Published: October 8th, 2013
Written by: Grant Morrison
Art by: Tony S. Daniel, Lee Garbett
DC Comics, 213 Pages
I’m pretty sure I liked this when I read it back when it was current, about a decade and a half ago. However, I found it just weird and wonky this time around. But I’ve also aged quite a bit and in that time, read some truly incredible comics.
I was probably really into this, as it came out at the height of my Grant Morrison love. Plus, back then, I was more into weird shit and experimental storytelling. However, I don’t feel like any of that necessarily benefits the most mainstream of all mainstream comic book titles.
Having now recently read a good amount of Grant Morrison’s Batman run, my opinion on it has soured quite a bit. It’s stuck in this weird limbo where it’s too weird to feel like it fits within the top Batman title and it isn’t weird enough to truly feel like Grant Morrison, unrestrained.
This feels like watered down Morrison and by trying to sit on the fence between mainstream acceptance and Morrison’s typical narrative style, it’s really just a boring, baffling dud of a comic.
The art is good, damn good. However, that’s not enough to save it from how disappointing it is, overall. Besides, this is a story from the pages of the most popular comic book in the medium and if the art isn’t up to snuff, DC Comics should close up shop.
This kind of wore me ragged, honestly. I don’t want to read anymore of Morrison’s Batman work and I consider it to be overrated, at this point. I also say that as someone that once liked it.
In the end, Morrison shouldn’t have his hands creatively tied but he also shouldn’t be allowed to go into Batman with reckless abandon. That’s what DC’s Elseworld Tales are for and frankly, that’s where Morrison’s Batman work should be.
Pairs well with: the rest of Grant Morrison’s Batman run.
Published: August 28th, 2012
Written by: Grant Morrison, Paul Dini, Fabian Nicieza, Keith Champagne, Peter Milligan
Art by: Ryan Benjamin, Don Kramer, Adam Kubert, David Lopez, Jason Pearson
DC Comics, 248 Pages
Since I just read the first big collection of Grant Morrison’s Batman work, I also wanted to revisit this story, which tied to his larger body-of-work, and brought the characters to the Batman R.I.P. milestone event, which I will review in the very near future, as well.
This plot crossed over with several Batman titles, though, so it wasn’t just written by Morrison. It also features some work by the great Paul Dini, Fabian Nicieza, Keith Champagne and Peter Milligan.
Overall, it was a good story that built off of the Batman and Son arc, which brought Damian Wayne, a future Robin, into Bruce Wayne’s life.
This also brings back one of the more popular Batman villains, Ra’s al Ghul. I like how Ra’s pretty much just looks like a mummy in a green cloak the whole story. It kind of reminded me of Mumm-Ra, the primary villain of the ThunderCats franchise.
The art was also handled by multiple people due to this being spread out over several titles. Pretty much all of the art is really good and it reminded me of why I got back into reading comics in this era, when I had dipped out for nearly a decade around the mid-’90s.
This is a good, enthralling story that made some good, permanent changes to the mythos. It also shows that Morrison had a unique vision for the character and those around him.
Pairs well with: the other stories arcs within Grant Morrison’s Batman run.
Published: November 3rd, 2009
Written by: Grant Morrison
Art by: Andy Kubert, J.H. Williams III
DC Comics, 350 Pages
The Deluxe Edition of Batman and Son features all of Grant Morrison’s Batman run up to Batman R.I.P., although it excludes The Resurrection of Ra’s al Ghul, which I will also review shortly.
It’s a hefty but surprisingly quick read, as it has a good, quick pace and is mostly pretty good. I actually read it in one sitting and found it kind of refreshing, as I haven’t liked many Batman stories within the regular continuity since Morrison’s era. Granted, I did enjoy some of Scott Snyder’s work.
I also loved Andy Kubert’s artwork and I feel like he doesn’t get enough credit as one of the premiere Batman artists. It was this era of Batman that got me reading the comic again after a several year hiatus and Kubert’s art had a lot to do with that.
This edition features a couple of story arcs. I liked the first one the best, as it is the debut of Damian Wayne, Batman’s son. It had been a long time since I read these issues but it was fun to revisit.
All in all, this was the start of one of the best runs in the last few decades and it didn’t disappoint. While it might not be as strong as my memories of it, it was still much better than most of the stuff that came after it.
Pairs well with: the other stories in the Grant Morrison Batman run.
Published: May 5th, 2015
Written by: Tony Bernard, Peter Calloway
Art by: Andres Guinaldo, Jeremy Haun
DC Comics, 288 Pages
Well, losing Paul Dini as the series’ writer was a bit of a blow to Gotham City Sirens, as this second book doesn’t live up to the pretty solid first one.
Still, this is mostly a decent read and it carries on the story Dini started. Although, it does feel like it knew it was going to be wrapping up, as the bond between these three women seems to dissolve just as fast as it gelled.
I guess the most interesting parts within this are the ones dealing with Harley Quinn and how she’s processing her issues with The Joker and their very abusive, one-sided relationship.
But I’m glad that this presents Harley well unlike the more modern comics with her that have turned her into a one-dimensional joke character that has evolved into DC’s half-assed attempt at trying to make their own Deadpool.
Compared to the first book, this is almost forgettable other than the Harley stuff.
The art is really good, however, and it helps carry this series as it quickly loses steam and sort of just whimpers away because DC Comics had to reboot their universe for the umpteenth time.
Pairs well with: the first book in the Gotham City Sirens series.
Also known as: Arkham, Gotham, Batman 3 (working titles), Magnus Rex (fake working title), TDKR (informal short title)
Release Date: July 16th, 2012 (New York City premiere)
Directed by: Christopher Nolan
Written by: Jonathan Nolan, Christopher Nolan, David S. Goyer
Based on: characters by DC Comics
Music by: Hans Zimmer
Cast: Christian Bale, Michael Caine, Gary Oldman, Morgan Freeman, Anne Hathaway, Tom Hardy, Marion Cotillard, Joseph Gordon-Levitt, Matthew Modine, Ben Mendelsohn, Burn Gorman, Juno Temple, Cillian Murphy, Liam Neeson, Nestor Carbonell, Desmond Harrington, Thomas Lennon, William Devane
DC Entertainment, Legendary Entertainment, Warner Bros., 164 Minutes
“There’s a storm coming, Mr. Wayne. You and your friends better batten down the hatches, because when it hits, you’re all gonna wonder how you ever thought you could live so large and leave so little for the rest of us.” – Selina Kyle
Where I’ve seen the first two films in this trilogy at least a dozen times each, I’ve only seen this one once: in the theater. If I’m being honest, I didn’t have much urge to see it again after my initial experience. But I’ll explain why as I roll on and review it.
I was pretty excited for this film but I also knew that it would be damn hard to top The Dark Knight or to try and replicate its greatness. Well, I wasn’t wrong. And while this isn’t a bad movie, it’s certainly the weakest of the trilogy and just falls flat when compared to the other two pictures.
To start, I was a bit perplexed when I first heard that Bane was going to be the big bad of the movie. I don’t necessarily have a problem with Bane but after following The Joker and Two-Face, I felt like the third film should’ve featured more of the old school villains, as opposed to bringing in a more modern one that is kind of boring by comparison. I mean, a Christopher Nolan movie featuring The Riddler, The Penguin or hell, even The Mad Hatter, could’ve been really intriguing.
What we got instead was pretty much a rehash of the threat and the plot of the first movie: Batman Begins. In fact, in this film, Bane is even tied to the same villainous organization of that film. We also get a curveball where we find out he really isn’t the big bad but that just kind of makes the overall story even more redundant.
I guess I understand why Nolan chose Bane, as he wanted to try and keep his Batman films grounded in reality as much as one can with a comic book property but seeing a secret Illuminati-type group descend upon Gotham City with the hopes of using a superweapon to destroy it is derivative of the director’s own work.
Now we do get Catwoman in the film but she is written to be the most sterile and boring version of the character I’ve ever seen. Sure, Anne Hathaway is stunning but for whatever reason, Catwoman just doesn’t feel sexy or believable as someone that can ensnare Bruce Wayne/Batman. She just isn’t interesting and it’s hard to imagine her as someone that could pull Bruce’s heart out of the pain it still feels, eight years after the death of Rachel.
Hell, Bruce’s little romantic moments with Miranda/Talia seem more genuine and their relationship isn’t supposed to be the one the audience is pulling for even before the big plot twist reveals itself.
The film’s overall story is trying to be as good of a thriller as the previous two. It just isn’t and that’s the real issue with it. While I do want to see the heroes beat the baddies and win out in the end, the film just comes off as repetitive and dull. It feels like a weak copy of the first two pictures with a much slower pace and a broken back side quest that slows the movie to a halt. I just can’t get as into it as I did the other movies.
Now I get that “breaking the Bat” and dropping him into a hole was about building him back up to make him stronger and that we needed to get him out of Gotham so that Bane could grow his power but it’s a half-assed recreation of the Knightfall plot. This story also only seems to borrow from it because it was Bane’s most iconic moment and biggest temporary victory in the comics. And with Batman overcoming his incredible injury and then climbing out of a hole deemed “impossible” to escape, it all kind of wrecks Nolan’s strive for realism. You can’t simply punch a popped disc back into someone’s spine.
I also hated the film’s ending but I think I’m done harping on the negatives, as I probably sound like I dislike this quite a bit, when I actually don’t.
The film is well-acted and that’s what really makes this work where it does.
I really dug Tom Hardy as Bane, even if his voice has become a social meme. I also just loved seeing the regular cast get back together for one more adventure. Bale, Caine, Freeman and Oldman are all so great in these roles and I loved the final act of the film where we get to see Oldman’s Commissioner Gordon get very involved. My only complaint about Caine’s Alfred is I didn’t like how Bruce pushed him away and left him without much to do in the second half of the film.
Additionally, I really enjoyed Marion Cotillard as the character who would reveal herself as Talia al Ghul. I only wish that we would have gotten to see her be more of a badass but her big reveal comes at the end of the movie and she’s not around much longer after that. Not having a Talia versus Selina fight was a missed opportunity.
The film also boasts great cinematography but why would anyone expect any less from Nolan at this point? I liked the brighter look of the town, especially in the third act, and how a lot of the film happens in daylight.
The final act, which sees Batman and the GCPD bring the fight to the League of Shadows in the streets was superb and chilling. Watching Batman and the cops take it to the villainous terrorists head-on was incredible and the best moment in the film. Watching Batman and Bane fight in a sea of people was also damn spectacular.
All in all, this is still one of the greatest superhero movies ever made. It just happens to be the worst of its trilogy and if I’m being honest, it felt like Christopher Nolan and the writers were just tired and wanted to move on to the next phase of their lives.
However, even if someone else would have to step in and do it, I’d rather see this film series continue, as opposed to seeing Warner Bros. keep trying to reboot Batman. Just let Nolan produce and pick the best creative team to help build off of his vision. I mean, a Joseph Gordon-Levitt Nightwing movie in this cinematic universe would certainly get my money.
Pairs well with: the other two films in The Dark Knight Trilogy.
Published: October 28th, 2014
Written by: Paul Dini
Art by: Guillem March
DC Comics, 314 Pages
I didn’t know much about this series but I really like Paul Dini’s Batman work, especially what he did on the near perfect Batman: The Animated Series. I also like how he wrote Harley Quinn and Poison Ivy on that show and thought that Dini gave them a fantastic dynamic, as well as superb chemistry.
This series adds Catwoman to that mix and since Dini did well with her character on that animated show, it just seemed like another reason to give this a shot.
Even though I anticipated liking this, I was still surprised by how good it is!
This brings the three women together as roommates, as they try and keep each other on the straight and narrow path, trying to be reformed criminals doing a little good in the world. Of course, things can’t be that simple.
The Riddler also plays a big role in this, as he helps the women where he can. That is, until he feels betrayed and personally hurt by them towards the end of this volume.
This is a pretty thick collection of stories, as it includes the first thirteen issues of the ongoing series. Within that, it features several story arcs, all of which are pretty good. There isn’t a dull moment in this run of issues and I actually really liked the standalone Christmas story that saw Harley return to see her family.
Dini gives us a lot of info on the backstory of all these characters and shows how some of their stories had some overlap at different times, whether they knew that then or not. For instance, the moment Harley met Ivy, she also met The Joker. Both characters would have an immense effect on her life.
So much happens in this and all of it is good. I dug the hell out of it much more than I thought I would. I’m sure I’ll read and review the second volume in the very near future.
Pairs well with: other Paul Dini Batman-related comics.
Published: June 28th, 2011
Written by: Judd Winick
Art by: Jeremy Haun, Pablo Raimondi
DC Comics, 145 Pages
I went into this with zero expectations but I’ve got to say, I was pretty enthralled with the story and it didn’t just fill-in the blanks between Jason Todd’s death and his reappearance as Red Hood but it gave so much extra context and meaning to the character.
Additionally, I loved how this tied into the Hush story arc and serves to set the stage for that epic tale while also leading into the Under the Hood plot, which saw Jason Todd come back into Batman’s life in a pretty badass way.
I wouldn’t read this story first, though. I’d save it for last because even if it is a prequel, I think it’ll read better with the knowledge obtained from the other two stories. Also, this might spoil those stories if you haven’t read them.
From beginning to end, this was really engaging and it added new layers to Jason Todd’s redemption arc. It shows how he struggles with his new reality and how he is used and exploited in an effort to become a weapon against Batman. However, it also shows how well the character can adapt and how he doesn’t follow the paths that others have tried to lay our for him.
Additionally, the art in this was really good and it just added an extra sizzle to this already wonderful steak.
Pairs well with: the other early Red Hood stories, as well as his solo titles of the last few years.
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.
Pairs well with: other major Batman story arcs from the late ’90s and early-to-mid ’00s.
Published: July 25th, 2018 – January 2nd, 2019
Written by: Dan Abnett
Art by: various
DC Comics, 176 Pages
This is the second story arc of The Silencer comic series, which debuted at the beginning of 2018, as part of DC Comics’ New Age of Heroes line.
This covers issue numbers 7 through 12, as well as the first annual, which awesomely featured Batman and the Silencer meeting for the first time.
Some of this is absolutely superb and some of it is just okay. The first issue collected here deals with The Silencer getting into a huge fight on a commercial flight. While this is happening, her husband and son are on board and still have no idea that she is The Silencer and once lived a double life that she is trying to distance herself from. This single issue was one of the best comics I read in all of 2018.
After that we get The Silencer and family going to a superhero theme park. Shit hits the fan, she gets into more action and the park is actually attacked by a kaiju. While I love kaiju, this section of the plot was a bit weird and dragged on for too many issues.
Also, there was an even weirder bit over the course of a few issues that saw The Silencer body swapped with a cyborg gangster. While I like how the story wrapped up and how the two body swapped characters came to trust one another, despite being enemies, it just felt like a bad ’90s plot wedged into a comic that has had much better writing than that.
Towards the end of the arc, The Silencer finally gets to confront Talia Al Ghul, which is why she went on this theme park trip to begin with. She has a small window of time to kill Talia, while her family is distracted from the monster attack at the theme park.
I think that the final two issues were a strong conclusion to a story that started with a bang and then completely fell flat in the middle. This collection of issues has really turbulent and inconsistent but hopefully the last two issues were there to set up something bigger, better and more in tune to the best bits I’ve come to love with this series.
Pairs well with: the previous volume of The Silencer, as well as other recent DC Comics titles like Nightwing, Deathstroke and Red Hood: Outlaw.