One of the most controversial and heavily disputed comic book events of all time is finally brought to the DC animation universe. It’ll probably also setting up potential movie go arounds for supporting characters within the “Superman: Doomsday” scope. I can imagine if the course is cleared, we could see some overdue attention paid to “Steel.” One can hope. In either case, “The Death of Superman” is pretty much a truncated version of the original mini-series, with a look at the massive event that brought DC to its knees and Superman to death.
Based on one of the most iconic and controversial miniseries of all time, “The Death of Superman” is a curious adaptation of the series that suffers from definite pitfalls but comes out in the end as a pretty damn good movie, overall. One of the very few DC animated movies not centered on Batman, “The Death of Superman” is much more centered on the original source material than 2007’s “Superman Doomsday,” and if the final scene is any indication, we’re looking at a pretty length depiction of the story arc from the comic books right down to the Super mullet.
At the end of the day I think “Justice League” is a very—okay movie, with glimmers of greatness. But that’s the problem, sadly. Fans waited and waited, and didn’t want an okay movie. We fans wanted a great movie, and despite bringing in Joss Whedon in the final hour, “Justice League” feels less like the beginning of an epic saga of superheroes, and more like a throwaway episode of a mediocre superhero series. And what with “mustache gate” and the continued controversy over the original cut of the film, “Justice League” will carry a lot of baggage with it forever. Which is sad, because I still didn’t hate it as much as I did “Batman v 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.
“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.
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.
If you want to talk about weird team ups of 2017 in comic books, it’s tough to come across any weirder than Mighty Morphin Power Rangers and the Justice League. It takes a lot of exposition, but the crossover with both teams is entertaining enough in that the writers find a good balance between both properties. The Power Rangers at Boom Studios are now dramatic enough in their own series to work alongside the Justice League, while the Justice League are considered somewhat bright enough to work alongside the Power Rangers. This could be a good platform to mock the Power Rangers and give the Justice League considerable credibility, but thankfully both teams manage to take the piss out of one another quite often.