Batman's "New Era?" Bring It On!

Author: Cary Ashby
March 27, 2009


EDITOR'S NOTE: You can listen to BOF's "New Era of Batman" roundtable podcast HERE. We've got all opinions covered on this one, so don't think it's all one-sided. One can also find an opposing view to this op-ed (authored by me -- full disclaimer) RIGHT HERE. - "Jett"



Before I started ranting on “Batman‘s New Era,” let me establish a few things…

1) Most importantly, I'm no "Bat-Sheep," as Jett puts it. I have no problem saying DC has made knuckleheaded editorial decisions. (Superman Blue and Red, anyone?) When I see some of those poor choices, I just want to smack myself in the head -- mentally, at least -- and then want to do the same thing to the writers and editors. ("Help us, Denny O'Neil, you're our only hope!”)

2) I'm also not willing to follow DC around blindly simply because I can't freakin' afford it! If I'm going to lay down my hard-earned cash for some comics, I want to make sure I get my money's worth. In other words, if it goes in my collection it's because I truly WANT it in my collection and will be re-reading those issues on occasion. When I returned to collecting comics in the late 80s (after leaving when I get royally irritated about Jason Todd, basically an obnoxious version of Dick Grayson, being Robin), I promised I'd be very selective about what BATMAN releases I would buy. And I still stick to those guns. 'Cause let's face it, some of the stuff released since the '89 film has been forgettable, well, you know….

3) Bruce Wayne IS the Batman. Always will be (but apparently not starting in June) and will be again. How can you not put BW and The Dark Knight together in the same thought? They are inseparable. I stopped watching BATMAN BEYOND because I realized I didn't like somebody besides BW being The Bat. The best part of KNIGHTFALL? Knowing Bruce would be driven to return as Batman and then see him putting a hurtin' on AzBats, who had soiled what Batman stood for, to reclaim The Mantle of the Bat.

4) I'm all for trying to keep long-time characters fresh. Sometimes that involves making controversial or unpopular writing decisions. In other words, writers have to take storytelling chances. Some work well and some fail miserably.

5) At the end of the day, I want to read (or watch) a memorable, fun comic book adventure.

6) SO...I'm down with this "New Era of Batman."

GRANTed (pun intended), I’m as event-fatigued as the next guy. I’m sick and tired of DC having a Crisis after Crisis. Enough already! Grant Morrison shouldn't have given us two (!) ways for Batman to "die." He should have chosen one and stuck with it and made it flow between the end of “Batman: R.I.P.” and FINAL CRISIS. Instead, we're left confused…very confused. As frustrated and disappointed as I am with the way the continuity between “R.I.P.” and FINAL CRISIS was mishandled, I’m not willing to be a fair weather fan and give up comics because the original Batman is no longer The Dark Knight. (Although I do see why that might be the case.)

Why, you ask? I have faith DC and the talented pool of Batman family writers can spin some good yarns out this Batman-is-gone scenario. It should be a heckuva ride. After all, I’ve referred to myself as a diehard Batman fan for too long to jump ship now.

Without further adieu, here are my thoughts and predictions on the new era of Batman…

THE NEW BATMAN
As I wrote for my paper's column in mid-November, I have no doubt Dick Grayson (aka Nightwing) will be the new Batman. He’s been groomed to take over for Bruce Wayne ever since he became the first Robin. And frankly, like Marvel’s Captain America, I’d love for DC to take a long time with Dick in the cowl and truly try to make a go of it. That would make for interesting story possibilities. What better way to get fans anxious about the original's return than by having them wonder when, or even if, Bruce is returning to the cowl?

BATMAN AND ROBIN
First of all, it’s about time we had a series focused on The Dynamic Duo. Yes, this is a roll-your-eyes way of DC getting readers to buy more titles, but the post-Bruce Wayne world is the best time to debut this title.

My heart wants to see the new Dynamic Duo being Dick and Robin III (Tim Drake), but my instinct is telling me Robin might be Damian, Bruce’s biological son. I just don’t see Dick wanting his partner to be someone both people haven’t been able to trust. Why would Tim suddenly giving up his Robin identity? Morrison gave a lot of clues to Damian being Robin not only throughout his BATMAN run, but also in his extensive interview with blog.wired.com. Having Damian as Robin would be extremely disappointing, especially considering how great the interactions have been between Dick and Tim and how much time other writers have taken to develop their brotherly relationship. The tweaked Robin costume and Morrison using B&R (and BATMAN #666) to probably keep his "Batman & Son" storyline going is further evidence Robin could be the brat, er, Damian. (Drat!)

Morrison’s “David Lynch directs the Batman TV show” pitch makes me nervous, but I’m usually that way with him -- or utterly confused. How ‘bout some linear narratives for a change, huh, Grant? I hope he approaches B&R with the same respect and novelty he did ALL-STAR SUPERMAN. Regardless, it should be an intriguing approach to the Dynamic Duo.

DETECTIVE
I’m all for Batwoman getting her time in the spotlight. She was way too underused in 52. Why introduce a character with ties to DC’s past and not do much of anything with her? Let’s face it: Batwoman’s time in this title could be an audition for her own series.

GOTHAM CITY SIRENS
I might not pick up this title much past its first issue or storyline, but if it’s anything like the Webisodes of “Gotham Girls,” we’re in for a treat. Besides, Dini’s run on DETECTIVE COMICS was stellar, if not (dare I say it?) an instant classic. SIRENS could be the villainous answer to BIRDS OF PREY, but probably will be much more interesting, at least under Dini’s more than capable pen.

RED ROBIN
All evidence points to Jason Todd being Red Robin. The second Robin has had an annoying habit of taking up other people’s identities since he was resurrected. So it makes sense for him to bear the name of the middle-aged, alternative Dick Grayson in KINGDOM COME and the duds that JT wore in COUNTDOWN TO FINAL CRISIS #7. But wait -- Dan Didio, in an IGN video interview about Batman’s future, said Tim doesn’t believe Bruce is dead, so could Robin III become Red Robin? Maybe Tim gives up being Robin to search for Bruce as a civilian.

OK, I admit it: It's a toss-up between Jason Todd and Tim Drake. My vote is for JT to be Red Robin, keep Tim as Robin and Damian as the unwanted intruder.

Here's to deep pockets, discerning, skeptical minds, a lot of fun, and some great reading during this “New Era of Batman” -- however long it lasts.

Batman's "New Era" Begins in June

Author: Jett
March 24, 2009

As you all know, I’m not too thrilled with all this -- this “New Era” for Batman. Regardless, it’s happening and it starts in June. Here are Batman in Comic’s June solicitations from DC….



BATMAN AND ROBIN #1
* Written by Grant Morrison
* Art and cover by Frank Quitely
* On sale June 3rd
* Reviewed on BOF by Jett
"Batman Reborn" begins here! With the reunited team of Grant Morrison and Frank Quitely (ALL-STAR SUPERMAN, WE3, New X-Men), this first issue kicks off a 3-part story arc that can't be missed! The new Dynamic Duo hit the streets with a bang in their new flying Batmobile as they face off against an assemblage of villains called the Circus of Strange. They also tackle their first mission investigating a child who’s been abducted by the mysterious Domino Killer. But will everything go smoothly? And who exactly are the new Batman and Robin? The newest era of The Dark Knight begins here! Retailers please note: This issue will ship with three covers. For every 25 copies of the Standard Edition (with a cover by Frank Quitely), retailers may order one copy of the Variant Edition (with a cover by JG Jones). For every 250 copies of the Standard Edition, retailers may order one copy of the Sketch Variant Edition (with a cover by Frank Quitely), which is a sketch version of the Standard Edition.

BATMAN #687
* Written by Judd Winick
* Art by Ed Benes & Rob Hunter
* Cover by Tony Daniel & Sandu Florea
* On sale June 10th
* Reviewed on BOF by Paul Casey
In this special epilogue to BATTLE FOR THE COWL, new BATMAN writer Judd Winick rejoins the Bat Family! This 40-page issue explores the final moments of the Battle for the Cowl as the new Batman learns that winning the Cowl comes at a high price! Witness the new Batman taking to the streets of Gotham City for the first time! Putting a new man inside the Bat-suit was the easy part – now the fun begins! Guest-starring Superman and Wonder Woman, this issue is a must-read for any Batman fan. Form for more information.

DETECTIVE COMICS #854
* Written by Greg Rucka
* Art by JH Williams and Cully Hamner
* Cover by JH Williams
* On sale June 24th
* Reviewed on BOF by John Bierly
“Elegy” part 1 of 4! A new era in the history of DETECTIVE COMICS begins as Batwoman is unleashed on Gotham City! Marked by the blood-red bat, Kate Kane is a soldier fighting her own private war – one that began years ago and haunts her every waking moment. With a script by Greg Rucka and breath-taking art by JH Williams III, you've never seen anything like this! Featuring the debut of a new co-feature starring The Question written by Rucka! Odds against you? Alone and nowhere to turn? Willing to fight, but you don't know how? When you're searching everywhere for an answer, sometimes all you need to do is ask the right Question. Renee Montoya again dons the faceless mask to help those in need, all the while searching for her own answers in this new adventure with art by Cully Hamner.

RED ROBIN #1
Written by Christopher Yost
* Art by Ramon Bachs
* Cover by Francis Manapul
* On sale June 10th
* Reviewed on BOF by Ryan Hoss
Writer Chris Yost and artist by Ramon Bachs kick off a brand-new ongoing series right here with “The Grail” part 1 of 4! Following the aftermath of BATTLE FOR THE COWL, a new Batman watches over Gotham City. But not everyone is ready to give up on the old one. Someone believes that Bruce Wayne may still be alive…and that someone is Red Robin. But who is wearing the Red Robin costume, and why is he traveling the globe looking for a dead man? Whoever he is, he's not alone in his search!

BATMAN: STREETS OF GOTHAM #1
* Written by Paul Dini and Marc Andreyko
* Art by Dustin Nguyen & Derek Fridolfs and Georges Jeanty & Karl Story
* Cover by Dustin Nguyen
* On sale June 17th
* Reviewed on BOF by John Bierly
An all-new Batman series by the DETECTIVE COMICS creative team of Paul Dini and Dustin Nguyen! As a new Batman rises on the streets of Gotham City, the heroes, villains and citizens take notice. How will the police feel about this new Batman, and can he control the crime in Gotham the way the old Batman did? This new series also features a regular ongoing co-feature starring Manhunter written by Marc Andreyko and illustrated by Georges Jeanty! Kate Spencer lost a friend during the chaos of BATTLE FOR THE COWL, and now she wants payback. As usual, she’ll use any

GOTHAM CITY SIRENS #1
* Written by Paul Dini
* Art and cover by Guillem March
* On sale June 24th
* Reviewed on BOF by Stephanie Carmichael
This all-new series features the bad girls of Gotham City! Catwoman, Poison Ivy and Harley Quinn are tired of playing by other people's rules regardless of which side of the law they're on. These tough ladies have a new agenda that's all their own, and they'll use any means necessary to pursue it. But can they get along and work as a team? And who will get hurt along the way? DETECTIVE COMICS and STREETS OF GOTHAM writer Paul Dini kicks off this brand-new ongoing series with amazing artwork by Guillem March.

BATMAN CONFIDENTIAL #30
* Written by Andrew Kreisberg
* Art by Scott McDaniel & Andy Owens
* Cover by Stephan Roux
* On sale June 10th
* Reviewed on BOF by John Bierly
“Bad Cop” part 2 of 2! Facing the rogue Gotham City police officer who was “created” by The Joker – Commissioner Gordon and Batman receive desperate help from an unusual source: young Barbara Gordon!

THE OUTSIDERS #19
* Written by Peter J. Tomasi
* Art and cover by Lee Garbett & Trevor Scott
* On sale June 17th
* Reviewed on BOF by Paul Casey
“The Deep” part 5 of 6! With half of the Outsiders captured and the remaining members on the run, things have reached a boiling point for Alfred’s new squad! And to make matters worse, Deathstroke the Terminator discovers he may have found a way to increase his amazing powers. Meanwhile, the search for the mysterious meteorite – and its strange connection to the Insiders – continues!

I will admit that I will be reading BATMAN & ROBIN as I will be reviewing it for BOF. In fact, BOF will be covering and reviewing Batman in comics during this "New Era." I'm also intrigued a tad by this RED ROBIN to be honest.

I guess we'll see where all this goes.

"It's all part of...the plan?"

BATMAN 3 Announcement Rumors "Not true"

Author: Jett
March 23, 2009



Over the last couple of weeks, BOF has heard whispers from very good sources that Warner Bros. might be planning on officially announcing BATMAN 3 as well as the return of director Chris Nolan. When was this to take place? Well, in late July as Comic Con International 2009 commences in San Diego.

After hearing this scuttlebutt from several trusted insiders, I proceded to pose the question to Warner Bros. As well as Chris Nolan representatives. Warner Bros. tells BOF that this particular rumor is “not true,” while Nolan representatives had not responded by the time this story went online.

Between now and July, could Warner Bros. decide to make an announcement? Sure. But I believe that they would have responded with a “No commment” if it were a possibility. Since THE DARK KNIGHT was announced a year after BATMAN BEGINS in July of 2006, it's certainly looking more and more as if BATMAN 3 is going to be a 2012 release.

Anyway, BOF highly recommends fans NOT to expect a B3 announcement come CCI San Diego time and prepare yourself for a three year wait before the next BATMAN hits theaters.

No More R-Rated Comic Book Films From WB

Author: Jett
March 23, 2009



According to a report over on IESB.NET, Warner Bros. is mandating that superhero/comic book films -- as well as “tentpoles” -- are to be PG-13. Apparently, the R-rated WATCHMEN‘s box office -- or lack thereof -- is behind this decision.

WATCHMEN took in $55 million (domestic) opening weekend and has fallen sharply since. Based on that, I get it -- WB wants these sort of films to available to a larger audience. But I don’t know what they were expecting here -- it’s WATCHMEN for crissakes! But I get it.

Now don’t worry, I don’t think that the fine folks in Burbank are demanding that all DC-based films go the route of FANTASTIC 4, OK. Hell, THE DARK KNIGHT was pretty damn dark and it was rated PG-13 -- and it made a BILLION DOLLARS! Just don’t expect the upcoming GREEN LANTERN, WONDER WOMAN, and BATMAN 3 to include F-bombs, sex, and bloody/gory violence. And frankly, I have zero desire to see an R-rated BATMAN, GL, or WW anyway.

Now on the other hand, if a film of this genre demands an R-rating to tell the story properly, I’d hope WB wouldn’t put the ‘ol kibosh on it. This mandate does reek a bit of “Well, it’s a comic book film -- they’re for kids,” which certainly isn’t cool.

Overall, I’ve got no problem with this. For the full story, visit IESB.NET.

Crash Test Dummies: Superman's Song

tarzan wasn't a ladies' man
He'd just come along and scoop 'em up under his arm
Like that, quick as a cat in the jungle
But clark kent, now there was a real gent
He would not be caught sittin' around in no
Junglescape, dumb as an ape doing nothing

Superman never made any money
For saving the world from solomon grundy
And sometimes i despair the world will never see
Another man like him

Hey bob, supe had a straight job
Even though he could have smashed through any bank
In the united states, he had the strength, but he would not
Folks said his family were all dead
Their planet crumbled but superman, he forced himself
To carry on, forget krypton, and keep going

Superman never made any money
For saving the world from solomon grundy
And sometimes i despair the world will never see
Another man like him

Tarzan was king of the jungle and lord over all the apes
But he could hardly string together four words: "i tarzan, you jane."

Sometimes when supe was stopping crimes
I'll bet that he was tempted to just quit and turn his back
On man, join tarzan in the forest
But he stayed in the city, and kept on changing clothes
In dirty old phonebooths till his work was through
And nothing to do but go on home

Superman never made any money
For saving the world from solomon grundy
And sometimes i despair the world will never see
Another man like him
(2x)

The Ballad of Barry Allen

Performed by Jim's Big Ego
from the album, "They're Everywhere!"



I've got time to think about the beauty of the thousand variations of the beating of a wing of a hummingbird suspended in the aspic of the world moving slower than molasses as I'm off to catch the girl who is falling off the bridge
and I'm there before she knows it
I'll be gone before she sees me
with my hand around her waist
I pull her back to safety
by the time she knows what's happened
there'll be someone else who needs me
because time keeps dragging on
and on
and on
and on
(time keeps dragging on)
I've got time to think about my past as I dodge between the bullets how my life was so exciting before I got this way and how long ago it was now I never can explain by the clock that's on the tower or the one that's in my brain
and I'm there before you know it
I'll be gone before you see me
and I'd like to get to know you
but you're talking much too slowly
and I know you'd want to thank me
but I never stick around
because time keeps dragging on
and on
and on
and on
and on
And you say the time goes rushing by
but it seems so slow to me
and you see a blur around you fly
but it takes too long
it seems so slow to me
(time keeps dragging on)
How I wish I'd never gone into my lab to experiment that night before lightning flashed around me
and time changed speed
now I have to try to be so patient and wait for calamity to strike
because when things change in an instant
it's almost fast enough for me
and I'll be there before you know it
I'll be gone before you see me
and do you think you can imagine
anything so lonely
and I know you'd really like me
but I never stick around
because time keeps dragging on
and on
and on
and on
and on
And you say the time goes rushing by
but it seems so slow to me
complain I'm gone before you blink your eye
but it takes too long
it seems so slow
And you say the time goes rushing by
but it seems so slow to me
and I want to be there while you laugh or cry
but it takes too long
it seems so slow to me
(time keeps dragging on)
and on
and on

Hal Jordan Cast?

Author: Jett
March 21, 2009

UPDATE: Per MANIA.COM, no offer has gone out to actor Chris Pine to play Hal Jordan/Green Lantern. Says the site, "One source told us the producers of the film are "not even close to making an offer" for the lead role. The reason? The casting director on the film hadn't even signed on until late last week, the same day that the offer supposedly went to Pine. In fact, the casting director plans an exhaustive search which may result in a star, an up-and-comer or a complete unknown landing the job."

As I said last week, one of the other names being thrown around is that of Aussie thesp Sam Worthington who stars with Christian Bale in this Summer's TERMINATOR SALVATION. However, Mania says that agents everywhere are pushing their clients who meet the model for the producer's take of Hal Jordan.

The previous GL casting report is below...



According to both LATINO REVIEW and IESB.NET, Chris Pine (STAR TREK) is either the front-runner to play Hal Jordan in the upcoming GREEN LANTERN film, or has already been offered the part.

On the other hand, the website COLLIDER.COM claims it's BS. “At least according to my source, and mine is the same one that said Anton Yelchin wasn’t in the running either. Trust me, the person I’m speaking with would know. While Latino Review and IESB have definitely broken a lot of casting stories, this is not going to be one of them.”

Well obviously, someone is going to be wrong here. Anyway...

BOF was told yesterday that industry scuttlebutt has TERMINATOR SALVATION star Sam Worthington was in the mix. Honestly, I'd prefer this casting over Chris Pine – but that's just me.





Hal Jordan?
Sam Worthington (up) & Chris Pine (down)

Regardless, filming for GREEN LANTERN is slated to commence filming in September, so casting the title role is definitely going to go down soon.

Director Matthies Talks UNDER THE HOOD

Posted by: Jett
March 20, 2009

The fun doesn’t end for WATCHMEN fans as Warner Premiere’s WATCHMEN: Tales of the Black Freighter arrives on Blu-ray and DVD on Tuesday, March 24th. Included in the release is co-producer/director Eric Matthies’ all-new take on UNDER THE HOOD, the Hollis Mason/Nite Owl autobiography from the original WATCHMEN graphic novel.

One of the more cutting-edge creators of DVD content in the industry, Matthies, along with partners Tricia Todd and Josh Oreck, has been responsible for acclaimed ancillary materials for such landmark DVD releases as THE MATRIX, 300 and SPIDER-MAN. He has helped elevate DVD extra content to a new art form, and UNDER THE HOOD is a prime example.

Along with co-producer Wesley Coller and writer Hans Rodionoff, Matthies created the perfect vehicle for bringing Hollis Mason’s tell-all autobiography, Under the Hood, to life. As the subject of a story revisited 10 years later in the fictional “The Culpepper Minute” TV news magazine, Under the Hood expands beyond what was originally limited to words on a page and a few single-frame images. The chronicle of the events in Mason’s life that led to him to become the masked avenger Nite Owl – including the formation of the Minutemen – now plays as a feature that allows the characters (Mason, the original Sally Spectre, The Comedian, Moloch the Mystic) to add even greater depth to the tale.

Carla Gugino, Matt Frewer, Stephen McHattie and Jeffrey Dean Morgan appear as their characters from the theatrical Watchmen film in this live-action documentary-style special. Produced in association with Legendary Pictures, UNDER THE HOOD is executive produced by Zack Snyder, Lawrence Gordon, Lloyd Levin, Deborah Snyder, Thomas Tull and Wesley Coller.

Matthies took a few moments this week to discuss the origins, direction and incidentals of UNDER THE HOOD. The following is a transcript of the Q&A.



What made the news magazine format work for Under the Hood

ERIC MATTHIES: “We needed a concept that would not require a leap of faith, and that would not just be a book on tape. The news magazine format really allowed us to expand in so many ways. First, we were able to incorporate Larry Culpeper, and have him represent an outside voice speaking about both the memoir and the world in which it was taking place. And by having Culpeper revisit the story 10 years later, we were able to cover two different time periods and give the original piece greater perspective within the WATCHMEN movie. It also gave us the chance to explore more of the characters through interviews -- like Wally Weaver and Laurence Schexnayder -- and delve more into the background of their characters. This was an idea that worked on so many levels.”

As Zack said to Hans, “When in doubt, go back to the source material and you really can’t go wrong.” And he’s right.

Did changing the format from first-person narrative to a new magazine perspective work for or against the original content?

ERIC MATTHIES: “One of the ways we stayed true to UNDER THE HOOD was simply to have Stephen McHattie answer the interview questions pretty much the way Hollis had written them, combined with some of his own improv on what Hollis would say. And then we were able to fill in the gaps with other interviews.”

How did the cast react to these in-character interviews -- especially Stephen McHattie as Hollis Mason?

ERIC MATTHIES: “Stephen McHattie was great -- he really got it and was able to really bring something special to that material. It was obvious that he had read UNDER THE HOOD, and I think it was fun for him to be able to put some life behind those lines.”

“It’s a testament to each individual – they’re all fantastic actors with a great understanding of their character, regardless of the size of the role -- and to Zack (Snyder), who gave them a three-ring binder of resource material and back story. So when we came along and gave these actors the opportunity to bring even more depth to these characters through this ancillary content, they all jumped in and really embraced what we were trying to do. And they all had their different approaches, which made it even better. Carla (Gugino) was amazing -- she and I probably had the most dialogue about the project. Rob LaBelle and Matt Frewer were great, too. We even got to introduce Malcolm Long and he alludes to how he’d love to interview one of these masked heroes. They seemed to really appreciate the opportunity to play with these characters.”



Was it difficult shooting UNDER THE HOOD during the filming of WATCHMEN?

ERIC MATTHIES: “The planning started pretty much day and date with production, and we started shooting in late November knowing that there would be a couple of things we’d have to pick up later. The tricky part of UNDER THE HOOD was balancing the shoot schedule with the film, and coordinating shoots on certain sets or areas of sets in combination with which actors were available, in coordination with hair and make-up and costumes, because everything had to match with the different time periods. So a lot of things needed to come together and, yes, we had to change our plans a few times, but everyone really pitched in. It was complicated, but a lot of fun. It’s an honor and a challenge when you get handed the responsibility of something like this -- working with a crew this talented -- and part of that thrill is that you really have to raise your game every day. So for me, that was great.”

What were the specifics you were seeking to convey behind the TV commercials within the program?

ERIC MATTHIES: “Originally we talked about showing three Veidt ads, and the one we used was actually the one we made as a sample for the fan contest. Discussing it with Wes Coller, Debbie, Zack and the producers, we wanted commercials that would help anchor the piece in something familiar to the audience for that time period. We had obstacles – a lot of what we found and loved was either not available or not licensable. But I like the commercials we used -- the Seiko commercial is a nice nod to the watches in the film.”

“Our researcher Anna Obropta really deserves a lot of the credit – she really knocked herself out. Those are actual commercials -- we just redid the voiceovers. Anna was responsible for getting us the commercials, plus all of this amazing stock footage -- everything from the old New York street footage to the McCarthy hearings. She and a team of lawyers worked hard to clear to use what we used.”

Do you have a favorite scene within UNDER THE HOOD?

ERIC MATTHIES: “I really had a lot of fun going back to recreate the footage from the 1930s of Mothman and Silhouette and those characters, having them in costume on the New York streets fighting crime – and shooting it on 16mm with an old Bolex hand-crank camera. We mixed that footage with interviews we shot on high-def, which we treated in post-production. It gave the film a nice texture.”



Do you believe you achieved your initial goals with the final result of UNDER THE HOOD?

ERIC MATTHIES: “The goal was to make ancillary material that complemented the film, and I think we achieved that. The wonderful thing in the graphic novel is that UTH gives you all the background and psychology and philosophy of the masked adventurers and the impact they had prior to Dr. Manhattan. But there was no way Zack could include every bit of that information. It was a great responsibility to make something that they didn’t have to shoe-horn into the movie.”

“The production team on the feature was so fantastic -- especially because I don’t think they completely understood what we were up to at first. It took a little convincing. But they all did amazing work on our behalf. When we first shot with Hooded Justice, that was a thrill to walk out onto the New York Street set. I’d shot on that set before, but now it was my set. To have Michael Wilkinson’s team doing their costume magic to help our production, and to have prop master Jimmy Chow making things like holsters for us -- it was amazing to have all the resources of this giant movie afforded our little 40-min piece. I want to thank them all -- they were very gracious about everything, they were so attentive to details, and I appreciate that they wanted to elevate our production value so it would fit into this amazing world they had already created.

And then there was Zack and Debbie Snyder and Wes Coller, Lloyd (Levin) and Larry (Gordon) -- they all gave me the confidence to run with it and do what we did as well as we did. It was a huge responsibility and a tremendous honor, and I’m proud of what we achieved with UNDER THE HOOD.

Green Lantern to Start Filming in September

Source:Production Weekly
March 18, 2009



Warner Bros. Pictures is scheduled to begin filming The Green Lantern in mid-September in Australia, reports Production Weekly.

To be directed by Martin Campbell, the comic book adaptation is targeted for a December 17, 2010 release.

The "Green Lantern" was created in 1940 by writer Bill Finger and artist Martin Nodell. Hal Jordan introduced in 1959, a second-generation test pilot, is an ordinary man who was given the power ring and battery (lantern) by a dying alien named Abin Sur. When Abin Sur's spaceship crashed on Earth, the alien used his ring to seek out an individual to take his place as Green Lantern: someone who was "utterly honest and born without fear."

"Why So Serious" Wins At SxSW!

Posted by: Jett
March 16, 2009

How cool was all the viral stuff for THE DARK KNIGHT?

As for me, I LOVED that stuff! From the first reveal of Heath Ledger as The Joker to the “I Believe In Harvey Dent” marches all over the U.S., not one second of it I didn’t look forward to as a fan and cover as “press” for BOF.

Hell, I even marched on behalf of Harvey Dent in both Houston and Austin!

Anyway, I wanted to let everyone know that 42 Entertainment's “Why So Serious” viral campaign won top prize at the SXSW Interactive Awards!

“Why So Serious,” of course, was launched to promote THE DARK KNIGHT and attracted nearly 10 million players in over 17 countries!

It is one of the most successful ARG’s (Alternate Reality Game) to date.

From BOF to 42 Entertainment, “Well done!”

And by the way, y'all had me at “Why So Serious?”

SUPERMAN/BATMAN: PUBLIC ENEMIES Going Animated PG-13!

Author: Jett
March 16, 2009

According to AICN, the Jeph Loeb-written "Public Enemies" storyline from SUPERMAN/BATMAN comic book is getting the PG-13 animated film treatment from WB/DC.



AICN says the movie is already in production and has the synopsis as well:

"United States President Lex Luthor uses the oncoming trajectory of a kryptonite asteroid to frame Superman and declare a $1 billion bounty on the heads of The Man of Steel and his “partner in crime” Batman. Super heroes and super villains alike launch a relentless pursuit of Superman and Batman, who must unite – and recruit super help – to stave off the action-packed onslaught, stop the asteroid, and uncover Luthor’s devious plot to take command of far more than North America."



Nice! Not a big fan of Batman teaming up with superpowered beings, but I love these animated films and I'm really looking forward to this one! To prep, I guess I should go buy and READ THE COMIC it's based on.

BATMAN IN COMICS: BOF's mad as hell and ain't going to take it anymore!

Author: Jett
March 14, 2009



The first time, it took ‘em 30 years to run me off. This time though, they must have upped their game, ‘cause they’ve made me wave the white flat after only 4 years.

“Thanks” DC.

*rolls eyes*

After watching a recent interview with DC’s Dan DiDio and Mike Marts discussing what they have in store for Batman in comics (CLICK HERE to view) -- this so-called “New Era for Batman” -- I’m sad to say that I have absolutely ZERO interest in any of these future endeavors.

Why?

BECAUSE “BATMAN” HAS NOTHING TO DO WITH ANY OF THIS!

Sure, there’s going to be a guy (Dick Grayson I presume?) in a Bat-Suit fighting crime in Gotham City. But unless it’s Bruce Wayne in a Bat-Suit fighting crime in Gotham City, it’s NOT Batman.

It’s like they say, it don’t matter how much perfume you spray on a piece of crap, it’s STILL a piece of crap.

Bruce Wayne is Batman, Batman is Bruce Wayne. Remove that element from the character, and you don’t have THE character.



And DC has to know this, right? Really, there’s just no way (*crosses fingers*) they think that you can stick anyone in the suit -- Dick Grayson included -- and it’s Batman. And that’s what makes this all the more maddening is because it’s nothing more than a gimmick -- a stunt to get people talking and angry (duh!) and buying more comics.

I guess DC figures that all of the Bat-sheep will simply fall in line and buy “Battle For the Cowl,” this BATMAN & ROBIN by Grant Morrison, this DETECTIVE starring Batwoman -- and ALL of this other Bat-Garbage and wait. The Bat-sheep’ll just bend over and scream “Thank you sir, may I have another” buy and read this drivel, and wait for Bruce Wayne’s inevitable return. Then when he DOES return, the Bat-sheep will laugh a laugh of relief and say, “Whew! You really had us going there DC!” And the fine Bat-Folk at DC will -- and probably have been -- laugh a laugh of “Ha! We really had those Bat-sheep going!”

Is Grant Morrison the tail that wags the dog at DC?

Well you know what? I’m mad as hell, and I’m not going to take it anymore!

And YOU -- you “Bat-Sheep” -- should be too.

Check out these results of a recent "Bat-Poll":



Yeah, I know this isn't a scientific poll, but the results pretty-much echo the feedback I'm getting from fans via email. I think it's pretty telling that 32% don't read the Batman comics and 27% have stopped reading because of FINAL CRISIS and BATMAN, R.I.P.. On the other hand, only 17% seem to like what's going on while 23% are going to keep reading -- despite not liking the state of the Bat-Comics.

Before y'all even do it, spare me with the “It’s all about the story…being creative…and the ride” stuff, OK? This is the sort of mentality that’s allowing DC to do this BS to all of us Batman fans. When people write in to me and tell me, "Give it a chance" or "Enjoy the ride," all you’re really saying is “Thank you sir, may I have another.”



Think about that when your paying for that next Bat-Comic, OK?

The thing is though, DC’s is getting too cute for their own britches. I guess they didn’t learn anything when previous gimmicks like KNIGHTFALL, UNDER THE RED HOOD, CONTAGION, CATACLYSM, and “Whatever BIG Stunt Crossover” drove longtime fans away -- like me -- back in the late 90s/early 2000s.

Do they NOT think fans will simply accept good storylines in the monthlies that DON’T have to crossover into the other titles and NOT come off as superhero soap operas? Like the BEST Batman comic book of late -- Paul Dini's run on DETECTIVE.

Apparently not.

I have a new crusade and I haven’t been this fired up since I walked out of BATMAN & ROBIN back in June of ‘97.



I’d like for DC Comics to realize that they can have their cake and eat it too. If they feel the need to do all this crazy-ass crossover/stunt/gimmicky stuff, cool. BUT, how about a regular -- and QUALITY -- title or two that isn’t mixed up in all that soap opera-ish insanity? How about more miniseries like Matt Wagner’s BATMAN AND THE MONSTER MEN and BATMAN AND THE MAD MONK? Or the classic THE LONG HALLOWEEN from Jeph Loeb and Tim Sale? Hell, or even more of stuff like the recent BATMAN: CACOPHANY from Kevin Smith?

DC, trust me, you’re alienating A LOT of you longtime, loyal fans. And BOF is now banging the drum on their behalf of them -- and mine.

Think…think about this: Bruce Wayne’s now a caveman in the comics.

*shakes head*

Bale Batman No More?

Author: Jett
March 10, 2009



Boy, THIS has really caught fire. I actually heard being reported as fact on the radio this morning.

Anyway, here’s what was reported: “Sam Worthington, the Aussie actor about to shoot into the stratosphere with his performance in ‘Terminator Salvation,’ is being tipped as the next Batman. That could mean replacing Bale, his ‘Terminator’ co-star and ‘The Dark Knight’ lead, whose profile was damaged after his infamous ‘me, me, me’ meltdown on the set, which recently hit the internet.”

*cough* BS! *cough*

I can report today that that report is nothing more unsubstantial speculation and is…

100% NOT TRUE.

Personally, I blew this off and barley mentioned it on BOF. But like I said, it didn’t go away, so I was forced to look into it.

And I did.

And it’s BS…officially.

Donald DeLine on the Green Lantern Movie

Source:Edward Douglas
March 8, 2009



Producer Donald DeLine has been a player in Hollywood for more than two decades, and he's going to be very busy the next couple weeks, as he releases two high-profile R-Rated comedies, I Love You, Man (out March 20) with Paul Rudd and Jason Segel, and Observe and Report (out April 10) with Seth Rogen. Uncoincidentally, both movies are playing at this year's South by Southwest Film Festival in Austin, Texas, on March 13 and March 16 respectively.

Having had a chance to talk to the producer earlier today, Superhero Hype just had to ask him about his long-in-development movie based on the DC Comics character Green Lantern, which just had its release date set for December 17, 2010.

We were especially curious about how they were planning on incorporating all the mythology surrounding the character in a way that would satisfy the hundreds of thousands of comic book fans who've been waiting a long time for this movie. "Our story is the Hal Jordan origin story, but creating the character of Hal Jordan that is a real character that will resonate with the fanbase is what we need to do. You have to make him credible and somebody to care about and tell a good story, and I think if we do that, we'll be okay."

"It's going to be a series of big stakes and big action, but it absolutely has a sense of humor," he replied when asked about the humor quotient of the movie. "I think people accept real life, even with really serious situations, with humor as part of that situation, as we experience in life, you have to have that. That's how people cope, so they've done it so well in these other movies. I think that people are absolutely ready. It doesn't have to fall on one side of the fence vs. the other."

Lastly, we asked him to address the rumors about them deliberately going younger with Hal Jordan, something that came out of the bogus stories about Anton Yelchin auditioning, but De Line denied the intention to cast younger. "Not really, late '20s, early '30s."

Review - WATCHMEN: THE COMPLETE MOTION COMIC

Author: Jett
March 8, 2009



TITLE: WATCHMEN: THE COMPLETE MOTION COMIC
RELEASE DATE: March 3, 2009
OFFICIAL SITE: WATCHMENMOVIE.COM
OWN IT: BLU-RAY | DVD | ON DEMAND OFFICIAL SYNOPSIS: Watched any great books lately? Now you can. The most celebrated graphic novel of all time that broke the conventional mold continues to break new ground WATCHMEN illustrator Dave Gibbons oversees this digital version of the graphic novel that adds limited motion, voice and sound to the books strikingly drawn panels. All 12 chapters of the story are here nearly 5 hours spanning everything from the mysterious demise of the Comedian to the crisscrossed destinies of loosely allied superheroes to their fateful impact on the world. Be in the know. Be watching. With WATCHMEN: THE COMPLETE MOTION COMIC.
TRAILER:



What do you get when you cross a comic book with a audio book with a DVD/Blu-ray?

A “Motion Comic!”

I recently received a copies of WATCHMEN: THE COMPLETE MOTION COMIC -- on DVD and Blu-ray -- for reviewing purposes here on BOF. Now I knew of this “Motion Comic” format, because some of the BATMAN: BLACK AND WHITE stories were given the treatment not long ago. But honestly, I only saw short previews and didn’t pay it much attention. This time, I had to pay attention because I had to review it. Consequently, I sat through all five hours -- that’s right five -- of WATCHMEN: THE COMPLETE MOTION COMIC.

And I was completely enthralled.

Honest to goodness, I popped in the Blu-ray version around 3 in the afternoon on a Saturday, and watched it chapter for chapter in one sitting.

It’s that good.

Here’s what to and not to expect…

There’s only a narrator (Tom Stechschulte), so don’t anticipate that each character has their own voice actor. And Stechschulte does a really nice job anyway.

This is not an animated film, though it is “animated” at times. That doesn’t mean that someone was created for the DVD, they simply used panels from the graphic novel and made them move at appropriate times.

If you’re worried about parts of WATCHMEN being nixed for time purposes, don’t sweat it. The entire graphic novel is here.

I was tremendously impressed with WATCHMEN: THE COMPLETE MOTION COMIC. I recommend it for not only folks who’ve read the graphic novel (many times) like me, as well as those new to WATCHMEN.

Remember in elementary school when you’d have “reading time?” Your teacher would read a book to the class while showing you the pictures? Well, this is kinda like that except, uh, it’s for adults and R-rated.

WATCHMEN Does OK Opening Weekend

Author: Jett
March 8, 2009



WATCHMEN did OK at the box office its opening weekend.

It’s figured that the film will take in about $55.7 million its first three days, according to Warner Bros.

"Our expectations were met," said Dan Fellman, the studio's president of domestic theatrical distribution. The film was released in 3,611 theaters, a record for an R-rated release.

For comparison, Zack Snyder’s 300 took in $71 million its first weekend two years ago -- a record for a March opening.

SOURCE: REUTERS.COM.

TDK Finally Done In Theaters

Posted by: Jett
March 8, 2009



In comes WATCHMEN, out goes THE DARK KNIGHT.

Warner Bros. finally pulled the plug on TDK at theaters. As of March 5, 2009, TDK had racked in $533.3 million domestically and is the #1 superhero/comic book movie of all time.

According to BOXOFFICEMOJO.COM, TDK is also the most attended film since THE PHANTOM MENACE back in 1999. Adjusted, it’s #27 all-time at the box office and #2 unadjusted.

Worldwide, TDK is only the fourth film in history to cross the $1 billion mark.

A box office and critical success, TDK was nominated for 8 Oscars and won 2 -- including "Best Supporting Actor" for Heath Ledger as The Joker.

2012 For BATMAN 3?

Author: Jett
March 6, 2009



Based on conversations with industry insiders as well as the apparent schedule for INCEPTION (preproduction, shooting, and postproduction), it’s starting to look like BATMAN 3 is going to end up being a Summer 2012 release.

Firstly, let’s take a quick look at a little Nolan history.

We know now that the script for THE DARK KNIGHT was finished before the end of 2005 -- about a half a year after BATMAN BEGINS was in theaters. Nolan worked on THE PRESTIGE during the latter part of 2005 on into 2006, with the film ultimately being released in October 2006. In July of 2006 while the director was still working on THE PRESTIGE, Warner Bros. officially announced that Chris would helm TDK, it would be released in the Summer of 2008, and that Heath Ledger had been cast as The Joker. Once THE PRESTIGE hit theaters in Fall of ‘06, there was then a six month gap before filming began on TDK.

Right now, INCEPTION is in preproduction. From what I’ve heard through the grapevine, filming will take place from mid-2009 and finish late in the year. Nolan and co. will most likely be involved with post for most of the first half of 2010, readying the film for it’s mid-July release.

It looks as if there will be no way that BATMAN 3 can go through pre, filming, and post during the second half of 2010 and the first part of 2011 and be ready for a Summer ‘11 release.

Doing the math, the timeframe between THE DARK KNIGHT to INCEPTION is nine months later than it was between BATMAN BEGINS to THE PRESTIGE -- that’s nearly a year folks. Thus it appears that BATMAN 3 will come four years after TDK.

I know a four year gap is a bummer, but cheer up -- at least we know a Nolan-directed BATMAN 3 is coming!

(And that’s more than we could say back in ‘97 after BATMAN AND ROBIN.)

Who Watches The Watching-Men?

Author: Mark Hughes
March 6, 2009



This isn't a review of the new Zack Snyder film WATCHMEN This is a review of the reviews, or more to the point a review of a particular type of review that has been cropping up lately in what I believe to be a backlash against the rise in prominence of comic-based films.

Fans of comics know of course that the medium is rich with deeply examined characters within complex, dramatic stories. Complex issues and characterization are frequent hallmarks of a vast array of comic books and graphic novels. Only in recent decades has the medium gained attention as literature for adults, this despite of course many more decades of terrific storytelling and examination of social issues and characterization. But the modern acceptance and occasional acclaim for comic books (most often actually directed at the more adult-sounding term "graphic novels") has been a welcome transition for those of us who have long known the literary value and artistic merit of the medium.

It was perhaps inevitable that as mainstream acceptance of the medium grew, it would propel the printed pages into an ever more successful film genre. The rise of the comic-based film genre as a modern powerhouse at the box office and as a treasure trove full of potential material for future films has, thankfully, attracted increasingly talented filmmakers and performers to these projects. Now, we have just seen the first Academy Award season in which a comic-based film was nominated for 8 Academy Awards, and was a top contender for both Best Picture and Best Director nominations.

Comic-based films have officially "arrived" as serious, dramatic works recognizable as great artistic achievements. The future looks very bright, indeed, as studios such as Warner Bros. give careful consideration and serious thought not to just churning out big-budget summer popcorn films featuring these characters, but rather the creation of powerful films capable of gaining nominations and awards for the artistry on display in the work.

Apparently some people are having second thoughts about the advisability of all of this. Namely, a bunch of film critics. It seems that they are disturbed by the notion that suddenly the literary "poor relations" have grown too big for their britches, and that this whole ascendance of comic-based films into the realm of higher-art is not such a good thing after all. So we are seeing with "Watchmen" a sort of buyers remorse from this particular batch of film critics, who are sounding the alarm as they imagine the hordes of masked barbarians storming the gates of the faux-Ivory Towers of pseudo-intellectualism.

I suspect there is a sense of guilt at the root of it all. The critics, in their inflated sense of self-importance, no doubt feel that they accidentally helped legitimize the comic-based film genre in the first place. Widespread critical acclaim for films such as IRON MAN and THE DARK KNIGHT, and some of the early acclaim for WATCHMEN, has spread the notion that this lowbrow, immature pop-culture kitch rises to the level of true art – heaven forbid! That the recent Academy Award season featured much discussion and debate about THE DARK KNIGHT as an Oscar-contender likely sent this batch of film critics into hysterics.

The teaming masses flocked to these films, declared them masterpieces, and had the gall to even rally behind the Oscar-worthiness of the films. Only the power of intellectual critical acclaim could have given the commoners this mistaken sense of a voice in the thoughtful determination of what is or is not serious art, right? So it is of course their solemn duty to undo the damage their powerful expressions of opinion have wrought.

Now these defenders of high-art rush forward to stem the tide, to put the comic-based genre, it's fans, and the mainstream masses in their place. WATCHMEN has become a rallying point, and they've taken out the big guns.

It isn't enough to just denounce the film – that would not be a strong enough statement. No, what is necessary is to make it perfectly clear that it is not merely this particular film, but rather the entire genre and its source material, that are utterly unworthy of serious consideration as art. Even that, however, is apparently not enough, for they have decided it's time to also try to knock all of these comic book fans down a notch or two as well. Time to force back the clock to the time prior to mainstream acceptance of the medium and of its fans as more than just immature little boys who can't talk to girls. Time, in fact, to perhaps literally call them just that – as at least one reviewer explicitly did in mocking those who would watch WATCHMEN in the first place.

By insulting the fans of this material, by dismissing the literary source, and by acting annoyed that the consideration of these films as true art has "gone too far", these reviewers are trying to humble audiences into embarrassed and submissive silence.

The backlash against the genre does not really have to successful stymie the box office power of the films, notice – it merely has to remind audiences that this is all a bunch of mindless fluff suited more for kids, with the warning: "Hey, popcorn flicks are fun, sure, but don't get any delusions of grandeur about this pop-culture crap as serious art." It is the removal of expectations, an attempt to prevent audiences from assessing the merits of the film and reaching conclusions – remember, the goal isn't just to alter those conclusions, it's just as important to alter the audiences' notion that they have any collective right to participate in determinations about what constitutes real art.

So even if fans and audiences feel insulted by this messaging, it has still had its needed impact – reduce expectations, and get across the point that notions of art and literature are the realm of a "better" class of people. This part, then, is easy enough for these reviewers. It is not, however, the main goal.

The real target audience for these reviews is a combination of other film critics and of Hollywood itself. The message to this audience is that these are films taken from comic books, with people wearing masks and underwear, where silly action and special effects cannot ultimately disguise pretense toward being something it's not – high art and serious literature. In other words, stop being fooled by the pomp and circumstance. Make your fun and flashy films, and we'll review them and even smile and wink and encourage the lowbrow viewers to stop by for a fun night – but don't try to pass this stuff off as worthy of serious consideration, and don't nominate this pop-culture kitch for serious awards.

Some of their brethren will no doubt fail to get the message, or will get it but return it to sender. Roger Ebert is one such reviewer, someone who doesn't care what are the origins of a film -- if it is great, then he will call it great. He has long been one of the critics who most recognized the ongoing renaissance in comic-based films, and who early on stated his belief that THE DARK KNIGHT could get -- and would deserve -- a nomination for Best Picture. But his popularity and status is so strong, that the currently incited group of critics can't openly complain and attack the likes of Roger Ebert, lest their own critical voices be rather quickly dismissed and lose whatever weight they might have (even if only in their own minds) in shaping public and industry opinion and standards.

I am not objecting to criticisms of WATCHMEN or of other comic-based films. What I'm objecting to is criticism of this movie and other comic-based films when that criticism is rooted in the fact that they ARE comic-based. That is precisely the sort of knee-jerk hack writing that is being passed off as legitimate critical journalism right now, in a backlash launched by a segment of film critics who fancy themselves the gatekeepers of high culture and intellectualism in film. I'm also not being anti-intellectual here, either. My disdain is directed at pseudo-intellectuals, and those pseudo-intellectuals who pose as definers of true artistic merit.



Those who disliked WATCHMEN or THE DARK KNIGHT for serious, intelligently articulated reasons are quite different from those currently flailing about to discredit comic books as an acceptable literary genre and to insult and degrade comic book fans as childish losers trying to pretend toward intellectualism as a cover for an inability to score dates. These are not the arguments of high-minded critics, but rather petty outbursts from small-minded people alarmed at what they perceive as an existential threat to their self-perceived status as intellectual superiors.

I hope that some of the other film critics speak out openly about this, and take their wrongheaded peers to task for that sort of behavior. I also hope that Zack Snyder, Chris Nolan, and/or some other filmmaker involved with this genre speaks out publicly to the fans and to mainstream audiences as well, to defend the integrity of these films and of the source material, as well as publicly shaming that small segment of film critics for such inexcusable remarks parading around as serious film analysis. But most of all, I hope fans and audiences in general simply ignore these critics and see through the transparent attempts to degrade an art form and a film genre that are more than worthy of consideration as fine literature, dramatic filmmaking, and high art.

Film Review: WATCHMEN

Author: Jett Man
March 3, 2009



OFFICIAL SYNOPSIS: "A complex, multi-layered mystery adventure, WATCHMEN is set in an alternate 1985 America in which costumed superheroes are part of the fabric of everyday society, and the Doomsday Clock--which charts the USA's tension with the Soviet Union--moves closer to midnight. When one of his former colleagues is murdered, the outlawed but no less determined masked vigilante Rorschach sets out to uncover a plot to kill and discredit all past and present superheroes. As he reconnects with his former crime-fighting legion--a disbanded group of retired superheroes, only one of whom has true powers--Rorschach glimpses a wide-ranging and disturbing conspiracy with links to their shared past and catastrophic consequences for the future. Their mission is to watch over humanity...but who is watching the Watchmen?
RELEASE DATE: March 6, 2009
DIRECTOR: Zack Snyder
OFFICIAL SITE: WATCHMENMOVIE.COM

Before you continue reading my review of WATCHMEN, please indulge me a brief personal story.

I can remember distinctly my introduction to the graphic novel WATCHMEN. While in college, I kept the fact that a was a comic book fan a secret -- it wasn’t “cool” to read them back then. Since I wouldn’t be caught dead in a comic shop, I’d go to a book store at my local mall and read them right off the rack.

That’s how I kept up with Batman in comics back in the 80s.

It was at this bookstore that I discovered the “graphic novel.” Being a Batman fan, I stumbled upon this book featuring Batman titled THE DARK KNIGHT RETURNS. As I read it, I can remember thinking…

“Why is Batman old?”

“Why is Robin a girl?”

“Why is Batman and Superman fighting?”

“What in the hell are Ronald Reagan and David Letterman doing in this story?”

Anyway…

Like TDKR, I also discovered WATCHMEN at this bookstore. I can clearly recall picking it out because of the “DC” logo. But upon flipping through it, I discovered a bunch of superheroes that I’d never before encountered. As I read it, I can remember thinking…

“If this is a DC comic, where’s Batman and Superman?”

“Why is Richard Nixon still president in the 1980s?”

“Cursing, sex, and blood…in a comic book?!”

“Who is this big blue dude running around naked?”

After reading both THE DARK KNIGHT RETURNS and WATCHMEN, I began to question myself. Why exactly wasn’t I buying comics anymore?

This DARK KNIGHT RETURNS and WATCHMEN. Not only were they good, but they were written for grownups…and me.

A year or so later, I saw BATMAN (1989) and it was over. To hell with peer pressure! I like comic books, I am a geek, and I’m damn proud of it!

And now, some 20 years later, comic books and the films that are based on them are “cool.” Hell, we’ve even had an actor (the late Heath Ledger) win an Oscar for playing a comic book character (The Joker in THE DARK KNIGHT). Comic book movie are now an established form of film here to stay.

As comic book movie legend Michael Uslan told me recently, the Golden Age of comic book movies is upon us.

I’ve been excited to see a WATCHMEN film for several years. As I’m sure you all know, this project was in development hell for years.

I first started following it when director Darren Aronofsky was still attached and it was over at Paramount. Then Darren left and Paul Greengrass was set to direct. Next thing you know, the thing went into turnaround.

Eventually, WATCHMEN found it’s way home to Warner Bros. who put director Zack Snyder (300) on it, and here we are.



WATCHMEN is a film that comic book fans should be very proud of. It further proves that the genre has come a LONG way since the days of STEEL, CATWOMAN, and BATMAN AND ROBIN. BUT…

I’ve got to wonder how this film is going to resonate with a mainstream audience. More on that in a a bit.

Any worries that WATCHMEN wouldn’t be faithful to the graphic novel can be put to rest. Amazingly, the filmmakers were able to incorporate the core theme and message of the book into an almost three hour film. Honestly, Zack Snyder has absolutely nailed it as far being loyal to the comic book. It’s almost like he went out of his way to install images and scenes into the film exactly as they appear in the source material. I’ve got to tip my hat to Snyder and company because I did not think WATCHMEN the book could be turned into WATCHMEN the film.

Alan Moore will be pleased!

Um, probably not.

Are there things from the book omitted? Sure, and that’s to be expected when any book is adapted to film.

Did Synder and the writers make some changes? Yep. I’m sure that this will come off as blasphemy to some, but sometimes changes that filmmakers make can be viewed as improvements to the comics on which they’re based.

Like The Joker in THE DARK KNIGHT…

The organic web shooters in SPIDER-MAN…

And making changes to the end of WATCHMEN.

I thought the change (which I won’t reveal) made was actually better. Trust me, it has the same effect and serves the same purpose as the squid in the book.

As far as performances, not a bad one to be had. I particular enjoyed Patrick Wilson as Nite Owl II -- who is the “hero” of the film if there is one. Malin Akerman made for a good Silk Spectre II -- and she’s smoking hot. Mathew Goode as Ozymandia made me hate him -- and I think you were supposed to. I thought Billy Crudup was fine as Dr. Manhattan -- although he’s blue, naked, and CGI for the most part. Jeffery Dean Morgan as The Comedian, what an A-hole -- and that’s a good thing! And…



Jackie Earl Haley as Rorschach…

Wow.

This guy simply owned the role -- that’s about all I can say. Of all the Watchmen in the film (Yes, they are referred to by that name), Haley’s portrayal of Rorschach/Walter Kovacs was by far the closest to being exactly like his comic book counterpart. Yet, he brought some humanity to the character that I frankly missed when reading the book. In my opinion, Haley’s Rorschach ranks right up there with the great performances in comic book movie history -- Christopher Reeve's Superman, Christian Bale’s Batman, Tobey Maguire’s Spider-Man, and Hugh Jackman’s Wolverine to name a few.

A couple other positives I took away from WATCHMEN. The cinematography and look of the film -- this alternate 1985 New York City -- was outstanding. Also, I thought the very 1980s-sounding score from Tyler Bates meshed well the story and the setting. And on a related note, the film certainly had a nice soundtrack with each song included being appropriate to the events of WATCHMEN.



Negatives? Yep, I’ve got a few.

I expected the film to be violent and needed to be at times. Case in point, The Comedian’s murder that opens the movie. With that said, I thought there were some very violent and bloody scenes that Snyder didn’t have use. It seems to me that these brutal images were incorporated for shock value -- simply to say “Look how bloody and gross a ‘comic book movie’ can be!”

Previously I mentioned that it appeared as if Snyder went the extra mile to tremendously loyal to the comic. While that’s certainly a good thing, I felt it was overdone a bit as well. The film’s dialogue being ripped word for word from the graphic novel was annoying at times. Ditto for recreating classic panels from the book as visuals in the film.

Other nitpick is Snyder’s overuse at times of slow motion. Sometimes it worked and sometimes it didn’t. I wish he had limited the use of the effect to the times it worked the best -- like Nite Owl and Silk Spectre taking on inmates while breaking Rorschach out of prison.

And isn’t Dr. Manhattan the only superpowered being in WATCHMEN? Then how in the heck can Ozymandias, Rorschach and the other human Watchmen do things that would require some sort of superhuman ability?

Oh well.

Earlier, I said that I do indeed wonder how people who have never read WATCHMEN -- the “mainstream” if you will -- will take to this film. As someone who has read the book several times, the movie’s complicated storyline was easy to follow. Will it be too much for those unfamiliar with the book?

Will the fact that it is a very different type of comic book film than previously seen -- THE DARK KNIGHT included -- turn off those folks? Let’s face it, the Watchmen are certainly not the Fantastic 4.

On the other hand, maybe these non-fans will embrace this movie and make it a success. And in turn, studios will be willing to take more chances on other comic book movies that are similar to WATCHMEN, further expanding the genre.

Here’s hoping the Golden Age of comic book movies becomes even more golden in the future.

JETT'S GRADE: A-

Why Watch the Watchmen?

What makes this comic book cult sensation so special? And why should you uninitiated see the film?

If you live in Los Angeles, or any major metropolitan city, and you've driven down any street lately, you've probably felt the presence of a big, blue, bald man with glowing white eyes peering down at you from a wall or billboard. If not him, then perhaps you've seen a guy in a vaguely Batman-like costume, or a woman in sleek, skin-tight latex and thigh-high boots. No, these aren't the latest fashion trends lighting up Hollywood (although you never know). They're part of the marketing push for "Watchmen," the first major superhero movie to come charging into theaters since last summer's "The Dark Knight" (we'll just forget about the "The Spirit," shall we?). Images of the movie's six main characters are everywhere, the trailers are ubiquitous online and in theaters, and the fanboy universe is about to go supernova. So what exactly is all the caped commotion about?

In 1986 a comic book was published that forever changed the nature of the medium. Titled "Watchmen," the 12-issue series was written by famed comics scribe Alan Moore, illustrated by artist Dave Gibbons, and colored by John Higgins. The impact of "Watchmen" was immediate on a commercial level; it was an instant best-seller and even briefly lifted its publisher, DC Comics, above its eternal competitor, Marvel, in the two companies' never-ending battle for market dominance. But more importantly, on a cultural level, the effects of "Watchmen" are still being felt today throughout the comic book world and, by association, the film, television and even literary realms as well.

Along with, arguably, Frank Miller's "The Dark Knight Returns" (issued around the same time), "Watchmen" took the comic book medium to an entirely new level of sophistication, maturity and dramatic potential. Moore and Gibbons brought the story to the page in groundbreaking new ways, while the narrative itself was a rich mélange of action, sci-fi, mystery, politics, social satire and philosophy, steeped in symbolism, subtext and allegory. "Watchmen" took the very idea of the superhero and became, as author Bradford Wright wrote in his study "Comic Book Nation," "Moore's obituary for the concept of heroes in general and superheroes in particular."

Now, 23 years after its initial publication, and almost as long since the idea of a film version of the story was first developed, "Watchmen" is coming to the screen. The project's long struggle to get there is almost as complex and dramatic a tale as the actual book, and for many years "Watchmen" was close to being deemed one of those "unfilmable" projects that would never see the light of day. Now, at last, it's here, under the guidance of "300" director Zack Snyder. And for many comic book fans, March 6, the film's release date, is a day they never thought they'd see. But for the rest of the world, the question is: Why watch the Watchmen?

Origin Story

"Watchmen" emerged out of Moore's desire to take a series of superheroes from the defunct Charlton Comics line, which went out of business in 1986 after a 40-year run and sold its characters to DC, and resurrect them in a new story that would begin with the death of one of them and portray the rest in a fashion that had not been seen in superhero comics to that point. Eventually abandoning the idea of using previously existing characters such as the Peacemaker and the Question, Moore came up with his own set of heroes. They looked and sounded enough like pop culture icons such as Batman and Captain America to strike a chord with readers, but were also deeper, more dysfunctional and in many ways more twisted than just about any so-called "superhero" that had appeared in comic books before.

Thus were born Nite Owl, the Comedian, Ozymandias, Silk Spectre, Dr. Manhattan and the unforgettable Rorschach, six "heroes" in various stages of retirement, personal crisis or mental instability. The world of "Watchmen" is a parallel to our own, set in a 1980s in which Richard Nixon is still president (term limits having been lifted on the Oval Office), the Cold War is reaching a boiling point, and there's a level of dread and anxiety permeating every facet of everyday life. Masked crime fighters, while once a part of this world and influential in the outcome of historical events such as the Vietnam War, have fallen out of favor and are either dead, retired or officially working for the government, with legislation passed in 1977 to outlaw them entirely.

Only one of our six main characters, Dr. Manhattan, is a true superbeing, having been transformed by a lab accident into a highly evolved entity of immense power and energy. Ozymandias, now operating a vast and hugely successful business empire under his real name, Adrian Veidt, is considered the smartest man in the world and has evolved in his own way. The others have relied on a mix of strength, ferocity, fighting skill, technical prowess and intelligence to make their mark, but all four are feeling the effects of age, loneliness and loss of purpose in a world that has rejected them.

The time of the superheroes has indeed passed in Moore's story, and at the worst possible moment. Tension between the United States and Soviet Union, mostly over the presence of Dr. Manhattan as a U.S. operative/weapon, has led the two superpowers to the brink of nuclear war. Meanwhile, someone is out to either murder or discredit the superheroes. The story begins with the killing of the Comedian, which the psychopathic Rorschach, who still works outside the law, sets out to investigate. What he and some of the others discover is a plot to not only get the heroes out of the way, but also to alter the course of human history entirely.

Heroes or Villains?

When Moore wrote "Watchmen" in the mid-'80s, the Cold War was still raging, but with nowhere near the intensity he establishes in his book. Yet Ronald Reagan had come into office a few years earlier, blustering about the "Evil Empire" and decimating the country's welfare system in exchange for a massive increase in defense spending. His Justice Department launched an invasive and punitive "war on drugs" that opened the gates for even more abandonment of civil liberties.

This world of cowboy diplomacy, might over right, and moral absolutes was the one Moore wanted to comment on. "Watchmen" rejected the idea of a superior morality or authority. Moore made sure his superheroes were as flawed as the rest of us: Nite Owl suffers from impotency and can barely squeeze his sagging frame into his costume; Silk Spectre drinks and smokes too much and is promiscuous at a young age; the brutish Comedian is a rapist; and even the above-it-all Dr. Manhattan thumbs his nose at the world the minute he gets some bad publicity.

In a number of crucial scenes, Moore makes the argument that we cannot, as a race, depend solely and unconditionally on individuals or bodies of authority to make the world a safer or better place. Moore's United States has already handed power over to Nixon in possible perpetuity, while the tactics of the Comedian and Rorschach come straight from the vicious playbook of Dick Cheney, making them nearly as bad as the evildoers they are attempting to eradicate. Even the ultimate plan that's revealed at the climax of the story, while ostensibly idealistic, comes at a horrifying cost and carries its own odor of fascism. The best laid plans are subject to the whims of human frailty, superpowers or not.

"You've Changed Things"

It is for all the reasons above, and many others, that the vast viewing audience out there not necessarily familiar with the book's Grail-like status should nonetheless flock to see "Watchmen." While its characters are not iconic like Batman or Superman, they're all recognizably human, even the godlike Dr. Manhattan. The intertwining of ideas and themes is almost overwhelming, as is the parade of surreal, slightly psychedelic visuals. The complex narrative is rich with details, character moments, flashbacks and mind-blowing set pieces, not to mention explicit, plentiful sex, violence and bloodshed.

Even the story's alternate Cold War setting feels both timeless and just as relevant as ever. If anything, the world is more uneasy than it was back in the '80s, with the threats of terrorism, environmental disaster and economic collapse casting deep shadows across the globe. The idea that we shouldn't place all our hopes on the shoulders of one person, or a handful of individuals, also seems timely; with tens of millions looking to a new president to lift us out of our current mess, we might just need a reminder than he's a man, not a superhero, and just as capable of failure as the rest of us. Even the most idealistic leader can be corrupted and the most promising initiatives distorted, a point driven home quite eloquently in "Watchmen."

In other words, this is a superhero movie unlike any other you've ever seen, written and directed for an adult audience. I can report confidently for the die-hard fans that, while there are some changes along the way (most notably in the climax), the film version of "Watchmen" is so faithful to the book that, for most of its 160 minutes, it seems to have leapt straight off the page. For everyone else, this is about as far away from silly junk like "Batman and Robin," "Spider-Man 3" and "Fantastic Four" as this genre of movie can get, and its long path to the screen in this pristine form mirrors the long evolution of comic books as well.

It was "Watchmen," after all, that introduced the concept of the flawed, dysfunctional superhero, leading to massive changes in the comic book industry. The books got darker and more complex, while the heroes got more recognizably human. This has finally filtered down to the movies, as evidenced by the depth of "The Dark Knight," the character shadings of "Iron Man" and even the misfired ambition of "Hancock." While "Watchmen" paved the way 20 years ago for those films to eventually emerge, their success has in turn opened the way for "Watchmen" to make its way on-screen. So why watch the Watchmen? For many of the same reasons you watch any movie: It's got action, mystery, fights, sex, love, special effects, a great story. But it's also got something else that we're seeing for possibly the first time in this genre, front and center: ideas.

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