The Raid 2
The Raid (2011) was the biggest breakout action flick for quite some time, probably since the not quite as good Ong Bak (2003). Whilst the quality of that film’s sequels were apparently not too crash hot, thankfully The Raid 2 (2014) not only matches the first film, it totally blows it out of the water.
The film picks up basically from where the first ended. Rama, keen to expose the corrupt police forces that betrayed him in the first film, is recruited to a top secret police unit devoted to weeding out corrupt elements. Where better to drop an undercover cop in an action film than within the confines of the city’s foremost high-flying gangsters, with a side-trip to prison beforehand. There is a really good tempo to the film throughout the whole running time. The action builds to peaks and then lets you back down again, and the beats are spot on in setting up the intrigue. And the fight scenes, oh my the fight scenes. The first one, taking place in a toilet cubicle of all places, feels so good you wonder if there is anywhere to go from there. But there definitely is. I cannot recall fight scenes in a film that are so slickly choreographed, but without feeling overly rehearsed. The creativity and escalating of them is not just about bigger, faster and bloodier. Each scene has a real distinctiveness, from the confining effect of a toilet cubicle to a scene which is sluggish due to the deep mud that the combatants are battling in. Everything in the film has a certain weight to it. The sequence of Rama punching the prison wall which featured in the trailer for example just feels like those lightning fast punches are thudding into your body. Maybe realism is what I mean by weight as refreshingly our hero even gets his arse kicked on a couple of occasions, as he should when he takes on 30-odd highly trained martial arts killers. Even later, when villains are given (awesome) James Bond-ish tics like a walking stick or a propensity for mashing face with hammers, the sensibility of the film never spills over from the realm of hyper-real to fantastical.
Where the first film was basically a straight up, high concept, action flick, The Raid 2 adds complexity, rather than just switching up the situation. The plot weaves in more police and political machinations, though thankfully it never becomes the focus and the general thrust of the narrative is always pretty clear. The film has been rightly lauded and marketed as something as an action film masterpiece. It also rests well within the gangster genre, a fact I have not seen discussed too much. All the gangster tropes are there – warring families, greed, unbridled ambition, sons trying to eclipse the father, dirty cops and more. The success of the film as a gangster piece is elevated by the novelty of having it punctuated, or rather dominated, by huge amounts of hand to hand combat sequences. Caught up in all of this action and him flat out murdering dudes, the narrative does at one point lose sight of the fact that Rama is an undercover cop with a very specific job to do. Just as it feels like it is going too far down that track though, the story re-sets and refocuses on the overarching plot which had become a little clouded. Led by Iko Uwais as Rama and Arifin Putra as the ambitious Uco, all the performances in the film are excellent, not just in the arse-kicking aspects, yet another reason why this film stands so far above the genre film norm. Gareth Evans knows when to show restraint with his direction as well. The fight scenes are wisely under-directed which means you can see what is happening a whole lot more easily. The flourishes are left for coolly shooting streetscapes or to highlight a particular death.
Basically you should just believe the hype on The Raid 2. As advertised, it is one of the best action films ever made, featuring creative and bloody fight scenes galore. But it is also one of the best post-2000 gangster films, perhaps even the best. See it now. If you don’t have time to see the first as well, then Wikipedia the ending and get your hands on this one.
Verdict: Longneck of Melbourne Bitter
Related beermovie.net articles for you to check out: Run Lola Run and Worth Watching January 2013.
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Trailer for your Weekend: Hot Tub Time Machine 2
Let’s face it, even if you enjoyed Hot Tub Time Machine (2010) like I sorta did, I don’t think too many were screaming out for Hot Tub Time Machine 2 (2014). That said, this trailer actually has me kind of excited by the premise. Time travel films are always telling the audience the potential disastrous time space continuum knock on effects that time travel can bring. This film is actually going to explore that notion. Sure, I’m doubting it will be ‘hard sci-fi’ in its approach, but it is at least a somewhat novel approach to the plot. Though I have to say my initial enthusiasm wavered a fair bit when I realised John Cusack did not feel it worthwhile to come back for this. So I’m on the fence with this. Hopeful, but no Cusack sucks.
Related beermovie.net articles for you to check out: Worth Watching June 2011 (includes my review of Hot Tub Time Machine) and Trailer for your Weekend: Dumb and Dumber To.
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Worth Watching July 2014
July was a busy month. A couple of epic plane rides (the kind you can only manage living in Australia) and plenty of nights alone overseas meant I caught some good stuff. Also some trash, as planes seemed to go well with rubbish films in my mind. Which meant there was definitely no repeat of June’s all Worth Watching month. July also features my most controversial Not Worth Watching of the year, if not ever. This film month also brings back some nice memories of seeing some of these flicks in fun cities like Dublin and Belfast.
Worth Watching:
- Grand Piano (2013), Eugenio Mira – This is a high concept and well executed thriller that managed to have me totally enthralled even in the surrounds of an airplane. Elijah Wood continues his cool jaunt into genre territory, playing a pianist beset by stage fright who receives a death threat whilst on stage. The structure means it is kind of inevitable things slow a little. But some neat stylistic touches and a really satisfying twist at the end make this a winner.
- Muppets Most Wanted (2014), James Bobin – This really sank without a trace on release which was surprising given the rapture around the previous film. There are some great references and meta-allusions to being a sequel. I’m not a Ricky Gervais fan but he brings a nice smarminess to his role. This succeeds pretty well, mainly down to a clever, witty script and the iconic characters. A charming film where fun, silliness and nonsensical songs fill the void where the plot should be. Plus it features Cristoph Waltz dancing the waltz.
- Divergent (2014), Neil Burger – Wow, what a massive surprise this film was. Not the rubbish version of The Hunger Games I was expecting. There are similar elements, but the bloody incredible cast mean they won’t bother you. There is a dense set of rules and societal castes that give a real sci-fi feel. The film has some good things to say about conformity which set it apart and it is definitely not afraid to be really bleak. Sure, there is plenty of training montage and franchise set-up. But good ones. Impressive.
- Battle of the Sexes (2013), James Erskine & Zara Hayes – A doco focused on the Billie-Jean King vs Bobby Riggs tennis match that also takes a broader look at sexism in sports and the battle for equal pay. Horrid how embedded sexism was (and really still is). Bobby Riggs really was just a publicity seeking misogynist really. There are some unnecessary re-enactments but overall the film looks slick. Billie-Jean is a hell of an inspirational character. Riggs though looks a little like Woody Allen, which is apt cause they are both friggin scumbags.
- Dawn of the Planet of Apes (2014), Matt Reeves – So much of this is really terrific. For starters, it looks incredible. The apes are just mind boggling to look at and their interactions with humans are totally smooth. Must be one of the most technologically advanced films in history. Overall it is a rollicking, if overlong, ride. My other main criticism is that it does feel a little predictable in terms of the beats it hits. You always have a fair sense of where it is going. But there is no denying it is one of the better of the ‘apes’ films.
Not Worth Watching:
- Need for Speed (2014), Scott Waugh – Basically Fast and Furious-lite. Which is far from a compliment. There is a nice little homage to the first person driving perspective of the video game and some decent driving/crashing sequences. Aaron Paul is such a good actor he can transcend some of the script’s lesser moments. But the narrative is just so damn daft. Even worse, I found that in the interactions with the police and even a schoolbus, street racing is just a little too glorified for my liking.
- Boyhood (2014), Richard Linklater – I just did not quite buy in on this one. There is so much to love about this film and its construction. But the first 45-odd minutes are too ‘vignetty’. Also, one character’s story in particular covers familiar plot points too regularly without saying anything new. It was a lot funnier than I was expecting though and Ethan Hawke elevates impressively whenever he is involved. For me though, the film never quite matched the idea of the film.
- Fast & Furious 6 (2013), Justin Lin – I do really like both The Rock and Gina Carano but even they don’t make this much fun. Actually Carano is totally wasted and her acting is more rigid than usual. The plot meanders along, with no weight to the elements that should be carrying the film. They of course manage to wedge a meaningless street race into the film that has nothing to do with the plot. When the set-up for the sequel is the best thing about a film, you have not done well.
- The Station (2013), Marvin Kren – Opening is promising. Uber creepy credits and a great setting – an isolated, glacier bound research station. There’s even a frickin blood glacier! But from there it is all downhill. Really poor practical effects that are 60s Kaiju film standard. Monsters that are either hidden or look garbage. Ham-fisted climate change message. And just derivative of a bunch of far better films basically.
- Transformers: Age of Extinction (2014), Michael Bay – This is one of the better Transformers films, but it is still terrible. In this one, Bay manages to create one of the most vapid and useless female characters I’ve ever seen. It all looks too much like an ad and the expository dialogue manages to dumb things down more than you thought was ever possible.
- Tammy (2014), Ben Falcone – The first half hour is a decent and refreshingly female driven comedy. Even though Melissa McCarthy is becoming increasingly one-note, she is still one of comedy’s most hilarious performers. But right around when Mark Duplass shows up as a love interest, it all starts to go pretty wrong. The script totally loses its way and there is no thrust to the narrative. The dialogue becomes awkward, growing ever more cliché. Tis unfortunate that such a positive start is so wasted.
If you only have time to watch one Divergent
Avoid at all costs Transformers: Age of Extinction
Related beermovie.net articles for you to check out: Worth Watching July 2013 and Worth Watching July 2011.
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The Cat Returns
Twitter was abuzz over the weekend at (mainly erroneous) reports that the iconic Studio Ghibli was ceasing production. Whilst the outlook for the studio remains pretty grim, it is also clear that at this stage the studio is not pulling out of making animated films. My heart was even more particularly warmed by this news than it would have normally been because the night before I had watched what is my new favourite Studio Ghibli film – The Cat Returns (2002).
Blu-ray is a bit of a forgotten medium I think, with many assuming it is just the last dead duck physical format before everyone moves to some sort of cloud based subscription service (nooooooo!). Personally, I love blu-ray and this film is a perfect example of why. It is remarkable just how much the colour and animation pops when this film is viewed on blu-ray and it enhances the look of a film which is rendered in an even finer and more painting like style than is the norm for the studio. The story begins with a remarkable act of kindness as a young girl Haru bravely saves a rather remarkable cat. It turns out that this cat is a prince from the Cat Kingdom, and as such the young girl is showered with attempted acts of kindness and repayment from the kingdom. It starts out innocent, though misguided enough, with Haru being followed everywhere by cats and receiving far too many gift boxed mice. However the stakes of the film are escalated when it is demanded that Haru wed the cat prince, something she is rather keen to avoid. Ghibli films always intrigue and The Cat Returns, with the whimsy of cat’s wandering about on hind legs engaging with each other and humans, definitely intrigues a lot. Not to mention the fact that all of the cats have such different personalities, a stark difference from the standard Disney animal sidekick. There is also a sense of more pure adventure in this film than most of the studio’s output that I have viewed. There are thrills and tension galore and if that’s not enough, there’s a freakin maze!
I am not sure if The Cat Returns is an adaptation of a single fairytale, but at the very least there are a lot of classical influences on the story. It feels like it an amalgam of a bunchy of delightful moments from classic tales. And as the tweet above from Dave Crewe of http://www.ccpopculture.com pointed out when we were discussing the film, there is a subtle inversion of fairy tale tropes going on in the film as well. Both visually and narratively, the film recalls Alice in Wonderland, with a young girl adrift in a strange fantastical land slowly gathering a cohort of colleagues to hopefully help her navigate it. In a similar way to Wonderland, the Cat Kingdom is an incredibly built place, one where there is an underlying sense of threat and malice, continually bubbling under the somewhat bright and cheerful surface. In fact that is a hallmark of classical fairy tales, as brightness is always accompanied by darkness or even evil. The tone of the film is whimsical, breezy and light occasionally going as far as bordering on the absurdist. Having said that though, the narrative is essentially linear, so there is no narrative confusion posing as absurdism lurking in the film. Which is great and different to both the more serious environmental old school fantasy novel vibe of Princess Mononoke (1997) or the vibrant assaulting of the senses weirdness and danger of Spirited Away (2001). In fact coming out of the same studio, those two films are an interesting counterpoint to this film, even though broadly speaking all three films reside in the same genre.
The maze! Geeks like me love mazes… almost as much as we love dinosaurs.
The Cat Returns is chiefly an exercise in tone. It is a film that is whimsical and playful, especially when interacting with and subverting fairy tale norms. Funny, adventurous and thrilling, this is definitely one to add to your Ghibli ‘to watch’ list if you have never managed to catch it.
Verdict: Longneck of Melbourne Bitter
Related beermovie.net articles for you to check out: Princess Mononoke and Worth Watching September 2012 (includes review of Arriety).
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Worth Watching June 2014
Well this one is spectacularly late. This was one of a few posts that I wanted to get to before I took off overseas, but got lost in the mad organisational scramble. Better late than never though and look at it this way, now you get two Worth Watching pieces in the course of a week or so. Plus it is one of those rare(ish) months where nothing was not worth watching, so you get two big suggestions cause everything is ace.
Worth Watching:
- Grey Gardens (1975), Albert & David Maysles, Ellen Hovde and Muffie Meyer – This verite slice of absurdity has left a definite cultural impression. The eccentric and at times pitiable subjects – a mother and daughter both named Edie are the reason why. They simultaneously feel totally not of this world but also totally a part of it and there is some real insight into the human psyche there. Personally, with so much resentment on the part of Li’l Edie, I felt like this was a really sad film which veers almost into surrealist territory toward the end. It’s an interesting watch, though I do feel a little unsure as to its place in American film history.
- 9 to 5 (1980), Colin Higgins – In all seriousness, I think this is the best theme song ever. I love this film too. It’s sharply written and awesomely feminist as well as unfortunately prescient for today’s corporate culture. The three lead actresses all excel. Jane Fonda has a really good presence onscreen. And in the words of my fiancée, Dolly Parton is the best thing since sliced bread. It’s a very cool melding of genres, caper film, comedy, drama, issues film, crime flick and even a fantastical venture into the hunting of one’s boss. Fantastical that comes literal. Definitely check this out if you’ve never seen it.
- Hook (1991), Steven Spielberg – The first 30 odd minutes of this is some of Spielberg’s best work. It tapers unfortunately when it hits Neverland, just as it should be getting better and better. But it still holds up as a clever inversion of the Pan tale. The boy who could never grow up is now way too grown up and jaded. For contemporary audiences the real sharpness is in the insight into the mindset of kids and adults. Interestingly it’s a dark world the film takes place in. Death is all too real here.
- Weeds Season 8 (2012), Jenji Kohan – A great opening credits sequence referencing what has come before, heralds the best season of this show for quite a few. Mainly thanks to the writing which is incisive and hilarious, nailing the incorporation of the prior seven seasons as well as melding them into something new. This final season of the show cements Andy’s as the defining character arc of the whole show. Even the ‘years later’ final double episode, which threatens to be a little too surreal, warms the heart and leaves you wishing there was more.
- Edge of Tomorrow (2014), Doug Liman – I’ve never been so happy that a trailer was so unrepresentative of the eventual film. This is surprisingly not serious or confusing which seemed to be what the trailer was aiming for. Rather it is barrels of fun and refreshingly does not take itself too seriously. A delightful throwback really. It loses a little steam in the second half and never constructs the enemy as well as it could have. But it is really polished and you will be having too much fun to notice any of those issues.
- 22 Jump Street (2014), Phil Lord and Christopher Miller – Doesn’t match the charm of the first, but tis still a really fun sequel. The meta humour about sequels never changing is a nice touch, even if it does get a little contrived in its construction eventually. Hill and Tatum have great chemistry and it would be great to see the latter in more comedies, assuming the material is worthy. The closing credits are well designed too, and it would be no surprise to see a real 23 Jump Street soon enough.
- Encounters at the End of the World (2007), Werner Herzog – Perhaps one of the most visually spectacular docos ever, helped by Werner’s use of classical music giving the images a haunting quality. Absurd, but with a degree of insightful brilliance that is unfathomable, like all of Herzog’s work. The generally unseen industrial complex in Antarctica is a startling interaction between man and nature.
Not Worth Watching:
- Absolutely nothing
If you only have time to watch one 9 to 5
If you only have time to watch two Weeds Season 8
Related beermovie.net articles for you to check out: Worth Watching June 2012 and Worth Watching June 2013.
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Guardians of the Galaxy
Recently I had become concerned that Marvel seemed to be homogenising their approach to new films in the MCU. One of the great strengths of this, really quite remarkable, series of films has been that it is unafraid to make each film wildly different in genre and tone than the film that came before. The removal of Edgar Wright from the forthcoming Ant Man (2015), a film he had been driving for so long and the most recent Guardians of the Galaxy (2014) trailer looking like a generic male hero driven action film, had crystallised these concerns.
Thankfully though Guardians of the Galaxy shows that Marvel definitely have not lost their creative nerve, at least not yet. My fears were quelled right from the start actually as the film opens with a dark moment, but one totally grounded in human, earthbound concerns. This is interesting, because where this film takes the viewer is farther afield from ‘realistic’ human concerns than any other film in the series, including The Avengers (2012) and both Thor films. The film does struggle a little with pacing, which is always a challenge for any origin type story. Right at the start, what seem like huge plot points for how a young boy becomes a space-travelling thief (sort of) called Star Lord are just sort of plonked there. I would have liked a little more insight into that journey. But given the film has to essentially handle five origin stories, not just one, overall the film does a pretty great job of it all. Another thing the film does well is actually reside in the sci-fi genre. Sure it is not hard sci-fi by any stretch of the imagination, but it is also not simply a stock standard hero story dressed up in spaceships and green skinned beings. Especially towards the beginning, there is a willingness to set up relatively dense sci-fi mythology and political machinations. No other Marvel film has the level of worldbuilding that this one does and it is a major difference maker which greatly enhances the enjoyment of the film.
I think Guardians of the Galaxy manages to have the best ensemble of any Marvel film, which is saying something because I think both The Avengers and Captain America: The Winter Soldier (2014) do a pretty good job in that regard. All of the characters have decent motivations for what they are doing. Sure they are generally pretty simplistic – money or vengeance – but they make sense within the film and they also manifest themselves in the action of the film. The casting goes a major way to ensure that the ensemble does so well in telling the tale of the film. Just as it stays the absolute same on some fronts (the important ones mainly – female participation, racial and LGBT presentation), Hollywood seems increasingly willing to diversify its approach on some fronts. Indie directors like Gareth Edwards and Rian Johnson now get jobs spearheading franchises like Godzilla and Star Wars. And here we have Chris Pratt, the incredible Andy Dwyer from Parks and Recreation, as the star of a Marvel film. Pratt crushes it too, bringing a little of his earlier comedic charm with a whole lot of genuine leading man charisma and effectiveness as an action presence. Another left of centre casting choice that works far better than I would have imagined is the choice of wrestler Dave Bautista as Drax the Destroyer. Batista is not actually that charismatic as far as wrestlers go, so it was a genuine surprise that he really holds his own with his acting skills in this film. He brought a lot to his character. Zoe Saldana as Gamora is a little more of a straightforward choice. Her character as well mixes the unfortunately expected, with the refreshing. Gamora holds a really important part in the future direction of the MCU, as a result of a combination of who her old man is (sigh) coupled with the choices she makes throughout the film (yay). Similarly her character is a mixture of weapon like destructive fighting ability with the occasional need to be saved by far less skilled male counterparts.
Batista, who is so impressive as Drax.
The two characters which had the potential to derail so much of what works in this film were Rocket Racoon, CGI voiced by Bradley Cooper, and Groot, huge tree sorta played by Vin Diesel. If they had of gone too comedic with them it could have wrecked the tone of the film and removed any real stakes from the narrative. But these characters end up being two of the biggest assets of the film. Rocket Raccoon will become an iconic character I feel, down in part to the exceptional one liners that the script gives him. The script also goes to the trouble of taking Rocket from what could have so easily been a CGI animal comedic relief sidekick into a fully formed and heartfelt presence. Part of that comes from the great relationship that he has with his best buddy, the hulking tree-like Groot. I’m not sure that Guardians of the Galaxy is my favourite Marvel film. But there is no doubt that I love the visuals of this one comfortably more than any other film in the series. It is in many ways a classical sci-fi aesthetic, Star Wars and Trek came to mind for me. However it is all rendered in a pretty bright and colourful kind of way, which is really refreshing given the tendency for gloom and grime that has reigned recently in any kind of superhero or blockbuster film. In addition to the visuals, I think this is also the best script we have seen in a Marvel film yet. It is definitely the hardest one they have had to nail and they do a great job, balancing the tone and the action very well.
Guardians of the Galaxy is pretty much unmissable if you have any interest in blockbuster filmmaking. To my mind it is the best blockbuster film of the year so far. It sees Marvel expand out, incorporating visually arresting sci-fi elements and plot points, whilst still having the film feel theoretically as though it could sit alongside the other films in the MCU. It also has a hell of a fun ensemble cast too, which makes the ride even more enjoyable.
Verdict: Pint of Kilkenny
Related beermovie.net articles for you to check out: Captain America: The Winter Soldier and Worth Watching April 2012 (includes review of The Avengers).
Like what you read? Then please like Beermovie.net on facebook here and follow me on twitter @beer_movie
Trailer for your Weekend: Predestination
The Aussie Spierig Brothers have garnered a fair bit of acclaim for their first two genre flicks, Undead (2003) and Daybreakers (2009). Their latest effort Predestination (2014) will soon open the Melbourne International Film Festival with a wider release to follow. I haven’t seen their first two films, but I am definitely keen to check this one out in cinemas. I really like the imagery in the trailer, from the period flourishes to that initial image of Ethan Hawke exploding into glass. That’s an intriguing image and I can’t wait to see how that factors into the film as whole. I also really hope that this film breaks big, because the female lead Sarah Snook is a hell of a talent and deserves to be seen a whole lot more. Anyone happened to see the Spierig Brothers’ first couple of films?
Related beermovie.net articles for you to check out: Back to the Future and Sanctum.
Like what you read? Then please like Beermovie.net on facebook here and follow me on twitter @beer_movie
Gone on holidays
“Tim’s not here man” – Homer Simpson
Friends,
I am in the final stages of a late night packing scramble before heading off overseas tomorrow. A 30 odd hour journey awaits (probably pushing 35-40 taking into account time at airports actually) so they better have a ton of good movies on the plane.
Apologies I did not get up to date on comments and reading people’s recent work. You won’t see me around here or on your own site for the next three-four weeks. But rest assured I will be back and can’t wait to talk way more movies with you guys.
Stay well. Stay happy. Stay lovin.
Peace.
Tim
Seeking travel tips – England, Ireland and Scotland
No that’s not Prince Charles, it’s me next week… actually no, that is Prince Charles.
Hey Friends,
Later this week, I am heading overseas on holidays for three glorious weeks. I am hitting England, Ireland and Scotland for the first time which I am pretty excited about. I will be mainly sticking to London, Dublin and Edinburgh, but it is quite possible I will spend a little time somewhere a little more regional in Ireland and Scotland.
Anyhoo, I know some of you guys live in these countries and no doubt more have visited, so I was after any hot tips you may have. I will use somewhere between zero and all of them. I have left my planning and researching to the last minute as is my way, so any cool suggestions you have would be gnarly. I am into the following things:
- Beer. Any cool pubs or microbreweries in these places.
- Whisky. I am intending on visiting a couple of distilleries. Most likely Bushmills in Ireland and one or two yet to be decided in Scotland. Any suggestions? Also, given I won’t be able to go to every distillery I would love to thanks to time constraints, if you know of any sweet whisky bars then let me know.
- Vegan friendly food. Cause a man has to eat.
- Awesome movie stuff. Aiming to get to the BFI and also want to hear of any cool, small cinemas playing interesting stuff. Probably won’t go to too many multiplex style places, but who knows, I may just want a cruisy night in front of some hollywood trash. So let me know if you have any suggestions for those.
- Sweet museums or galleries. What is good out of the big mainstream ones and the awesome quirkiness.
- Communication tips – is free wi-fi common, what is a good local sim card to buy (preferably with a little data included).
- Sports. I know it is the wrong season, but are there any cool sporting events going on over the next month.
Thanks for any and all ideas. You’re a bunch of legends.
Given I am heading off, activity on here and on other people’s sites will probably be pretty minimal for the next four weeks or so. I am aiming to post another Friday the 13th review and Worth Watching for July before I go. But no guarantees. I will also aim to catch up in responding to all the comments on here I have neglected too.
Cheers,
Tim
Comic book review: The Adventures of Superman #14 by Max Landis
Whilst this is a movie site, rather than a comic one, I think it is interesting to chuck some reviews of different types of work on here occasionally. Plus the main story in The Adventures of Superman #14 is written by Max Landis, son of the great John Landis, he of the exceptional pitch for Ghostbusters 3 and writer of the excellent script behind the much beloved Chronicle (2012). So there is a film connection to this review.
There are a couple of great, distinguishing factors about this story from Landis. For starters, it features a nemesis of the Batman – The Joker, showing up on Superman’s turf. I am not all over comic book history, so it is quite possible these two have interacted on occasions before. But it was a novelty for me. One captured awesomely by the cover of the book which you can see above, with the Joker striking an iconic Superman pose.
The second distinguishing factor, and one that is possibly my favourite thing about this story, is that the ‘action’ so to speak consists almost entirely of the two characters standing around having a chat (ok Superman is technically hovering, but you get my drift). By having them literally just talking, trading dialogue, the effect is that the reader feels they can genuinely peer into the psyche of both a major villain and an archetypically perfect hero. I have not read a whole lot of Superman comics, but they generally seem ultra serious. Or at least the character is. It is great then that Landis sets up this patter between the two characters with Superman interacting and toying with the Joker on a really fun level. Some of the best moments here are when Supes laughs at the Joker’s jokes, a reaction that the supervillain is really not sure how to take.
Something else that will interest comic book readers, or just fans of their films, is the somewhat terse relationship between Superman and Batman that Landis constructs. I won’t give too much of the detail away cause you really should read it to get the flavour of it. During his discussion with the Joker, Superman perhaps reveals some of his true feelings about Bruce Wayne’s superhero alter-ego. And then toward the end of the story the two of them have a little clash over what the responsibilities of being a superhero. Landis expanded on some of these ideas on his twitter account, today. Check out some of his thoughts below (and if you are on twitter, Landis is a great follow and often tweets out really interesting stuff on the writing process.
https://twitter.com/Uptomyknees/status/483383726659731457
https://twitter.com/Uptomyknees/status/483383835942326273
https://twitter.com/Uptomyknees/status/483383992335351808
https://twitter.com/Uptomyknees/status/483384158740164608
https://twitter.com/Uptomyknees/status/483384344631730176
https://twitter.com/Uptomyknees/status/483384592288591872
https://twitter.com/Uptomyknees/status/483384696449941504
https://twitter.com/Uptomyknees/status/483385009450254338
I loved the boldness of some aspects of the art in the book as well. Artist Jock obviously did not feel constrained to present everything in the one style or even stick to one physical depiction of the Joker. It is an approach that is initially a touch disconcerting but definitely grew on me as the story progressed. And given my movie focus, it would be remiss of me not to share this amazing panel, which pays homage to the interpretation of the character by Nicholson, Ledger and others. It does not totally stick out as a gimmick either because I think the effect is to show the constantly evolving and shifting mental state of the Joker, even in a single sentence.
There is also a second, fun story about Superman babysitting in The Adventures of Superman #14. It is not written by Landis, so I won’t give it a full review. But consider it a fun little extra if you decide to pick this one up. Which I highly recommend you do. It is a breezy and original read with some interesting psychology and superhero relationship stuff going on underneath.
Verdict: Pint of Kilkenny
Related beermovie.net articles for you to check out: Chronicle and Comic Review: Captain America The Winter Soldier film tie-in.
Like what you read? Then please like Beermovie.net on facebook here and follow me on twitter @beer_movie
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