No matter what you feel about “Batman and Robin,” you can’t deny that it almost killed the comic book movie as a sub-genre. It also about killed the careers of Alicia Silverstone, Chris O’Donnell, and Uma Thurman, all of whom took years to recover. Even today with so much nostalgia and looking back on classically bad movies, “Batman and Robin” is still just bad. I understand Warner wanted kid friendly, and Joel Schumacher delivered on kid friendly, but in the process he also delivered a nigh unwatchable sequel that also killed Batman on film for years until Christopher Nolan swooped in to reboot the whole kit and caboodle.
I’m frankly surprised that “Batman Forever” doesn’t show up often on lists about homoerotic mainstream films. In the annals of homoerotic cinema, “Batman Forever” is right up there. While Joel Schumacher pretty much does what Warner asked by making Batman less menacing, less violent, and a lot more family friendly, it’s also incredibly homoerotic. That doesn’t hinder the experience, but it’s worth discussing how Batman goes from fighting with a Latex covered sex zombie to building romantic tension with a young man he takes in seemingly out of nowhere.
Holy Smokes, Batman and Robin! Oh my god, Batman and Robin! Praise the lord, Batman and Robin! Shoot now, shoot, Batman and Robin! Let’s Do Bruce Wayne now, Let’s do Dick Grayson now! They Are Apart of Me!
Come on, everybody sing along! What does “Alyas Batman en Robin” teach us? It’s always a good idea for any crime boss to gun down their own henchmen when they manage to apprehend new fire arms for their operation. No new henchmen to do your bidding? Hell, just hire new ones, they’re always available in the trades I assume. When you’re holding up a bank, it’s good to have a musical number while holding people at gun point. And the bank tellers will be so inspired by your musical prowess they’ll dance along while you sing. Crime bosses apparently do nothing but sit in their mansions donning their costumes awaiting guests like Catwoman does. Batman oddly has his own brand of tea and milk ready in the bat cave.
Burton out. Keaton out. Score out. And apparently, Bruce Wayne, out. “Batman Forever” is where the series started to eventually fall off the fails and Joel Schumacher’s approach toward these movies are completely different and absolutely radical from what Burton originally envisioned. Burton depicted Gotham as a sprawling endless canyon of darkness and shadows while Batman was mostly polarized and closed off outcast from the world. In Schumacher’s eyes, Gotham is now a bright and neon wonderland and Schumacher’s handling of Batman and many other key characters of the mythos make “Batman Forever” in to a veritable gay burlesque show.
It’s funny. Back in the day when I used to love any superhero movie that came in to theaters, I found myself getting excited by “Batman & Robin.” Why? Because he mentions Superman in the opening for a brief second. Nevertheless that was when fans and Warner were still considering a Batman and Superman movie, and that never came to fruition, thankfully. “Batman & Robin” is a glorious mess. It’s a movie so awful that it’s compelling at times.
After the success that was “Teen Titans,” it was only a matter of time until the Cartoon Network in America decided to re-tap the well that provided them with top ratings and dive in to a famous title from the comic world. This time around, Warner has tackled the “Young Justice” brand, a title about the second tier young cohorts of DC Comics titan elite and their efforts to prove themselves to their elders. This time providing a sterner tone and more defined animation styles, “Young Justice” is a definite contender for breakout series of the DC label.
10. Batman and Robin
Directed by: Joel Schumacher
Not even the Filipino and Turkish rip off s of Batman are as bad as this abomination that embraces Batman more than the previous films, but in exchange, rounds out a diasterpiece that’s unwatchable, embarrassing, and ruined the careers of nineties up and comers Chris O’Donnell and Alicia Silverstone. Only because of his connections and willingness to carve out relevant and excellent films was George Clooney able to come out of this unwatchable farce with barely a scratch. Now wholly diving in to homoerotic imagery and the like, Batman and Robin are a bickering couple of crime fighters who want to struggle for power and fame among Gotham’s citizens.
They run around in bright costumes, fighting other glittery thugs, and even have skates on their boots. What’s missing is a make out scene between Dick Grayson and Bruce Wayne. To cut the inherent sexual tension between the two men, the film brings aboard two feminine personalities in the form of Batgirl and Poison Ivy, both of whom have little to do but entice the dynamic duo. “Batman and Robin” is a low in cinema and comic book adaptations that tests my endurance every time I try to sit down and watch it the entire way through.