of the previous special returned for a series of painfully unfunny sketches and stand-up routines. According to the website TV Obscurities, The Challenge finished 58th out of 59 shows the week it aired, and The Roast finished 62nd out of 63. NBC and Hanna-Barbera’s experiment with live-action superhero slapstick was over.

The Challenge opens with the heroes and villains in their respective lairs, where the former have an orderly meeting, complete with a salute to elderly superhero Retired Man (played by William Schallert, better-known as Patty Duke’s dad on The Patty Duke Show), while the latter have a chaotic meeting complete with random acts of violence and lots of indistinct muttering, captured in an ugly-looking medium-long shot.
The villains seize on a doomsday plot put forward by Dr. Sivana (played by sitcom vet Howard Morris, a.k.a. Ernest T. Bass on The Andy Griffith Show) and divide up, each tasked to find ways to slow the superheroes down. Sinestro (played by funny-faced comic Charlie Callas) poses as a gypsy and reads Green Lantern’s fortune.The Weather Wizard (played by fast-talking young comedian Jeff Altman) poses as a used-car salesman, and sells Batman and Robin a lemon. The Riddler pretends to be a psychiatrist and gets Captain Marvel to sit on his outdoor couch and talk about his feelings. Finally, the heroes locate the villain’s island hideout, where Batman and Robin hop on Jet Skis and chase the wizard Mordru (an obscure DC bad guy played by former Dead End Kid Gabriel Dell) before heading indoors for an old-fashioned punch-up. Oddly enough, the cheesiness of the costumes are a point in favor of LOTS: The Roast, where the ridiculousness of everything is part of the concept. At the outset, host Ed McMahon jokes that he hasn’t seen so many crazy costumes since he last “had lunch at Alice Cooper’s house,” and adds that the heroes’ HQ looks like “Truman Capote’s closet.”
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The Roast is a beast to sit through. The special includes several corny routines in which McMahon trades quips with guests like Hawkman’s mom (played by showbiz legend Pat Carroll, who jokes that when young Hawkman brought notes home from school, “they were strapped to his leg”) and hulking monster Solomon Grundy (who roars and threatens McMahon whenever he’s reminded of the word “swamp”), and, yet again, Retired Man. Later, Dr. Sivana shows up, giving Howard Morris a chance to get uncomfortably close to Black Canary’s breasts.…and the inevitable Ruth Buzzi pops up as a gun-toting Aunt Minerva.
Also, gossip-monger “Rhoda Rooter” conducts an interview with the unlikely couple of The Atom and Giganta……and West and Ward participate in an interminable skit where Robin tries to keep Batman from finding out that he totaled the Batmobile. Again, it’s impressive—at least for an old DC devotee like myself—to see how far into the character pool the writers were willing to jump, and it’s not like the level of comedy here was any worse than moist shows of its time.  Hanna-Barbera use the occasion of this special to allow Jeff Altman to do a few minutes of stand-up material as Weather Wizard (complete with storms), and to have comedian Brad Sanders lay down some jokes along the lines of “If Hawkman walked through Harlem, by the time he got to Lennox Avenue, he’d be Kentucky-fried,” in the unfortunate guise of Ghetto Man. The Roast ends with Mordru doing a little song-and-dance routine, changing the lyrics to “That’s Entertainment” to something more villain-friendly……and then the whole affair should’ve been permanently consigned to the ash-heap of TV history. But alas, it was dug back up by warner brothers.
It’s a collectable piece for any DC fan as long as they don’t take it seriously

REVIEW: BATMAN: THE MOVIE (1966)

BATMAN 1966 MOVIE

CAST

Adam West (Return To The Batcave)
Burt Ward (The New Adventures of Batman)
Lee Meriwether (The Munters Today)
Cesar Romer (The Little Princess)
Burgess Meredith (Rocky)
Frank Gorshin (Star Trek)
Alan Napier (Marnie)
Neil Hamilton (Tarzan The Ape Man)
Stafford Repp (Plunder Road)
Madge Blake (The Long, Long Trailer)
Reginald Denny (Of Human Bondage)

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Batman is a faithful movie adaptation of the hugely successful live-action TV series, which for most of 1966 had been a genuine pop culture phenomenon comparable to the James Bond craze and Beatlemania, and almost unique for a TV show before or since. The Batman movie, filmed in the late Spring of ’66 and released that August, between the end of the first season and premiere of the second.The story is relatively simple, far too simple to justify its 105-minute running time: Commodore Schmidlapp (Reginald Denny) is kidnapped – along with his fantastic new invention, a “Total Dehydrator” – by the United Underworld, an uneasy alliance of Gotham City’s most notorious villains: The Joker (Cesar Romero), The Penguin (Burgess Meredith), The Riddler (Frank Gorshin), and Catwoman (Lee Meriwether, replacing an unavailable Julie Newmar from the TV series).
As Bruce Wayne/Batman (Adam West) and his ward Dick Grayson/Robin (Bruce Ward) inch toward finding the villains’ lair and uncovering their dastardly plot, Bruce and his alter-ego fall for a Russian journalist from the Moscow Bugle (love that name!), Miss Kitka, actually Catwoman in disguise. Meanwhile, the villains come up with a plan to lure Batman into a trap, using a kidnapped millionaire as bait – Bruce Wayne! Oh bitter irony.
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Like the TV show, the movie reaches two very different audiences at once: kids were attracted to the comic book elements while adults appreciated its deliberately campy humor. Many people were responsible for Batman’s success, but the biggest share must go to star Adam West, without whom the show probably wouldn’t have worked. Other actors could have played Robin, and some of the villains were played by different actors over the show’s three seasons. But West was the perfect match for this Batman: there is an earnestness in his consistently hilarious performance that only Neil Hamilton’s Commissioner Gordon comes close to matching. (Hamilton was an excellent “straight man” on this series and a fine actor late in life; by 1966, he had been making films for nearly half a century. See his appearance in the The Outer Limits episode “The Invisibles” as an example of his diversity.)
Handicapped by a cowl that severely restricted his facial expressions, West relied on a funny clipped speech, constantly adjusting its speed. Like Fred Astaire’s dancing, West makes something extremely complex seem easy and natural, but that precise type of delivery had to have required hours upon hours of thought and preparation: it’s a masterwork of comic timing.
In the movie, one also has a new appreciation for his talent as a physical comedian. The scene everyone remembers succeeds largely due to West’s funny, frantic movements: Batman darts around a pier with a lit bomb the size of a basketball, vainly trying to dispose of the thing before it explodes. In every direction is an obstacle, however: a group of nuns, lovers in a rowboat, a Salvation Army brass band, a family of ducks. Again, though hindered by a head-to-toe costume that would seem to limit most expression, West somehow conveys Batman’s sense of urgency, panic, and controlled frustration. For that gem of a scene alone, Batman is worth watching. (Interestingly, West doesn’t simply play Bruce Wayne as Batman unmasked, but in a much less stylized manner. I wonder if this was deliberate, or if wearing the costume somehow inspired him.).
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The rest of the film is hit-and-miss. Some ideas are quite funny: when the Batcopter is struck by one of The Riddler’s Polaris missiles, sending it crashing to earth, Batman and Robin are saved by an enormous pile of foam rubber – an outdoor display at the Foam Rubber Wholesalers Convention. (“I’d say the odds against it would make even the most reckless gambler cringe,” Batman says.) However, the picture makes the mistake of shooting its wad in the first half-hour. During that time everything there is to see is shown: the Bat Cave, the Batmobile, the four villains and their submarine, as well as several new gadgets, the aforementioned Batcopter and Batboat. After that the film becomes rather serial-like in its extreme repetitiveness. Almost every scene drags on way too long; had it been fine-tuned to 70-75 minutes instead of 105, it might have become a classic ’60s comedy instead of the kind of footnote it’s become.
The film will always be a classic and will always be fondly remembered

REVIEW: BATMAN: THE COMPLETE 60’S SERIES

CAST

Adam West (Family Guy)
Burt Ward (Legends of The Super Heroes)
Alan Napier (Marnie)
Neil Hamilton (Tarzan The Ape Man)
Stafford Repp (Plunder Road)
Madge Blake (The Long, Long Trailer)
Yvonne Craig (Olivia)

RECURRING / NOTABLE GUEST STARS

Frank Gorshin (Star Trek)
Jill St. John (Diamonds Are Forever)
Burgess Meredith (Rocky)
David Lewis (The Apartment0
Leslie Parrish (Sex and The Single Girl)
Cesar Romero (The Thin Man)
Nancy Kovack (Marooned)
George Sanders (All About Eve)
Anne Baxter (I Confess)
Susan Silo (James Bond JR)
David Wayne (The Andromeda Strain)
Malachi Throne (Catch Me If You Can)
Myrna Fahey (House of Usher)
Julie Newmar (Mckenna’s Gold)
Ziva Rodann (Forty Guns)
Victor Buono (Beneath The Planet of The Apes)
Olan Soule (The Toweing Inferno)
Francine York (The Family Man)
Roddy McDowall (Planet of The Apes)
Sherry Jackson (Brenda Starr, Reporter)
Julie Gregg (The Godfather)
Barbara Nichols (Where the Boys Are)
Art Carney (Last Action Hero)
Van Johnson (The Caine Mutiny)
Phyllis Diller (A Bug’s Life)
Sid Haig (The Devil’s Rejects)
Michael Pataki (Rocky 4)
Bruce Lee (Enter The Dragon)
Van Williams (Surfside 6)
Shelley Winters (Alfie)
Walter Slezak (Lifeboat)
Vincent Price (Edward Scissorhands)
Liberace (Another World)
Woodrow Parfrey (Dirty Harry)
Otto Preminger (Anatomy of Murder)
Carolyn Jones (The Addams Family)
Cliff Robertson (Spider-Man)
Ted Cassidy (Genesis II)
Maurice Evans (Rosemary’s Baby)
Donna Loren (Dr. Kildare)
Michael Rennie (The Day The Earth Stood Still)
James Brolin (Hotel)
Lesley Gore (The Pied Piper of Astroworld)
Bob Hastings (batman: TAS)
Roger C. Carmel (Star Trek)
Alex Rocco (The Simpsons)
Seymour Cassel (Rushmore)
Diane McBain (Thunder Alley)
Lee Meriwether (Barnaby Jones)
Grace Lee Whitney (Star Trek)
Tristram Coffin (Adventures of Superman)
Tallulah Bankhead (A Royal Scandal)
Kathleen Crowley (Target Earth)
Eli Wallach (The Holiday)
Elisha Cook Jr. (Rosemary’s Baby)
Billy Curtis (High Plains Drifter)
Joan Collins (Dynasty)
Linda Gaye Scott (The Party)
Ethel Merman (Call Me Madam)
Gary Owens (That 70s Show)
John Astin (The Addams Family)
Milton Berle (Hey, Abbott!)
Glynis Johns (Mary Poppins)
Rudy Vallee (Sunburst)
Eartha Kitt (Holes)
Barbara Rush (When Worlds Collide)
Dina Merrill (Caddyshack II)
Linda Harrison (Planet of The Apes)
Ida Lupino (High Sierra)
Howard Duff (Kramer vs Kramer)
Zsa Zsa Gabor (Jack of Diamonds)
Jane Wald (Girl Talk)
Angela Greene (The King of Bandits)
Norman Alden (Back to The Future)
Jack Kelly (Forbidden Planet)
Shelley Winters (Lolita)
Walter Slezak (Lifeboat)
Vincent Price (Edward Scissorhands)
Estelle Winwood (The Producers)
Joan Staley (Broadside)
John Mitchum (Dirty Harry)
Sharyn Wynters (Westworld)
Terry Moore (Mighty Joe Young)
Rob Reiner (This is Spinal Tap)
Deanna Lund (Hammerhead)
Stanley Adams (Star Trek: TOS)
Meg Wyllie (The Last Starfighter)
Lisa Seagram (Caprice)

This is the show that set the tone for the Batman franchise for decades, good and bad, as its indelible mark is hard to erase. The power of the show is in how iconic it was, with every element so vibrant that it’s impossible to forget. Yes, it had the advantage of being the first modern-era mass-media representation of the character, and it also basically had the stage to itself forever, but there was so many memorable ingredients that made it the definitive Batman for generations. First among those were the performances of Adam West as Batman and Burt Ward as Robin. Playing it completely straight–West with thoughtful gravitas, Ward with youthful enthusiasm–these actors kept the show from descending into parody. The world may be crazy, but our heroes remain vigilant defenders and detectives. The contrast makes their square-jawed heroics comedic, and the effect is enhanced when things get unusual like seeing Batman dance or surf, or when the Dynamic Duo are chilling out in the Batmobile eating burgers.
The structure of the series, which leans heavily on the style of the old serials and a well-defined formula, was also a big reason for the show’s success and long-lasting legacy. During the first two seasons, stories were split over two half-hour episodes, shown twice a week. The first episode would always end with Batman and Robin on the edge of destruction in some sort of insane death-dealing set-up, with the now classic refrain “same Bat-time, same Bat-channel” reminding viewers to come back to see the story’s weekly conclusion. These cliffhangers, along with the emphatic narration, the atmospheric music, the wonderfully detailed sets and costumes and the choreographed fight scenes, which feature the show’s famous “Pow!” and “Bam” visual sound effects, all serve to create a larger-than-life adventure series that’s great fun to watch.
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Though West doesn’t appreciate the show being described as campy, it’s hard to think of a word that fits the series better. The thing is, you have to separate the ideas of bad and camp. Camp doesn’t have to be bad. It just has to be absurdly silly. So much of the show is obviously aiming for comedy, be it the way Batman solves impossible clues impossibly quick, the goofy names of the bad guys’ labeled henchmen, the villains’ strange obsession with personal branding, the overly literal signs seen all over the place, or the strangely specific gadgets Batman always has at the ready. I mean, really…an empty alphabet soup bat-container? Then there are the overtly humorous parts, like the cameos when Batman and Robin climb up the sides of buildings, which feature celebrity cameos from Sammy Davis Jr., Don Ho, Santa Claus and Lurch from The Addams Family. Elements like this earn plenty of chuckles throughout the series, but they don’t take away from the fun of the action or the crime-fighting plots. They also serve to make for what might be the most accessible Batman ever; enjoyable for young and old alike.
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The show burned brightly, but only for three seasons, crashing hard considering the show’s immense popularity. Perhaps it was overexposure due to the twice-a-week schedule, with 58 episodes in season two, but the show was definitely showing signs of slowing down in the final season before cancellation, including mostly eliminating the cliffhanger, instead linking episodes via a coda at the end. Whether it was an artistic choice or otherwise, the weird way the show started to use “suggested sets,” in which parts of a set were placed in an otherwise black room to create the idea of the setting, made it seem like something had changed for the worse. Another major change in the third season also stood out somewhat negatively, as Yvonne Craig’s Batgirl (the crime-fighting alter-ego of police commissioner Gordon’s daughter Barbara) was added to the show as a regular. She didn’t bring a great deal to the party though, outside of a great costume design, as she often needed saving as much as she helped the team.
The other issue with Batgirl was she was further evidence of the show being a product of its time, as, in addition to the clothes, sets and language all being heavily dated to the ‘60s (especially in the third run), sexism is rampant throughout the series, whether display via the eye-candy molls of the villains or the drooling narration for the new distaff member of the Bat-team. The portrayal of women is pretty much entirely negative in the show, with flippant remarks about the vanity of women or their value, while one villain, Nora Clavicle, is actually a women’s rights activist, who replaces the police force with women, who are only interested in coupons and recipes. The rampant misogyny is odd considering the show was progressive enough to have an interracial flirtation between West’s Batman and Kitt’s Catwoman. Though the Caped Crusader and the Boy Wonder are obviously the stars of the show, the villains are what defines the series, as has always been the case with Batman. In addition to his traditional rogues gallery, including Joker, Riddler, Penguin and Catwoman, this series introduced a number of freshly-minted felons, some of which eventually were incorporated into the comic books, like Victor Buono’s over-acted King Tut. The oft-ridiculous nature of these baddies, which were often created to give big celebrities of the day a chance to play, like Zsa Zsa Gabor’s Minerva, Milton Berle’s Louie the Lilac or Liberace’s Fingers, was a big part of why the show was viewed as campy.
As goofy as the new creation were, the originals were wonderfully evil, especially Cesar Romero’s Joker, Frank Gorshin’s Riddler and Julie Newmar’s Catwoman (though that shouldn’t take anything away from Eartha Kitt’s purr-fect turn in the cat suit in the show’s third season.) These three each brought something special to the show, be it Romero’s manic glee, Gorshin’s dark intensity or Newmar’s unrestrained sensuality. The problem with having the villains be such a focal point of the show is it makes the series uneven, as a weak villain, like Van Johnson’s Minstrel or Maurice Evans’ Puzzler, usually makes for a weak episode. The exception to that rule would have to the two-part “A Piece of the Action”/”Batman’s Satisfaction”, which had a terrible nemesis in the stamp-forging Colonel Gumm, but which is great fun because of a crossover with The Green Hornet, which meant Van Williams and Bruce Lee were on hand for twice the crime-fighting action. Just seeing Lee on Batman was great, but having two masked heroes and their rich alter-egos interacting without each other knowing made for a fun twist on the heroes.

Looking at the set as a whole, it’s easy to wonder why the first 12 discs are extras-free. There’s not a commentary to be found. Considering how long the wait has been, and how influential and popular the show is, you’d think there would be plenty of people that would want to sit down and talk about this show. It’s bad enough that the lengthy delays have resulted in many of the cast and creators passing before its release, but to not have any contemporary perspectives is just doubling down on this problem. There’s also the fact that two separate releases of bonus content that have been released in the past, “Holy Batmania!,” which offered four documentaries on the series, and “Adam West Naked,” a collection of recollections produced by West himself. Some of this contest should have been included on the third disc of season three, which has just two 30 minute episodes. What’s worse is Warner Brothers is offering “Adam West Naked” as part of an odd package online that includes the first 64 episodes, the Batman ‘60s movie and some ephemera.
Thankfully the 13th disc fills in a lot of the gaps holding all of the set’s bonus content, most of which is courtesy of master extra maker Alexander Gray, who has produced and directed this kind of material for loads of DC-related DVDs. It all starts with “Hanging with Batman” (29:56), which focuses on West, looking at his life, from his childhood to his acting career, with plenty of time on his experiences as Batman and the legacy of that performance. The piece, which is loaded with archival photos and video, isn’t fluffy in any way, touching on some of the darker moments of West’s life, including controversy that surrounded him at his peak as a star and his personal and professional struggles in the wake of the show’s cancellation and the character’s rebirth with the Tim Burton movies. An excellent profile of a charismatic man with an interesting life.
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“Holy Memorabilia, Batman!” (29:59) looks at the fans, a few in particular, and the collecting that sprung up around the show, including the key pieces and the process of acquiring them. With Toy Hunter’s Jordan Hembrough providing expert (and some personal) perspective, the featurette checks out the collections of actor Ralph Garman (Family Guy, the Hollywood Babble-On podcast) and Guinness record-holder Kevin Silva, as well as the work of Mark Racop, who builds replica Batmobiles. The Garman segments also feature a visit by West to check out (and even try on) the goods, and the result is an excellent look at a side product of the series.
An odd inclusion is “Na Na Na Batman” (12:15) which features a huge roster of producers and directors from Warner Brothers-produced series talking about the Batman series, including their memories of watching the show (if they are old enough) along with the costumes and villains. The connection to the show for most of these participants, which include Kevin Bacon, James Purefoy, Mike O’Malley, Stephen Amell, Jared Padalecki, Misha Collins and Jensen Ackles, is beyond tangential, which coats the whole piece with a sheen of promotion, but if you’re a fan of shows like Supernatural, Arrow, The Following and The Mentalist, perhaps you’ll enjoy these worlds crashing together. Wedged in here with all these people is West and Burt Ward, bringing things back to center a bit.
The point of “Batmania Born!” (29:41) isn’t entirely clear, as it can get a bit scattered in terms of the subject matter, but it seems to mainly talk about the look of the series, and mainly features the voices of people from the world of comic books and related TV series, though some production design and costuming people sneak in as well to discuss the visuals of Batman, including the influences of the comic books, the animated opening, the tights and, most interestingly, the negative effect the show had on comic books in the larger world of entertainment. Among those sitting down to chat are Jim Lee, Bruce Timm and Julie Newmar, long with archival clips of Cesar Romero and Frank Gorshin, making this catnip for comics fans. Lee and Garman return in “Bats of the Round Table” (45:08), joining Batman superfan Kevin Smith and actor Phil Morris (Smallville), as they sit down for a meal with West. Unsurprisingly, the chat is dominated by Smith–a natural conversationalist–but they all chime in at some point, peppering West with questions and actually getting some interesting answers, including talk about dealing with a difficult Otto Preminger, who West’s favorite guest star and favorite Catwoman was, life on the set and a fun story about Ward and Bruce Lee. One wonders how the mostly unconnected Morris got in on this group (though he does have a Batman story of his own to share), but they all interact well in a smooth-flowing get-together. The ending may be slightly cheesy, but it’s a satisfying featurette.
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Though there are no commentaries in this set, there are two pseudo-commentaries, in the form of the two-part “Inventing Batman: In the Words of Adam West.” These pieces, which run a total of 59:08, feature West, in occasional picture-in-picture appearances, reading excerpts from his shooting scripts for “Hi Diddle Riddle” and “Stuck in the Middle” while the episodes play. There’s a tremendous amount of dead air (probably more than half the episodes are just the original audio), which may explain the lack of commentaries, but it’s great when West shares the notes he made on the script during the production process and his thought process for the character.
The bonuses wrap up with a quartet of rarities, which are mostly great to check out. First up is the 7:54 pilot for Batgirl. This never-aired “episode” was intended to show the character could work, in advance of her introduction in Batman’s third season. This compact adventure, which features Batgirl fighting Killer Moth and his gang alongside the Dynamic Duo in a library, feels just like the Batman series, complete with the “Pow!”s, but with a lot more sexism, courtesy of the narrator and Batman himself. Today, it’s really kind of creepy.
Also included are a pair of screen tests for the show, which are truly fascinating. First up is West and Ward (6:16), in a proto-Wayne Manor and the Batcave, doing a pair of scenes, following by a brief tumbling and karate demonstration by Ward and some silent footage of the pair in the ‘Cave. The performances were so fully formed right off the bat (no pun intended) that it’s hard to imagine anyone else in the roles. That’s solidified when you see Lyle Waggoner and Peter Deyell try out for the parts (4:23), doing the same roles on the same sets, with the same sketchy costumes. Robin is more childish in Deyell’s performance, while Waggoner doesn’t bring the same measured intensity as West. Watching it though, allows you to picture an entirely different history for Batman.
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The final entry is a James Blakely Tribute (2:24). The title is a bit misleading, as it’s just a clip of Blakely, post-production supervisor on the show, discussing the story of the series’ development and the idea of editing in the show’s iconic sound-effects graphics. It’s not really a tribute in the traditional manner.
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It’s only natural that waiting so long for these episodes to arrive on home video has made expectations unmeetable, but between the wonderfully silly show, the quality of the presentation and the excellent extras that actually have been included, this set is one all Batman fans will want to own.

REVIEW: SKELETONS

CAST

Ron Silver (Timecop)
Christopher Plummer (The Girl With The Dragon Tattoo)
Dee Wallace (E.T.)
Kyle Howard (Orange County)
James Coburn (The Great Escape)
Arlene Golonka (The In-Laws)
Dennis Christopher (Django Unchained)
Thomas Brown (Silverado)
Brigitta Dau (Retro Puppet Master)
Carroll Baker (Kindergarten Cop)
Wayne Duvall (The Hunt)

skeletons_1A heart attack moves a Pulitzer winning journalist to leave NY for the peace of a small New England town, but he soon finds himself pulled into a case of a man accused of killing his gay lover with the blade of a shovel. Wanting to keep the case quiet, the town turns against the journalist and his family when he begins digging into its secrets, until finally the accused man is found hanging in his cell and the truth comes out about more than just the killing.skeletons_1I’d recommend seeing “Skeletons” because it is a mystery, but unfortunately the mystery doesn’t last long enough and when the “twist” comes, we’ve already figured it out.

REVIEW: THE HAUNTING (1999)

 

CAST

Liam Neeeson (Batman Begins)
Catherine Zeta Jones (Chicago)
Owen Wilson (Wedding Crashers)
Lili Taylor (The Conjuring)
Bruce Dern (Django Unchained)
Virginia Madsen (Highlander 2)
M.C. Gainey (Lost)

FEkT

Eleanor “Nell” Lance (Lili Taylor) has cared for her invalid mother for 11 years. After her mother dies, her sister Jane (Virginia Madsen) and Jane’s boyfriend Lou (Tom Irwin) eject her. Nell receives a phone call about an insomnia study, directed by Dr. David Marrow (Liam Neeson) at Hill House, a secluded manor in the Berkshires of western Massachusetts, and applies for it. At the house, she meets Mr. and Mrs. Dudley (Bruce Dern, Marian Seldes), a strange pair of caretakers. Two other participants arrive, Luke Sanderson (Owen Wilson) and Theodora (Catherine Zeta-Jones), along with Dr. Marrow and his two research assistants. Unknown to the participants, Dr. Marrow’s true purpose is to study the psychological response to fear, intending to expose his subjects to increasing amounts of terror. Each night, the caretakers chain the gate outside Hill House, preventing anyone from getting in or out until morning. During their first night, Dr. Marrow relates the story of Hill House. The house was built by Hugh Crain (Charles Gunning)—a 19th-century textile tycoon.
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Crain built the house for his wife, hoping to populate it with a large family of children; however, all of Crain’s children died during their birth. Crain’s wife Renee killed herself before the house was finished and Crain became a recluse. After the story, Marrow’s assistant’s face is slashed by a snapped clavichord wire. The freak accident causes Marrow’s research assistants to leave. Nell begins to suspect that it was no accident, as she notices that the wire was unwound by someone or something. Theo and Nell begin to experience unusual happenings within the house, such as a mysterious force trying to open the door, Nell starts seeing ghosts of children in curtains and sheets, Hugh Crain’s wood portrait morphs into a skeletal face and is vandalized with the words “Welcome Home Eleanor” written in blood. Theo and Luke try to establish their innocence, but Nell tells them that they don’t know her.
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Nell becomes determined to prove that the house is haunted by ghostly children who are only terrorized and killed by Crain’s cruelty. She learns that Crain kidnapped the children from his cotton mills and slaughtered them, then burned their bodies in the fireplace, trapping their ghosts and forcing them to remain with him, providing him with an ‘eternal family’. She also learns that Crain had a second wife named Carolyn, from whom she is descended. Dr. Marrow is skeptical of Eleanor’s claims, until he realizes he made a mistake by bringing them to Hill House when a statue tries to drown him in a pool of water in a greenhouse. After several more terrifying events, Nell insists that she cannot leave the ghosts of the kids to suffer for eternity at Crain’s hands. Trying to convince Eleanor to leave the house with them, Theo offers to let Nell move in with her, but Nell reveals her relation to Carolyn and claims she must help the children to “move on” to the afterlife.

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Hugh Crain’s ghost seals up the house, trapping them all inside. A frustrated Luke defaces a portrait of Hugh Crain. Crain’s enraged spirit drags Luke to the fireplace where he is decapitated. Nell is able to lead Crain’s spirit towards an iron door. The spirits pull Crain into the door, dragging him down to Hell. Nell is pulled with him, inflicting fatal trauma on her body, but the ghosts gently release her on the ground. Her ghost rises up to Heaven, accompanied by the children’s ghosts. After Nell’s death and when she moved on to Heaven along with the ghosts, Theo and Dr. Marrow wait by the gate outside until the Dudleys come in the morning.

The Dudleys approach as the sun rises. Mr. Dudley asks Dr. Marrow if he found what he wanted to know, but the traumatized psychiatrist does not give an answer, and neither does Theo. When the gate opens, the two silently walk out and down the road, leaving Hill House behind them.

Its not particularly scary, however it is a fabulous storyline. Has a great cast, Liam Neeson, Owen Wilson, Lily (can’t remember her name!) and Catherine Zeta Jones before she got really famous.

 

REVIEW: THE HAUNTING (1963)

 

CAST

Julie Harris (Knots Landing)
Claire Bloom (The King’s Speech)
Richard Johnson (Tomb Raider)
Russ Tamblyn (Django Unchained)
Fay Crompton (Odd Man Out)

Dr. John Markway narrates the history of the 90-year-old Hill House, which was constructed by Hugh Crain as a home for his wife. She died when her carriage crashed against a tree as she approached the house for the first time. Crain remarried, but his second wife died in the house from a fall down the stairs. Crain’s daughter Abigail lived in the house for the rest of her life, never moving out of the nursery. She died calling for her nurse-companion. The companion inherited the house, but later hanged herself from a spiral staircase in the library. Hill House was eventually inherited by a Mrs. Sanderson, although it has stood empty for some time. Markway wishes to study the reported paranormal activity at Hill House. He secures a lease from Mrs. Sanderson to occupy the mansion for the duration of his investigation; conditional to his acceptance is that he take Luke Sanderson, her heir, with him. Markway has chosen two individuals to accompany him—a psychic, Theodora, also known as Theo, and the meek Eleanor Lance, who experienced poltergeist activity as a child. Eleanor spent her adult life caring for her invalid mother, whose recent death has left Eleanor with severe guilt. The large, maze-like mansion’s walls were constructed with angles slightly askew, resulting in off-center perspectives and doors that open and close by themselves. The immense library contains the ramshackle spiral staircase from which the previous owner hanged herself; the vast conservatory is adorned with eerie statues. During their first night in the house, Eleanor and Theo are terrified by supernatural occurrences outside Theo’s bedroom door. Deafening banging is heard against the door and the voice of a young girl is heard echoing with laughter. Despite the turbulence, Eleanor feels a tentative affinity to Hill House.
MV5BMjJkYjFmNTQtNGNjYy00YzNmLTkxYmEtMzc0MjIxNGRhN2Q0XkEyXkFqcGdeQXVyMTI3MDk3MzQ@._V1_The team explores the house the next day, discovering a cold spot outside the nursery and encountering other supernatural phenomena. Markway reveals more about the hauntings that have allegedly occurred. Following another night of loud disturbances the team discovers the words “HELP, ELEANOR, COME HOME” on a wall, which causes Eleanor severe distress. That night, Theo moves into Eleanor’s room and they fall asleep in the same bed. Eleanor is awakened by the sounds of a man speaking indistinctly and a woman laughing. Fearful, Eleanor asks Theo to hold her hand and she feels it being crushed. As Eleanor hears the sound of a young girl crying, she shouts at whoever is causing the child pain. Theo awakens with a start and turns on the light. Eleanor then sees that Theo had moved from the bed to the couch, and was not the one she felt holding her hand.
MV5BZjY2MjFiZTktZjViMC00YzAwLTgwOGQtMjI3NGE3YTg2NmViXkEyXkFqcGdeQXVyMTI3MDk3MzQ@._V1_The following day Dr. Markway’s wife Grace arrives at Hill House to warn her husband that a reporter has learned of Markway’s investigation of Hill House. Markway is concerned when Grace announces that she plans to join the group for the duration of the investigation. She demands a bed in the nursery despite her husband’s warning that it is likely the center of the disturbances. That night the group experiences loud banging and an unseen force attempting to force its way through the living room in which they are staying in. The banging then proceeds to move its way up towards the nursery, where the sounds of it destroying the room are heard; this prompts Eleanor to run towards the source, however, Grace is nowhere to be found. Her disappearance is then confirmed the following morning. Eleanor’s mental instability worsens as she falls further under the spell of Hill House. She enters the library and climbs the dilapidated spiral staircase. Once she reaches the top, Grace appears unexpectedly at a trap door and the startled Eleanor nearly falls to her death. Markway rescues Eleanor but just misses seeing Grace, who has disappeared back into the house.

Markway becomes alarmed at Eleanor’s obsession with Hill House in spite of the dangers it poses for her. Despite Eleanor’s pleas to stay, Markway insists that she leave at once and asks Luke to accompany her home. Before he can join her in the car, Eleanor drives off and speeds down the road toward the front gates. She soon feels the steering wheel move by itself and the car advances erratically. At first she struggles to regain control but then surrenders to the unseen force. Suddenly Grace appears from behind a tree and steps in front of the car. Eleanor crashes into the tree and is killed. Luke observes it seemed that Eleanor deliberately aimed the car at the tree, but Markway asserts that something was in the car with her. He notes that the tree that claimed Eleanor’s life is the same one that killed the first Mrs. Crain. Theo remarks that Eleanor got what she wanted—to remain with the house.Although dated in may ways this offering from Robert Wise is a perfectly constructed gothic horror movie. Making allowances for the lack of modern special effects the film is an early take on the idea of the haunted house as a character in the story.

 

 

REVIEW: THE AMAZING ADVENTURES OF THE LIVING CORPSE

CAST (VOICES)

Maria Olsen (Starry Eyes)
Michael Villar (Visions)
Marshal Hilton (Beetleborgs Metallix)
Claudine Claudio  (La La Land)
Ben McCain (My Name Is Bruce)

Tactical-Force-DII realise that going into a movie called; ‘The Amazing Adventures of the Living Corpse’ you shouldn’t be expecting a cinematic masterpiece that changes the norm of cinema by its shear beauty and elegance. That being said however, you do expect a movie with a zombie doing some awesome stuff and possibly some over the top gore splashed in with a bit of dark comedy/tragic character development or angst. I had seen no teasers and I haven’t studied the source material so I was going in blind and without reference.91YkGHks5VL__SL1500_My expectations for the film dropped rather dramatically after seeing the character models  and I immediately thought; Kids film. That ain’t a good thing for the subject material. The animation does not work on human faces but it doesn’t look terrible with non humans and I assume it is meant to achieve a stylised look like the comic book it was based upon. You become more used to it as the film goes on but for me it seemed amateurish, some of the cinematography was great though, I was pleasantly surprised with some of the camera angles that they pulled out.maxresdefaultThe voice acting was mixed and dialogue varied from pretty damn decent to downright puerile. The son, Taylor was particularly bad, especially in the opening scenes where he delivers his lines like….well cardboard isn’t completely rigid.  A couple of characters were quite annoying, they were the comic relief but the humour isn’t very mature.What gore there is in this film is sparse and rare. Most of the time, something gets punched and falls down and dies without much blood or fuss. The combat scenes can become quite stylised at points and can be enjoyable for the most part but they weren’t anything that I could sink my teeth into or will particularly stand out in memory.5051892123525_lI suppose the reason I disliked the film is that I liked the concept and there were some nifty ideas floating about; ‘Zombie superhero who wanders in and out of the underworld to fight monsters and find his son’ sounds like good material for ultra violent schlock or a dark and brooding hero/anti-hero story. Unfortunately this is a film that has an ‘R’rating in America but I don’t have a bloody clue why. The comedy seems to be rather childishbut the subject matter and the brief spats of gore make it unsuitable for children. I’m not saying there had to be blood, guts, f-bombs and nudity but the tone and humour is just weird considering the subject matter. The film has its moments and isn’t terrible mind you and will find itself fans but I have to say I found this to be just below average. I’m now trying to find the comic because I think that the transition to film may have been a difficult one and the comic may hold up better.