One Stormy, Dark Knight

Don’t take your kids to see this one.

When they call it the Dark Knight, they really mean it.

The effects of night keels over the city of Gotham like an oncoming storm. There’s a knowing that something’s bad rushing towards the city. It’s painted in ugly white, red and green. With a dash of purple.

There’s a force of good that radiates in the suburban outskirts in a form of a bat. He stays well-hidden. His ideals is a fixture of justice served. He takes no credit for the good he does.

But he has his opposite. His anti-matter. Batman needs not know that there is a reflection of him that isn’t good. And it stinks of fear. He is like a laughing dog, jumping, pouncing with giddy glee, hitting you with a knife at the same time. Everything’s a joke to him.

Batman and his new rival the Joker test their strengths and weaknesses throughout this well-made psychological thriller that explores the mechanisms of good vs. evil. Digging further into the mind of the lonely, heartless villain such as the clown of Gotham makes Batman aware of his own vulnerable spots.

He realizes that his inspiration has reached the worst of the low: the Joker comes out of nowhere like a vengeful spirit to show what Batman really is. The Joker is played to near perfection by the late Heath Ledger who brings a psychotic streak that’s been long missing in the films. This time, there is reason to be afraid of him.

The focal point of the film must be the interrogation room where the Batman beats some information out of the Joker. There are so many contrasts here. Both excellent actors seeing at eye to eye level. There is deadly humor too. But it is like watching a pieces of a broken mirror here. They are simply two sides of the same coin. It is a frustrating moment.

The Joker seems to enjoy the brutality of things: whether or not he's on the receiving end of it. And the Batman flaunts it at times.

One begins to think the disturbing question: who’s the crazier one here? They are both reckless and endangering to the safety of the city.

The rest of the film surrounds this pivotal moment as these are two titans fighting to take command of the skies and everything below. They are gladiators rushing at each other with full blows and there are no pulled punches. Christian Bale does an excellent job of remaining the center stage of the film despite a far more colorful villain.

But the real acting chops belongs to Gary Oldman who stays remarkably restrained as Jim Gordon who is the lone good cop in a corrupted department infested by bribes and political phone calls looking for favors. He’s much tougher cop here compared to other movie or TV versions. He has to be tough. And this film shows exactly why he becomes commissioner during a time when hell is breaking loose in the city.

There are so many acting presences in here who grab for the spotlight in equally brilliant ways: Michael Caine and Morgan Freeman are supporting actors who still breath life into the script. They remain the heart of The Dark Knight when the tone of it grows far darker.

My only problems, and it is a very minor detail, is that the film almost delights in its darker nature. It is a kind of film that is blackest at its best. There is some humor to alleviate the suppressive tone of it. But there might be not enough to offset the subterranean darkness that beats like an awful pulse beneath this film. Watching this film, in some ways, is akin to having your wound being twisted by a sharp knife over again.

The other thing, also minor, is the film doesn’t spend enough time on the psychological downfall of Harvey Dent, a solid, good hero who finds that he has a dark half sparked by some of the Joker’s gruesome antics. But the film runs at 2½ hours already.

Another great centerpiece in the film is the beginning with the infamous bank heist. Never trust your partner. Trust a criminal even less. And it shows a parody of all the shortcomings a group of misfits would have when robbing a bank. You’d think there’s all to be done with bank robbing? Think again.

There’s some amazing action sequences which shows Batman rushing through the opponents like a force to be reckon with. His skills are very honed in, and he glides through in a masterful dance when going against all odds. It’s simply a treat to see Batman knocking around his enemies just like he’s jumped right out of the comic books.

The film ends on a low-key note as everything is destroyed at the end: Batman’s reputation as he flees the city like a fugitive. All of his associates find themselves at a dead end. The film is drenched in darkness right to the very end when Batman makes his choice. In some ways, there is hopelessness that revolves around the small circle of friends. But the legacy of defeat can turn into a fighting chance to climb back to the top. And this is what Batman does at his best.

There is little love in this dark city. But the hope of goodness, however small, can still be retained in a possible sequel that could very well complete the best trilogy of a superhero mythos. A man without powers. But a man filled with determination, fearless.

Hell to Pay

This is a good movie.

"Hellboy 2: The Golden Army" marks the maturity of the title main character who is now in a relationship with the woman he loves. He is currently living with her. He comes to terms with the fact that he has a temper that can't be controlled well.

He also has responsibility to the government who employs him. Some of which he doesn't take seriously. And everything seems to crumble around him when it comes to building his own life.

But there is one thing he's good at. It's fighting. He's tough, rough and won't take crap from anyone. And if so, he'll die trying to protect the ones he love. Mainly his adopted famly.

Ron Pearlman comes back for the second round as Hellboy, the big, lovable red guy who likes to smoke cigars, watch TV in his spare time and keeps cats as pets. Maybe too many cats.

The story might be tighter this time around. The pacing is impressive with remarkable scenes surrounding massive battles that comes straight out of the original source of comic books. It seems to move like an illustrated comic... filled with colors, crazy special effects that speak for themselves. This is an art film that nevertheless has a popular appeal to it. How can you not like the big red guy?

History repeats itself according to the story which paints a place filled with war and a rise of the golden army that is unstoppable, forecful, a living entity of mechincal creatures that plow through the opponets like a gardener doing the weeding. Nothing on earth could have enough power to put a halt to it. The King who had given persmission to build such a monstrous army realized the awfulness of the weapon... and decided to call a true with the humankind. And never use the crown which controls the golden army. That crown is seperated into three pieces. Only royal blood can truly control this army.

And so the power sleeps for many centuries. Until the price becomes restless, begging for power. He wants to bring the army into battle again to clailm the earth as his. And nothing would stop him, not his royal father or sister.

But there comes a small intervention: Hellboy. He makes sure the army stays dead and buried with a little help of his friends. The bureau of paranormal investigations.

The film is marvelous in its inventive creativity. It dreams up an entire landscape of stange creatures which are bizarre as they are beautiful. There are moments of light humor which helps carry on the film. A musical number of the song "I can't Smile without You" is a funny take as some of the main characters Hellboy and Abe voiced by Doug Jones does a great turn with the song. They sing along with it even when they are slightly drunk. You can't help feeling like you're part of this strange group of misfists.

I'm surprised to see John Hurt in the film despite the fact that his character was killed off in the first film. Yet he brings a warmth to the screen with his endearing performance which starts off the film with a flashback as he tells the legend of the Golden Army. Rather than doing a tired ressurection of the dead character as other film series has done, this time John Hurt remains simply in a flashback. He is brought back only in memory. And it is a warm thought, a tribute to him. And a nice introduction before the film gets serious with the epic battle of the golden army.

The character of Liz is shortchanged in this film with her having little to do with the more action oriented scenes. This might be due to the fact that she is pregnant and she is like many mothers who instinctly wish to protect her unborn child. The sadness in her eyes are real. She is a changed woman because of this. She tries to control her power of fire more here. However, it is Abe who has far more scenes here and his character is more developed. From his singing duet of the Barry Manilow song to falling in love with the princess who is carrying the third piece of the crown. I learn that he has no tear ducts and can't smile. That is a sad life to lead.

The princess is lovingly played by Emily Waton who briings much grace to the screen. Her alien beauty is suitable for someone like Abe. The notion of being an outsider comes into play with the story. it seems that he is willing to do anyting for her.

Hellboy seems to be having problems of his own.

If it's not monsters smoting the streets of New York City, then it is the infamous reputation he has in terms of the television spotlight. He would make a lousy guest on the David Letterman show. He feeds on success too much. And he is like a little boy getting lost in a very large playground.

Then there is the prophecy of his demon side growing more prominent according to the warrior prince. Hellboy is a demon soul fighting to get out of his human shell. He has been raised by human. He needs people to remind him of his own humanity, like Liz and Abe, people who admire him.

That future may be closer than ever now. And setting up for the next and possibly final film in a Hellboy triology. There's still plenty of life left in this film series that's going full tilt ahead. The conclusion of the series may be very well Hellboy's own battle from his inside his soul: finally wrestling with his demon side that's his own reflection that he's been hiding.

The film is about growing up. And Hellboy finally realizes that life is passing him by too quickly. He has his own adopted family to enjoy and looking forward to a son being born.
The only thing is that this film may only be on the number one spot for only week before another, more anticipated Batman: Dark Knight hits the screens. Then, surely, all hell will break loose.

Gotham Knight

The shadows remain poised like a towering figure, waiting, lifting in the heights like some dark guardian. And the rest of Gotham runs with cold chills as it grows dirty with crime.

It’s left for the dark knight to clean it out.

“Batman: Gotham Knight” takes place between the first theatrical film Batman Begins and the next installment which comes out this summer on the July 18th. Yet much of the history surrounding the next film is kept in the dark.

But this animated film leads into the next theatrical film… a sort of a teaser. But much more than that. The entire animated film is done with an artist’s care. Much attention is made to detail. The animation is far different this time around. As Japanese animators lend their style to the gritty, threatening realism of the city that builds on infamous crime.

The drawings are remarkable. Anime style, to be sure. But not stark Japanese anime that it would be distracting. Just enough for the influence to be there. The animated film stitches together a string of stories that are interwoven and creates a minor story arc throughout. The stories are very short, to the point. Yet still holds a punctuation of storytelling in them.

The film marks the return of Kevin Conroy as the voice of the Batman. His grinding voice strikes terror, his low vocals recalls the best moments of the original Batman animated series that has made its run through the 1990s. It’s great to hear his familiar voice again. And Conroy remains the best when it comes to the cartoon Batman… never stilted or wavering, always a strong, powerful voice that’s commanding.

And the film is produced by Bruce Timm… who I was lucky enough to meet at the Wizard World convention in Chicago just weeks ago.

Some of the stories mention someone called the Russian. For the most part he stays out of the light, keeping private company somewhere else. He is a puppeteer who pulls the strings of his culprits who continue to be his eyes and ears throughout the city. He may be a major player when the film “Batman: Dark Knight” hits the screens.

There is also the appearance of the Scarecrow which bridges the first and the second theatrical films here. He maintains a shady character hiding in the bowels of the city, living in a kind of ritualistic tribe, primal, savage, as if his psychosis has taken a further downward spiral into murderous rampage. He tries to sacrifice someone in the name of his new gods who mill around in the deepest corridors of the city.

Batman manages to rescue the man who is nearly made an offering to the sacrifice. Also touched by the Scarecrow’s fear venom, Batman sees illusions that nearly thwart his vision. This gives the animators a good opportunity to run wild with their drawings, pushing the envelope further.

My own favorite of the several stories running through the film is “Working with Pain.” This is a more introspective look into Bruce Wayne’s younger life before he became the familiar man in the cowl and cape, his younger enthusiasm searches for enlightenment. He is taught by a young Indian woman in her native land, however she remains an outsider to her own people.

Perhaps Wayne feels a kinship with her. Which drives him to further seek teachings through working with pain. This episodes swings back and forth through flashbacks. Batman is current hit by a random bullet and must continue to find a way out of the derelict building to get medial help. He calls on Alfred, his butler, to get him the municipal needs.

During the entire climb, longer than eternity, his hands groping and grasping for ways to reach the higher parts of the building, only to fall once more. He grows tired, weaker, yet he still continues. This episode “Working with Pain” shows why he is so stubborn, a very determined soul. He seems unstoppable. Yet he is also vulnerable.

This episode manages to show why he has failed in his education with the young Indian woman. There’s another side to him. Filled with anger, vengeance. She has no room for that in her life. When Wayne finally leaves her domain, being cast out, she says in a soft murmur, “I have failed you.”

Towards the end of the episode of “Working with Pain,” we find a still wounded Batman climbing the last steps, almost making it to the top. Alfred is there waiting for him to reach the top (beautifully voiced by David McCullam… you have to have an Englishman to do Alfred’s voice) and he offers to give him a hand. Batman says, “I can’t.”

This particular installment is beautiful as it makes perfect sense as to why Batman is the person he is today. This isn’t about full blown action or who’s beating up who. But the short film details the inner self of the Batman and why the nights are lonely for him as he must endure his pain on his own. He must suffer through the loneliness of his life. Because he does not wish to be a failure in anyone’s eyes. His parents. Alfred. The young Indian teacher. Batman is all too human figure, very tragic.

The final segment really makes for the send off into the theatrical film release Batman. “Deadshot” is a story of two famous characters in a duel. And it is a battle of opposites. The assassin Deadshot is taking down important figures in the city of Gotham and one of the intended victims is Gordon of the police force. There’s a detail leading to the hiring of Deadshot by someone called the Russian. His name crops up everywhere in the film and it’s certain he’ll play a later part in the film. As mobsters still are playing large roles in the grimy city of Gotham.

It’s an interesting fight. Batman relies on wits and brawn to get out of a fight. Deadshot lays heavily on his guns. Without the guns, Deadshot is a mere wimp trying to be a big shot. It doesn’t work here in Gotham. No one takes pot shots in Batman’s town and he gets kicked around. Not before he mentions the Russian hired him.

The film serves as a near preview for the next Batman movie release, and the animation is simply starting, beautifully done. The Batman character is perfect for this animation style as there are many shadows, things take place at night. Giving much room to breathe for the artists.

It’s no surprise that audiences still are fascinated by a man who built his life around a single purpose. And the singular drive that propels this man into a one man war against crime remains a sad one. Yet he continues to be one of the most interesting characters in comics these days.

A Time-Lord's Final Bow

One of the most difficult things is wrapping everything up into a neat, perfect whole. And that often leaves a few loose ties no matter how well the writer pulls the strings to make that ending a suitable one for everyone.

Though Russell T. Davies does a commendable job of putting the big bang theory into the final episode of Doctor Who: throwing everything in there but the kitchen sink. His final bow "Journey's End" has all the ingrediants of a solid story. It's almost like a fan's dream come true with all the favorites in same story.

There's simply too much going on, too many characters vying for the center spotlight.... that the story looses focus on itself and becomes a grandiose space epic of huge proportions. Is there anyone that Davies forgot to put in the story?

The story succeeds on many levels as it maintains drama despite the number of characters in the episode. There is Rose Tyler and her mom, Martha Jones and her mom too, Donna Noble and her mom and granddad, Captain Jack on his lonesome, Sarah Janes Smith and her adopted son and the list goes on. You get the idea. Not only is there one Doctor, but two of them running about.

Too many people are snagging the spotlight and not enough time is spent on any one of the characters even at the unprecedented 65 minutes for this show. There isn't enough of Rose who is the real draw for viewers who have waited for her to come back to the series after a long wait. When there are several talented people working to get the spotlight, getting that little bit of the attention, the story starts to fall apart like a loose ball of string.

That might be the only problem. If there were less people in the story, it may have more staying power in its narrative form. The story needs a hook... the anchor that is the main character. The one that provides the point of view which carries the story over. The story has to have a focus and be straightforward in its approach. Otherwise the story would lose control. There are simply too many main characters here.

What happened to Mickey has his undying love for Rose? That has seemed to disappeared. He used to cling on to her like a sore boy with a love sickness. That seemed to vanish, all those feelings. And there Rose just goes off with the human version of the Doctor. I'm not sure what happened there. But that large part of the story has been left out.

Bringing everything to a closing can be a difficult job. Such a task is can rarely succeed in terms of satisfactory notion. The same thing could be said for the "Star Wars: Revenge of the Sith" which tries to bring everything to a full circle. Closing out the story so that nothing is left unsaid. It did feel like George Lucas was wrapping things up too neatly, too quickly.

Just like the episode "Journey's End" of Doctor Who. There isn't time to breathe in the story. Everything needed to be wrapped up very soon and the fans were given the bait: using all the favorites as much as possible to keep everyone moderately happy.

And who are the ones who suffer due to the spolight being split up into different directions? Who are the ones who had less screen time? The main villian of the episode: the Daleks and Davros. They got the short end of the stick. This was supposed to be their swan song. Their farewell show.

Yes, "Journey's End" does succeed. There are some beauitful scenes with Donna Noble retaining some of the Doctor's memories towards the end of the episode after she was contaminated with the Doctor's regenerative abilities. She skips through her dialogue with stunning ease and this is the closest you're going to get a female version of the Doctor.

The music is wonderful throghout the later portion of the episode especially with the earth being returned to its original place. (I'm not sure if that's possible considering the physics demanding such a shift, but it's Doctor Who). The soundtrack is bombastic, charged with relentless energy. And yet there is a soaring quality to it as it is sweeping. There's real beauty of the music.

There are some great moments. Such as the bi-sexual and always creative Capt. Jack seeing the two versions of the Doctors and the Donna Doctor together... "You don't want to know what I'm thinking!"

I don't care what anyone says. I liked how David Tennant got out of the regeneration cycle by casting the energies into his severed hand that he's been carrying around for the last year or so. It seems the littliest elements often crop up again in the series.

Doctor Who has been given a proper sendoff. It needs to as it is going on a quiet two year break when the lead actor David Tennant has to work in a Shakespearean play. Despite the number of flaws in the story, the show is still an enjoyable one. And such enertainment is very rare on today's TV wasteland. Davies already mentioned that he won't be coming back to write Doctor Who anymore. "I'm done with it," he says.

And that's fine. There is in store another writer who has a firm grasp of the science-fantasy elements and willl bring a very literary quality to the show. Stephen Moffat replaces Davies in the lead writer role. But the television audiences will have to wait a couple more years before seeing the Moffat age of Doctor Who.

It'll be something to look forward to. And four Doctor Who specials for the following year. The universe won't be entirely without the cosmic traveller and there are still so many stories that can be told. So many great stories left...

Wizard World Chicago 2008

The Wizard World convention came a little sooner this year. And it was over far too fast. To use the tired, old phrase of yesterday, "Time flies when you're having fun."

That week was no exception to the fun quotient filled with the numerous guests appearing there along with writers/artists involved with the comic book field. Starting from June 26 up to June 29, the entire convetion offered scores of vendors and artists giving examples of their sketches. Some charged for it, others didn't.

What mattered most for me is not the buying or getting stuff from under the buried treasures that covered the convention from one side ot the other. I wanted to do something slightly different this year: meeting different writers and artists in an attempt to get further signings for books. I managed to get a few.

Despite the fact that I arrived a day later in the week on Friday. Which was fine. Thursday night was the Premiere Night that is most like a preview lasting three hours... it's a glimpse that gives the lay of the land to convention goers. Most likely not all the venues are set up yet.

No big deal.

The highlights of the convetion for me?

I was able to meet one of the Hellblazer writers which is always on the top of the list... I have been collecting the Hellblazer series for near twenty years now and have been a profound part of my collection. This series is about a trickster mage who walks the streets of London with his trademark trenchcoat and cigarette lighting habit. And the usual sarcasm fills his mood. The comic book is always done by British writers.

Except for one. He was an American writer by the name of Brian Azzerallo. He was very good hearted and decent person to me. And I managed to get him to sign one of the Hellblazer comics. I told him my name.

He said, "Just like the umm... just like...?" He didn't want to finish his sentance because he knew I heard the joke a thousand times over.

"Yep," I said.

He was pretty good about it and I told him that I thought his run is one of the best in the series.

I got my photo taken with Bruce Timm who is responsible for the commerical success of the Batman animated series. He produced the series regularly and made several writing credits. He was good enough to take a photo with me and I was very pleased with that. I have always been a follower of the Batman cartoons ever since it turned out in 1992 when I was a young pup in my college days. Timm seemed to be a very kind person.

And then there was Alex Ross. I waited for three hours in line to get his autographs... he's not one of my favorite artists truth to be told. But he is an amazing illustrator for the Kingdom Come and Marvels graphic novels... alway difficult for an artist to draw endless strings of characters to fill the pages and tell a straight story at the same time. I was really getting autograph for someone else who needed to be at another place.

But I manged to get a signiture from Ross in the process.

He was also a pleasant person to speak to and I was continously amazed by the jovial atmosphere the guest stars were in during the entire weekend at the convention. Despite alledged rumors from other fans who say this particular artist is big-headed and arrogant, I found Ross to be one of the most kindest persons I've met as I traded a few word with him. And got my photo taken with him.

"Thank you very much!" I said to him as I shook his hand.

I almost forgot to mention one of the biggest legacies out there... and one of the most kindest men out there was Bob Layton who had his own booth in the artist gallery that spanned like the cosmos, very colorful and sparkling with many guests. Bob Layton was well known for his wonderful work on the original Iron Man series... his layouts and art has been incomparable, always bringing the best out of everyone who worked alongside with him on the magazine of steel.

I wished I had asked him how he liked the Iron Man film that recently came out. I forgot about that entirely. But he was a gentle giant for sure that he showed no puffed up arrogance whatsoever... in fact, he was more like the guy sitting in the bar next to you and having a drink. He was very down to earth kind of guy.

There were a few shortcomings in the convention. A few guets were not able to make it to the convetion were Jeremey Bulloch of Star Wars fame and Sean Patrick Flannery of Young Indiana Jones. Neither of them were unable to make it to the convention... making for a slight disappiontment.

But that was okay because there was enough people to meet and see that it was really not that much of a loss. There will always be other times.

There was also the Lou Farrango sighting.

I managed to get his signature as well.

The convention whizzed pased in a short time. And it was nearly all over before it began. But it was a good hearted moments of meeting and gathering of creative people and the public. There seemed to be no notiable attendence change due to the gas mileage costs. The amount of people stormed through like a human flood, filling the corridors and rushing into the convention with a same, remarkable warmth as last year was.

But if you ever make it down to one of the Chicago suburbs, such as this one, don't forget to try one of the greatest offerings that Chicago has... get a piece of the deep dish Chicago styled pizza. If you can make it passed the first piece that is. They're bigger than Godzilla's foot is and a most fulfilling meal you're likely to have while visiting down in Windy City.