“Supergirl” never really fit in on CBS, since the channel has almost always avoided genre fare since its renaissance in the early aughts. “Supergirl” finally found a great home at the CW network, avoiding being cancelled, and gets a chance to bloom and fit in with her fellow superheroes at the channel. For the second outing of the “Supergirl” series, the writers and producers are so much more devoted to bringing in new viewers. Not only did the network give a whole season marathon over the course of the summer before its debut, but season two finally introduces this iteration of Superman.
If “Batman v Superman” was Zack Snyder’s own way of exploring how antiquated Superman is, “Justice League” is the proof by Joss Whedon that Superman is actually a bad ass with the right mind behind him. I won’t pretend that “Justice League” is a masterpiece of the comic cinema boom, but I can’t claim it to be one of the worst movies of the year, either. With some spit and polish, it could have risen to be a fantastic film, but in its final form, it’s a neat diversion with a manic energy, and the return of a modern cinematic Superman who presents an iota of positivity, charm, and hope. Finally.
I was not at all a fan of the original “Batman” animated movie, as I felt it was somewhat unfocused. Thankfully “Batman vs. Two Face” not only gets the idea more about the Batman series, but uses Two Face quite cleverly. As most fans know, the original Adam West Batman show wanted Clint Eastwood to play Two Face, but deemed the character too disturbing for viewers. Producers for this animated movie go back to re-cast Two Face for their show, but bring aboard another television icon to play the villain, William Shatner. Shatner is perfect for the role of the duplicitous deviant ne’er dowell known as Two Face, and what makes the pot even sweeter is that he’s turned in to an allegory for homosexuality.
“Justice League: The New Frontier,” adapted from the late great Darwyn Cooke’s graphic novel is an attempt at a new approach toward the DC universe the heroes behind DC. It’s an engaging, poetic, often brilliant animated film with an adult sensibility and intriguing psychological analysis that features a world on the brink of a new frontier, and its heroes and protectors facing the prospect of not being needed. On the opposite spectrum, their views of humanity are waning and devolving as they see endless cruel violence, and hatred take form through horrendous racial crimes. Director David Bullock and co. dare to present a film that takes a step back looking at the humanity that is affected by a world inhabited by DC heroes.
“Batman: The Animated Series” is one of the seminal animated creations of the nineties and is still considered a quintessential depiction of Batman. It’s a masterpiece of animation and meticulous storytelling. The voice work by Kevin Conroy and Mark Hamill as Batman and Joker are so definitive, that some fans can’t possibly imagine either character on screen without either actor portraying them. Here we are in 2017 with Bruce Timm reviving his animated version of “Batman” and what do we get? A very long gag involving Harley Quinn farting in the Batmobile as Batman sniffs it in with pleasure, all the while Nightwing retches in the side seat. This is the bar of “quality” we get with “Batman and Harley Quinn.”
Now that the gloves are off, FOX has managed to embrace the comic book universe tropes of “Gotham” and no longer have molded “Gotham” as an abysmal crime thriller. It’s now working as a somewhat new and radical take on the origin of Batman and Bruce Wayne’s molding in to the dark knight. The writers have taken even more liberties with the universe, centering so much more on Commissioner Gordon now and slowly sliding Bruce Wayne in to focus. The third seasons is a much lauded improvement over the former seasons for fans, as “Gotham” goes all out weird and eccentric, re-thinking the Batman universe and his origin in a new and often bold method.
It’s a thing of beauty to see DC Comics and Warner finally embrace what’s so awe-inspiring about their characters. I’ve been a very vocal critic about DC’s output of live action films, and “Wonder Woman” is thankfully a remarkable jumping point for the new direction of the cinematic universe for DC and Warner. Patty Jenkins’ film presents Wonder Woman at a turning point at the very end of her own movie and is one of the most socially relevant superhero films made in the last fifteen years. “Wonder Woman” arrives in an age where worldwide, efforts are being made by various political and corrupt powers to silence women. Out of the darkness comes Diana Prince, a woman who will not be silenced or put in to the background.
Diana grew up to become an Amazon warrior. Little did she know, she was much more than that and when the time comes, she heads to war with a man who crashed near the island she lives on with only women. There she discovers her full potential as much more than a warrior, but also a hero.