Published: October 8th, 2013 Written by: Jeph Loeb Art by: Jim Lee
DC Comics, 298 Pages
Batman: Hush is highly regarded as one of the best Batman stories of its era and honestly, it doesn’t disappoint. I hadn’t read it for over ten years but after recently watching the animated film adaptation, I wanted to give the source material a read again.
I’m happy to say that this lived up to my memories of it, as it’s just a great, well-layered story, where even if you figure out the big mystery, it doesn’t wreck the plot because there are so many surprises still woven in.
This features a lot of characters from both sides of the law but it doesn’t become bogged down by it and everyone truly serves a purpose with how they’re all tied to the main plot.
It shouldn’t be a surprise that this is good, simply because Jeph Loeb wrote it and he teamed up with the great Jim Lee, who provided some of the best and most iconic art of his career for this tale.
Hush is a solid comic book on every level. Saying too much about the plot might ruin things and this is a book that I definitely recommend. I’d rather people read it and discover its greatness for themselves.
Rating: 9/10 Pairs well with: other major Batman story arcs from the late ’90s and early-to-mid ’00s.
From Filmento’s YouTube description: Margot Robbie’s Harley Quinn Birds of Prey movie is the first DC film of the new decade, and by the quality of it it seems DC is up to its old habits a’la Suicide Squad/Batman v Supeman/Justice League. But the interesting thing about Birds of Prey’s failure is that its pretty much a copy paste of other successful movies: Pirates of the Caribbean and Deadpool. The character of Harley Quinn is a straight ripoff of Johnny Depp’s Captain Jack Sparrow, whereas the narrative and the wonky world of Birds of Prey is a straight ripoff of Ryan Reynolds’ Deadpool. But despite copying cinematic greats, Birds of Prey still manages to fail, because it completely misses the point of what makes Pirates and Deadpool great. So, in today’s episode of Anatomy of a Failure, lets see how that happened and how DC/DCEU looks once again to be taking a backseat to Marvel/MCU.
Also known as: Birds of Prey (unofficial title), Harley Quinn: Birds of Prey (re-branded title) Release Date: January 25th, 2020 (Mexico City premiere) Directed by: Cathy Yan Written by: Christina Hodson Based on: characters by DC Comics Music by: Daniel Pemberton Cast: Margot Robbie, Mary Elizabeth Winstead, Jurnee Smollett-Bell, Rosie Perez, Chris Messina, Ella Jay Basco, Ali Wong, Ewan McGregor, Steven Williams
Clubhouse Pictures, LuckyChap Entertainment, DC Entertainment, Kroll & Co. Entertainment, Warner Bros., 109 Minutes
“Here’s the thing, Romy baby: your protection is based on the fact that people are scared of you. Just like they’re scared of Mr. J. But I’m the one they should be scared of! Not you, not Mr.J! Because I’m Harley Fucking Quinn!” – Harley Quinn
This movie’s title was so bad that they actually changed it after it was in theaters for only a week, where it didn’t perform up to expectations. But I don’t think that the stupid, pretentious, cutesy pie title was the only problem with the movie.
To start, I’ve never seen a motion picture be so self unaware. It tries so hard to be edgy, cool and original all while being a poor attempt at making a Deadpool movie for girls. It’s pretty obvious how blatantly this is trying to channel the Deadpool mojo that it deflates anything good within the picture.
Additionally, while this is visually stunning, overly vivid with a giallo style color palate, the choppy editing and amateur shot framing makes this feel like a 109 minute music video. And like all big studio movies that are trying to be cool, the music isn’t even that good, as it recycles exactly the same type of tunes you’d expect from yesteryear while also sprinkling in awful modern covers of classic hits that don’t really work. In short, it’s predictable as fuck.
When it comes to the characters, other than Harley Quinn, this film doesn’t really understand any of them. Who the fuck wrote this? Have they read a comic about any of these characters? I’m supposed to believe that this Cassandra Cain will eventually become a Batgirl? Not to be an asshole but they made her look like Rose Tico cosplaying as Short Round. That’s not the actresses fault, just like it wasn’t Kelly Marie-Tran’s fault that Rose Tico looked like a frumpy baked potato with the dumbest, most unappealing haircut in Star Wars history.
But look at this film’s version of Roman Sionis a.k.a. Black Mask, a villain I have always loved. This is absolutely not who that character is. Granted, I enjoyed Ewan McGregor in this, as well as the character, but he didn’t need to be Black Mask, he could’ve just been an eccentric Gotham City mob boss. There is nothing about him that even resembles Black Mask, other than he puts on a Black Mask for about ten minutes before taking it off again.
Ewan McGregor was the best thing in this film, which is funny when you think about it, as this had a very clear agenda. But I’ll get to that further into this review.
On top of that, Victor Zsasz wasn’t Zsasv, Black Canary wasn’t Black Canary, Renee Montoya was only about halfway there and the Huntress was sort of accurate but completely unlikable and awkward.
Beyond that, this is a movie that doesn’t seem to know what it wants to say. Well, it is very clear that it wants to communicate that all men are pieces of shit, as every single man in this movie are portrayed as pieces of shit, even the fatherly old Asian guy that lets Harley live upstairs.
So the man hate is clear, which is odd because no matter how hard this movie tries to appeal to women, it’s audience was still mostly men. But this is typical of the agenda-driven Hollywood nowadays. But hey, maybe this COVID-19 shit will be a wake up call for studios to actually give a shit about what their audiences want. Probably not, though, as their heads are so far up their ass that they are on a steady diet of their own shit.
The part of the message that isn’t clear is that this can’t decide between whether or not women should stick together or fuck each other over and go solo. I guess teaming up is all fun when you’re sticking it to the patriarchy but once the men are out of the way, they just act like the men they were trying to beat. It’s childish, boring, predictable and lame.
And like all things in entertainment that have this sort of pro-feminist agenda, the story wants to preach self-confidence and self-reliance but then it constantly has its characters telling each other that they’re cool and how much they are all each other’s besties. Is this what women are? Not in my experience but what do I know, I have a penis.
Anyway, confident, self-sufficient and badass women don’t need constant reassurance that they’re cool and likable. That’s not what confident, self-sufficient and badass is. But that’s what this movie is teaching the young girls who may see this picture.
For the first third of this film, I was really happy with its pacing and thought that it was flying by. But then, once you get to the part where the story starts jumping around in the timeline (another way it was trying to be Deadpool), things just went off the rails and the film became sloppy. There was no reason to do this and frankly, it’s one of the things I didn’t like about Deadpool. After this whole section of the film, the pacing didn’t pick up or recover and everything became a slog to get through.
I think that a lot of the problem with this movie is that it hired an inexperienced director. This is something that had the potential to be a massive franchise, featuring a big star playing a character that is one of the most popular in all of pop culture. But the studio didn’t take this seriously enough, so why should any of us?
It also didn’t help that the director, before this came out, was bragging about the heroes not using guns (they do) and just kicking the patriarchy’s ass. She also admitted to not being a fan of comics.
Maybe it’s time for these companies to start hiring creatives that know the material, are passionate about it and thus, want to make the best representation of what these characters and stories should be.
And they wonder why box office numbers were already decreasing before COVID-19.
Rating: 4.5/10 Pairs well with: the other lackluster DC Comics movies of recent memory.
Published: 2005-2006 Written by: Geoff Johns Art by: Phil Jimenez
DC Comics, 241 Pages
I hated Crisis On Infinite Earths but I had hoped that this more modern version of it would’ve been more to my liking. I guess it is better but not by much because it falls victim to the same bullshit.
It’s overloaded with characters to the point that it’s difficult to follow and it just becomes a mega clusterfuck, trying to be larger than life while wedging a fuck ton of characters into double splash pages.
DC likes doing these big events that try to “reset” the multiverse and all they do is become overly complicated messes that ignore their own established rules because new writers don’t have time to read the old stuff or pay attention to it. In Geoff Johns’ defense, the event this is a spiritual sequel to was a convoluted shitstorm, so I don’t blame him for paying it no real mind.
If I’m going to try and look at the positives, there is really only one: the art by Phil Jimenez. It’s spectacular and it is lively and even if I don’t enjoy the story, it’s hard not to get caught up in the absolute beauty of Jimenez’s work. It’s stunning and even on those overcrowded splash pages, he fills the space magnificently and dynamically.
Apart from that, there’s not much to say. This isn’t as messy as its predecessor but it is still an over-sized shit meatball.
Rating: 5/10 – because of the art more than anything else. Pairs well with: other massive DC Comics events that are overloaded with characters.
Published: 1985-1986 Written by: Marv Wolfman Art by: George Perez
DC Comics, 359 Pages
Crisis On Infinite Earths is one of DC Comics’ sacred cows. Yet, I’ve never had much urge to read it because my experience reading massive DC Comics crossovers has never been that great.
But now I have read it because I felt like it was long overdue and because this is a storyline that is referenced a lot, still to this day, thirty-five years later.
The first problem with this story might be apparent by the number of tags at the top of this post. It’s overloaded with so many characters that it is mostly a convoluted clusterfuck of biblical proportions.
In fact, this post may be the record holder for the number of tags I had to add to it. And frankly, that’s not all the characters, just the ones I know because two-thirds of the characters here are generic one-offs or so minute to the DC universe that they aren’t worth noting.
Now I know that some people love the splash pages from this series, as they showcase dozens (if not over a hundred) different characters all in one giant image. If I’m being honest, I’ve always disliked them and they are why I never really wanted to read this. Most of the action is minimal and many of these scenes are just characters standing around. They lack the energy that a splash page needs and look more like they belong in a Where’s Waldo? book. And I don’t say that to come off as a dick because I almost always love George Perez’s art. This just seems like DC management telling Perez to squeeze in as many characters as artistically possible. It’s hard on the eyes and it’s shit.
Another big problem with this twelve issue story arc is that every moment feels larger than life. Well, when everything is so big and grandiose, that becomes normal and status quo. You can’t possibly go bigger and with everything being so big from start to finish, none of it is memorable. It’s just a busy, stressful read without allowing the reader to catch their breath and reflect on what’s happened. It’s kind of like a Michael Bay movie. Throw so much intense shit at the audience, don’t let them stop and think and they’ll just move from point A to point B to point C and so on, forgetting everything that happened two points prior.
This event was made in an effort to sort of reset the DC universe. Honestly, all it does is make a giant fucking mess of things and splatters the mess all over everything it touches.
The plot doesn’t make sense, I’m not sure what exactly changed and with so many universes crashing together into one, it’s not properly organized and then re-established in any sort of way that a reader can follow. If this was supposed to be a jumping on point for readers in 1986, I don’t know how they made sense out of any of it and then knew which characters to follow.
The main reason for the previous sentence is that this is so overloaded with people that you don’t get to really know any of them. There is no character development and this is written in a way that it assumes the reader knows all about every character in the story. For a seasoned comic book reader like myself, who has been reading comics for three and a half decades, I was lost and didn’t know who half of the low tier characters were.
Crisis On Infinite Earths should have been written as a Justice League story with some inclusion of the Fawcett Comics characters and the Golden Age DC heroes. All the third tier and lower characters could have made cameos but even then, they don’t really need to.
I really hoped that this was going to pleasantly surprise me but it hurt my head.
It was too much, too big and too long.
Rating: 4/10 Pairs well with: mid-’80s DC Comics titles, as well as all the other massive DC crossover events.
Published: June 28th, 2016 Written by: various Art by: various
DC Comics, 291 Pages
Killer Croc is a Batman villain that I have dug since I first read a story with him in it in the late ’80s. I’m glad that he has had staying power and is now pretty close to being an B+ level villain in the Batman and larger DC mythos.
This collection, like the other Batman Arkham villain compilations features a dozen or so stories focused on this specific character, all from different eras with a slew of different writers and artists.
But in the case of this book, that kind of hurts the overall compilation.
Now most of the writing is good with stories by Chuck Dixon, Doug Moench, Gerry Conway, Tim Seeley and others. It’s the big style variance in art that damages the overall presentation.
The problem is that most of the stories featured here are from the ’90s. At the time, DC Comics had a lot of artists that experimented with a lot of different art styles. Most of the stuff here looks like ’90s indie stuff that is trying way too hard to be edgy and extreme. A lot of it comes off like massive eye sores and the strong contrast in style from chapter to chapter is kind of jarring. But this is a compilation and these things happen when you’re wedging a dozen or so stories into the same book.
However, this collection also brings to light one of my biggest gripes about the Killer Croc character and that’s that everyone draws him differently. Sometimes he’s just a jacked dude with scaly skin and other times he’s the size of the Hulk with an actual crocodile looking head, snout and all. I’ve never been a fan of his inconsistent look and some of these artists go too wild with it.
Being mostly a product of the ’90s we also get some over the top violence in one story in particular, which sees Killer Croc literally chomp a woman in half. While that stuff doesn’t bother me, it seemed out of place in the book and just reminded me of a time when DC Comics seemed like they were trying too hard to fit within what they thought were the times.
I did enjoy this collection, despite my gripes about it. They could only work with what they had in their library but I can’t believe that some of these are considered the best Killer Croc tales. Maybe someone needs to step up and do the character some justice, treat him with care and give us something with more meat.
I also found it odd that none of his Suicide Squad stuff was here, as some of those stories really build up the character in interesting ways.
Rating: 7/10 Pairs well with: Other Batman Arkham collections.
Published: August 22nd, 2017 Written by: Bryan Q. Miller Art by: Lee Garbett, Pere Perez, John Trevor Scott
DC Comics, 296 Pages
I wasn’t sure what to think going into this series. I mean, I always liked Stephanie Brown as Spoiler since she first popped up in the ’90s but I’m not too keen on anyone other than Barbara Gordon being Batgirl.
However, I’m really happy to say that this book impressed me and was a heck of an exciting read.
Stephanie Brown is just a fun character and in many ways she reminds me of Barbara Gordon before she became Oracle. She has a lot of energy and her personality is infectious and definitely comes right off of the page.
That being said, this is very well written. Bryan Q. Miller was hitting homers right out of the park with just about every issue of the twelve that are collected in this big volume.
Reading this now is also interesting because it all takes place in the era where Dick Grayson a.k.a. Nightwing was filling in for Batman. It creates an interesting dynamic between the characters and what they all think Bruce Wayne wanted for his legacy.
Barbara Gordon is in this as Oracle and she is essentially the new Batgirl’s Alfred. It’s a nice passing of the torch to Stephanie Brown and it sort of legitimizes her. As a reader and fan of Barbara, her acceptance of Stephanie translates to the reader who may have reservations about a new Batgirl.
All the story arcs within this served a purpose and it was neat seeing Stephanie grow in this role. The final arc, a four parter called Flood is the highlight of the book. It’s a story that features The Calculator as the villain and it calls back to one of the more important Oracle stories.
This book was cool. I dug the hell out of it and I can’t wait to read the second volume.
And man, the covers are beautiful.
Rating: 8.5/10 Pairs well with: the volume that follows this one.
Published: 1993-1994 Written by: Doug Moench, Chuck Dixon, Alan Grant Art by: various
DC Comics, 634 Pages
I’ve put off reading the Batman: Knightfall saga for so long because of two reasons. It’s spread out over three massive books and each of those books is pretty pricey. However, Comixology now has the first book available for free to Unlimited subscribers and they just had a big sale on the other two books. So I was able to get this whole thing for about $8.
So now that I have this series in my possession, I can start reading all 2000-plus pages of it. Yes, it’s a real monster – big enough to rival the mass of Bane on the cover.
Over the years, I’ve acquired a few of the issues within this massive saga but it started to come out as I was going into high school and I moved to a much smaller town where I couldn’t buy comics. So I never really got to read it, even though I’ve come to know the story fairly well.
The story, mostly penned by Doug Moench and Chuck Dixon, is quite good. There are a lot of layers to this massive story, as there should be due to how much material it has between its covers. However, some things do feel a bit rushed, as there isn’t much build worked in to the major plot developments.
For instance, Batman is broken pretty quickly in this saga. And then Azrael is given the mantle of Batman and immediately, he acts like a psycho in how he fights crime. He’s a dick to Robin, he almost lets a kid die to pursue the baddie and he retrofits the Bat-suit with claws and spiky, metal shit. I think it would have enriched the story to show Azrael slowly slip into this aggressive new Batman.
Still, that doesn’t hinder the book very much, as there are so many other characters and situations to track through this volume’s 634 pages.
I was surprised to see Azrael actually defeat Bane in this book, as it is only the first third of the saga. So I don’t really know what that means going forward and I was pretty sure that Bane’s fall would be at the end of this huge saga.
This is absolutely quintessential ’90s Batman though. And that’s really what’s so great about it. Bane is the perfect villain for this era and Azrael is a very ’90s twist on heroism. I even enjoy Azrael’s cringeworthy Bat-suit because despite its awfulness and nonsensical design, it fits the era.
Additionally, the art in every issue collected in this giant piece of work is damn good. I’ve always been a big Graham Nolan fan and his work here is some of his most memorable.
I’m glad that I finally read this. It exceeded any expectations I had for it, even if I thought the narrative was choppy in parts. But I also attribute some of that to this story being a big crossover with multiple writers.
If you haven’t read Knightfall, you probably should.
Rating: 9.25/10 Pairs well with: the other books in the Knightfall saga, as well as pretty much any Batman story from the ’90s.
Published: January 31st, 2017 Written by: Tim Seeley Art by: Javier Fernandez
DC Comics, 164 Pages
I’ve been reading Nightwing for about a year now but I was behind on all the Rebirth era stuff because I was tired of DC Comics hitting the reboot button every few years. But I heard pretty good things about this series and started reading them. Now I want to go back and get all the previous stories in the Rebirth era to help give context to the newer chapters.
This collection has two story arcs in it but they’re both very connected, as they deal with the character of Raptor and his relationship with Nightwing a.k.a. Dick Grayson.
Also, this story starts on the heels of Dick leaving the Spyral organization where he was known simply as Agent 37.
This first arc sees Dick become Nightwing once again, as he is pulled into the Parliament of Owls to help protect Damian Wayne, the current Robin and son of Batman. Nightwing is forced to work with Raptor but the two have their own agenda and we see them work towards defeating the Owls. The story also brings in the Kobra organization and deals with their rivalry with the Owls.
I’m not as versed on the Court/Parliament of Owls stuff as I should be but I did enjoy the story and what it meant for all parties involved. However, the real emotional weight and the real story doesn’t happen until the final two issues collected in this volume. This is where Raptor’s intentions become clear and where Dick discovers that the two men have personal ties to one another.
I’ve enjoyed Tim Seeley’s work for quite awhile. I was an avid fan of his Hack/Slash comic series and I’ve reviewed all five omnibuses already. He just seems to be having fun writing Nightwing and he understands the difference between Dick Grayson and Batman, as well as all the other Robins.
One of my favorite parts about this series is the evolution of Nightwing and Batgirl’s relationship. Seeley does a fine job of working in the romantic stuff without it being in the way of the story. This may actually be one of the best handled romances in modern comics, even if the two can never seem to get together or be on the same page at the same time. It’s certainly more interesting than whatever the hell happened with that Batman and Catwoman wedding fiasco.
I’m glad that I’m working my way through this series and anticipate picking up the second volume as I catch up to where I am now, around issue 50 or so.
Rating: 7/10 Pairs well with: the ongoing Nightwing series, as well as Batgirl, Red Hood and the Outlaws, Detective Comics and Titans.