INVASION OF THE SECRET SANTAS
Corey Burton (Transformers)
Will Friedle (Batman Beyond)
James Arnold Taylor (Star wars: Clone Wars)
Thomas F. Wilson (Back to The Future)
Once a movie that i was extremely nervous about stepping into, just happened to turn out to be my favorite superhero movie, and probably will for years to come, very interesting aspect of the movie was using the flaws of the first installment of the comic book universe and building upon those mishaps to create a much better and more compelling story. In this Ultimate Edition, there are both Theatrical Version (151 mins, in both 2D and 3D) and the Ultimate Version (extended Cut, 182 mins, only in 2D). I would strongly recommend the Extended Cut, because the extra information is helpful to tie in different events.
Michael Dobson (Dreamcatcher)
Janyse Jaud (Hulk vs)
John Fitzgerald (Mon Ami)
Adam Fulton (Broken Saints)
Motion comics aren’t an itch many casual superhero buffs would take the time to scratch, but Batman: Black and White is an enticing collection that might sway some leery minds. I can understand the logic behind it: with one of the chief complaints about comic-to-film adaptations being a lack of faith to the source material, why not put those printed pages front and center? With a minimum of animation, motion comics can show classic heroes and their exploits in an interesting perspective, which Black and White does for the Caped Crusader with all the pitch-dark atmosphere you’d expect.
Twenty brief adventures set in the thick of Gotham’s seedy underworld are presented in Black and White. Bringing the work of writers like Bruce Timm and Alex Garland to life is striking art as provided by Dave Gibbons, Alex Ross, and others. There’s no shortage of the Dark Knight’s dynasty to cover, as we bear witness to stories ranging from macabre fantasy (“Monsters in the Closet”) to heartwarming and thoughtful (“Sunrise”). Batman combats street thugs, Nazis, mad scientists, and the most notorious members of his lengthy rogues gallery. A few of these villains even get their own turn in the spotlight, showing more than mere greed gnawing at their psyches. Fleeting as their lengths may be, these tales each do their part in shining a light on what’s made Batman’s crimefighting legacy endure for so long.
The DC Animated Universe has given fans some of the best superhero media in recent years — Wonder Woman and Justice League: Doom can stand toe to toe with Captain America or The Avengers, if you ask me. But what sets Batman: Black and White apart is that it’s not a linear narrative (or a single, connected story whatsoever). Every vignette is self-contained and lasts a few minutes at most, leaving next to no elbow room for grand, epic plotlines. This doesn’t always play out well, with some stories (“Hands,” especially) suffering abrupt anticlimaxes after a marathon of build-up. Black and White is staunchly economical and only so effective when its entirety is viewed in succession, but on their own, the bulk of the stories stand as distinct, eye-catching, and emotionally fulfilling. The wide range of art styles and environments each short incorporates (from a futuristic police state to a WWII-era Gotham) is impressive, as are the tones they adopt. We get some light-hearted escapades (as when Batman gets the jump on a trouble-making Harley Quinn), although most delve into its protagonist’s psychology to intriguing effect. It says a lot when a three-minute hostage crisis or quick encounter with a certain man of steel lingers in your mind as much as a grandiose Christopher Nolan opus.
Batman: Black and White might appeal most to those fans who’ve pledged complete allegiance to the cape and cowl, but there’s no reason outsiders shouldn’t find something to rile them up. With each scenario possessing a unique presentation and its own brand of derring-do, this omnibus has no trouble packing a collective punch. Batman: Black and White does just right by Bob Kane’s legendary guardian of the night.
Justin Chambers (Grey’s Anatomy)
C. Thomas Howell (The Amazing Spider-Man)
Kevin McKidd (Kingdon of Heaven)
Dee Bradley Baker (American Dad)
Steve Blum (Wolverine and The X-Men)
Kevin Conroy (Batman: TAS)
Sam Daly (Red Tails)
Dana Delany (Desperate Housewives)
Cary Elwes (The Princess Diaries)
Nathan Fillion (Firefly)
Grey Griffin (Ultimate Avengers)
Jennifer Hale (Batman Beyond)
Danny Huston (The Number 23)
Danny Jacobs (Futurama)
Vanessa Marshall (The Zeta Project)
Ron Perlman (Hellboy)
Hynden Walch (The Batman)
James Patrick Stuart (Batman: The Brave and The Bold)
The early sequence in Justice League: The Flashpoint Paradox is nothing but bright, vivid, four-color superheroics. The Rogues are pretty much harmless goofballs with Silver Age gimmicks. Professor Zoom’s genocidal agenda casts a darker pall onto what could otherwise play like an episode of Challenge of the Super-Friends, but the dialogue is still gleefully comic book-y. ” The rest of the Justice League swoops in just in the nick of time, It’s a big, triumphant display of Saturday morning superheroics, but one snide little comment Professor Zoom made before being dragged over to a holding cell at S.T.A.R. Labs keeps rattling around in Barry Allen’s head. The Flash runs towards the screen at impossible speed. Barry Allen is startled awake in the forensics lab, halfway-glancing at a PC with some ominous headline splattered across the screen. He catches wind of some villainy that only the Flash can handle, makes a mad dash towards the front door, strikes his usual heroic pose, and…stumbles down a few steps and falls flat on his face on the pavement. Before Barry can even try to make sense of whatever it is that just happened, he looks up and sees his his mother smiling down on him. She’s there for her birthday dinner with her baby boy, and she doesn’t even mind that it apparently slipped Barry’s mind. It’s not that Barry forgot, exactly; it’s that his mother had been brutally murdered decades earlier.
Everything has changed. A war between Atlantis and Themyscira has claimed more than a hundred million lives. The only ‘Man of Steel’ most anyone has heard of is Cyborg, someone most cape-‘n-cowl types sneer at as the President’s lapdog. Batman looks to be a hell of a lot older, gunning down costumed freaks atop the Wayne Casino with a semi-automatic pistol in each hand. The power of Captain Marvel…errr, Captain Thunder is wielded by six children. Someone or something has tampered with the past, and everything Barry Allen knows is wrong. His memories of the world he once knew are beginning to fade, and the post-apocalyptic wasteland that’s taken its place may not be around long enough for the former Flash to find a way back home.
I’m astonished by how effective Justice League: The Flashpoint Paradox is. this readily ranks among one of the best animated DC animated movies. I love the contrast between the classic superheroics that open the movie and the bleak, dystopian world that soon takes its place.The acting weaves together established talent in DC animation with several new voices, with the ensemble cast featuring Kevin Conroy, Dana Delany, Nathan Fillion, Justin Chambers, Vanessa Marshall, Kevin McKidd, James Patrick Stuart, Cary Elwes, Ron Perlman, and Michael B. Jordan, among many others. The performances are generally outstanding. The anime-influenced character designs look incredible, especially when animated with such polish and fluidity. It’s a daunting challenge to effectively realize the Flash’s impossible speed on a direct-to-video budget, but the animators at Studio 4C do a brilliant job with this as well, especially throughout the awe-inspiring final moments of the film. The Atlantean/Themysciran war is addressed in a far superior way here than in the core “Flashpoint” comics.The Flashpoint Paradox is genuinely horrifying. Heroes we once looked up to now murder one another without hesitation, and the body count is staggering. Aquaman skewers a freedom fighter with his trident. A severed head is held up as a trophy. Wonder Woman strangles a spy, and the movie doesn’t turn away from the sight of his neck snapping and blood spurting from his mouth. This may be the single most brutal superhero movie I’ve ever experienced, animated or live-action. There’s an emotional core to the story that transcends the hero-trapped-on-an-alternate-Earth premise, delivering levels of joy, hope, determination, and heartbreak that are remarkably powerful. That Flashpoint takes place outside of established continuity allows it to better explore these characters — or what we’ve come to think of these characters — in an entirely different context. Because there are no concerns about marketing to kids, how anything that happens here will impact the next installment in the franchise, or whatever else, these twisted reinterpretations of iconic heroes can kill and be killed.There are stakes that go far beyond what’s generally felt in direct-to-video superhero animation. The Flashpoint Paradox is unnervingly intense, and yet it’s hardly masturbatory brutality or grim and gritty just for the sake of being grim and gritty.
Christian Bale (American Psycho)
Michael Caine (Quills)
Liam Neeson (Taken)
Katie Holmes (Go)
Gary Oldman (Red Riding Hood)
Cillian Murphy (Inception)
Tom Wilkinson (Cassandra’s Dream)
Rutger Hauer (Blade Runner)
Ken Watanabe (Godzilla)
Mark Boone Junior (Memento)
Linus Roache (The Chronicles of Riddick)
Morgan Freeman (Ted 2)
Colin McFarlane (Doctor Who)
Christine Adams (Pushing Daises)
Jack Gleeson (Game of Thrones)
As a child, Bruce Wayne falls down a dry well and is attacked by a swarm of bats, subsequently developing a fear of bats. While watching an opera with his parents, Bruce becomes frightened by performers masquerading as bats and asks to leave. Outside, mugger Joe Chill murders Bruce’s parents in front of him. Orphaned, Bruce is raised by the family butler, Alfred Pennyworth.
Fourteen years later, Chill is freed in exchange for testifying against Gotham City mafia boss Carmine Falcone. Bruce intends to murder Chill in revenge, but one of Falcone’s assassins does so first. Bruce’s childhood friend, assistant district attorney Rachel Dawes, berates him for attempting to undermine the justice system, saying that his father would be ashamed. Bruce confronts Falcone, who tells him that real power comes from being feared. Bruce decides to travel the world, learning new skills and abilities to confront injustice. In Ladakh he meets Henri Ducard, who trains him as a member of the League of Shadows, led by Ra’s al Ghul. After completing his training and purging his fears, Bruce learns that the League intends to destroy Gotham, believing it to be corrupt and beyond saving. Bruce rejects the League’s cause and burns down their temple during his escape. Ra’s is killed by falling debris, while Bruce saves the unconscious Ducard.
Bruce returns to Gotham intent on fighting crime. Inspired by his childhood fear, he takes up the vigilante identity of “the Batman” and sets up a base in the caves beneath Wayne Manor. He takes an interest in his family’s company, Wayne Enterprises, now run by the unscrupulous William Earle. Company archivist Lucius Fox allows Bruce access to prototype defense technologies including a protective bodysuit and a heavily armored car called the Tumbler. To avert suspicion from his vigilante activities, Bruce poses as a shallow playboy.
Batman intercepts a drug shipment, provides Rachel with evidence against Falcone, and enlists honest Police Sergeant James Gordon to arrest him. When Falcone threatens to reveal psychiatrist Dr. Jonathan Crane’s illicit activities if Crane does not declare him mentally unfit for trial, Crane uses a fear-inducing hallucinogen and a scarecrow mask to drive Falcone insane and has him transferred to Arkham Asylum. While investigating “the Scarecrow”, Batman is exposed to the hallucinogen and left incapacitated. He is saved by Alfred and given an antidote developed by Fox. When Rachel accuses Crane of corruption, Crane reveals that he has been pouring his fear-inducing drug into Gotham’s water supply. He doses Rachel with it, but Batman saves her and subdues Crane, who claims to work for Ra’s al Ghul. Batman evades the police to get Rachel to safety, administers the antidote, and gives her a vial of it for Gordon and another for mass production. Ducard reappears at Bruce’s 30th birthday party and reveals himself to be the actual Ra’s al Ghul. Having stolen a powerful microwave emitter from Wayne Enterprises, he plans to vaporize Gotham’s water supply, rendering Crane’s drug airborne and causing mass hysteria that will destroy the city. He sets Wayne Manor on fire and leaves Bruce for dead, but Alfred rescues Bruce.
Ra’s loads the microwave emitter onto Gotham’s monorail system, releasing the drug as the train travels toward the city’s central water source. Batman rescues Rachel from a drugged mob and indirectly reveals his identity to her. He pursues Ra’s onto the monorail and overpowers him just as Gordon uses the Tumbler’s cannons to destroy a section of the track. Batman refuses to kill Ra’s but also chooses not to save him, gliding from the train and leaving Ra’s aboard as it crashes and explodes. Bruce gains Rachel’s respect but loses her love, as she decides she cannot be with him while he is Batman. Bruce buys a controlling stake in the now publicly traded Wayne Enterprises, fires Earle, and replaces him with Fox. Gordon is promoted to Lieutenant of the Gotham City Police Department, shows Batman the Bat-Signal, and mentions a criminal who leaves Joker playing cards at crime scenes. Batman promises to investigate.
This is a superb telling of the origins of the Batman character, full of brooding tension, a very apt musical score and an exciting finale. This film is a testament to how effective it is as an origin story.
Michael Keaton (Birdman)
Jack Nicholson (The Shining)
Kim Basinger (Cellular)
Robert Wuhl (Police Squad)
Pat Hingle (Shaft)
Billy Dee Williams(Alien Intruder)
Michael Gough (Corpse Bride)
Jack Palance (Young Guns)
Tracey Walter (COnan The Destroyer)
Carl Chase (Alien 3)
The mayor of Gotham City orders District Attorney Harvey Dent (Billy Dee Williams) and Police Commissioner James Gordon (Pat Hingle) to increase police activity and combat crime in preparation for the city’s bicentennial. Reporter Alexander Knox (Robert Wuhl) and photojournalist Vicki Vale (Kim Basinger) begin to investigate reports of a vigilante dubbed “Batman”, who is targeting the city’s criminals. Mob boss Carl Grissom (Jack Palance), who has already been targeted by Dent, discovers his mistress (Jerry Hall) is involved with his second-in-command, Jack Napier (Jack Nicholson). With the help of corrupt police lieutenant Max Eckhardt (William Hootkins), Grissom sets up Napier to be murdered during a raid at the Axis Chemicals plant. During the ensuing shootout, Napier kills Eckhardt, after which Batman suddenly appears. The two struggle, and Napier is accidentally knocked into a vat of chemical waste. Batman flees, and Napier is presumed dead.
Batman is, in actuality, Bruce Wayne (Michael Keaton), a billionaire industrialist who, as a child, witnessed his parents’ murder at the hands of a young psychopathic mugger. Bruce meets and falls for Vicki at a fundraiser, and the two begin a relationship. Meanwhile, Napier survives the accident, but is horribly disfigured with chalk-white skin, emerald-green hair and a permanent ruby-red grin. Already a sociopath, Napier is driven completely insane by his plight, he reinvents himself as “The Joker”, kills Grissom in revenge for his set-up, and usurps his criminal empire. In addition, the Joker seeks retaliation against Batman, whom he blames for his disfigurement. During his research for information about Batman, the Joker himself also falls for Vicki.
The Joker begins to terrorize the city, first by lacing hygiene products with a deadly chemical known as “Smilex”, which causes victims to laugh to death when used in certain combinations. The Joker then sets a trap at the Gotham Museum of Art for Vicki, and he and his henchmen vandalize works of art. Batman arrives and rescues Vicki, and the pair escape in the Batmobile. Batman gives information about Smilex to Vicki so she can warn the city via Gotham newspapers about the poisoned products.
Bruce meets with Vicki at her apartment, prepared to tell her that he is Batman. They are interrupted by the Joker, who asks Bruce, “Have you ever danced with the devil by the pale moonlight?” before shooting him. Bruce, who was wearing body armor, escapes, and recollects that the young mugger who killed his parents had asked him the same question; he realizes that the mugger was none other than the Joker himself. Vicki suddenly appears in the Batcave, having been let in by Bruce’s butler, Alfred Pennyworth (Michael Gough). After avouching himself to Vicki, Bruce—as Batman—leaves to destroy the Axis Chemical plant. Meanwhile, the Joker lures the townspeople to a nighttime parade with a promise to give away $20 million in cash. When the citizens arrive, however, he attacks them with Smilex gas, spewing it from his giant parade balloons. Batman arrives on the scene and saves Gotham City from the attack using the Batwing. A mad Joker kills his friend Bob, then takes out a long gun and shoots at the Batwing, causing it to crash. Next, the Joker kidnaps Vicki and takes her to the top of a cathedral.
Batman pursues the two, and at the top of the dusty edifice, he and the Joker confront each other in single combat. When the Joker attempts an escape via a helicopter, Batman grapples the Joker’s leg to a heavy stone sculpture, causing him to fall to his death. Commissioner Gordon unveils the Bat-Signal along with a note from Batman read by Harvey Dent, promising to defend Gotham whenever crime strikes again.
A great Gothic interpretation of Batma. One of the all time greatest Batman adaptations ever.