Search results: "Batman" (page 4 of 11)

Flash Fiction: King’s Landing’s Hero

Courtesy HBO

I rolled for the Terribleminds ABC meets XYZ challenge, and got “Game of Thrones” meets “Batman”. I’m not sure I stopped there.


Night falls on King’s Landing. I find another dog with its guts spilling into the street. This dog was a person, once. Someone’s son. Maybe someone’s husband. Once a human being, now a chilling corpse. Like this city. It once held wonder and potential. Now it is only death and misery.

So be it, I say. If this is how the city wants to rot under the Lannisters and their little product of juvenile lust, so be it. But innocents suffer too much. They watched loved ones rot and wither under the gilded heel of the lions. They cry out for justice, without saying a word, for fear of the blade of Ilyn Payne.

I’ve decided to answer them.

The rooftops of the city are where I roam. There was a time when the Lannister soldiers on constant patrol were a source of fear for everyone there who was not in Tywin’s keeping. For me, it had become a challenge to avoid detection every night when I slipped out through the hidden corridors built by the Targaryens. The libraries and hidden alcoves throughout the keep had given me the knowledge I used; late nights with needle and thread helped me craft the cloak and cowl that hid my identity.

It’s after two bells past the sunset that I find tonight’s prey. As much as the Kingsguard are supposedly on duty every hour of every day, they’re also supposedly celibate. Yet there was Ser Meryn Trant, making his way towards the house owned and nomially run by Petyr Baelish, the man they called Littlefinger. Trant knew better than to walk the streets in his pure white cloak and golden armor, but his swagger was unmistakable. Arrogance and smug superiority propelled his every step.

I cannot tell you how badly I want to kill him.

I wait until he was inside. I move and jump from one rooftop to the next, my steps sure and silent. The claws on my knees and palms carry me down the wall outside the house, and I peer into one room after the next. I finally find him, with two of Littlefinger’s girls. He sits near the bed, sharpening a dagger as he watches them undress each other. I can’t discern what he could be planning, but I decide immediately he won’t finish whatever depraved thought that fills his head.

As soon as he stands, licking his lips like a wild animal catching the scent of fresh meat, I kick open the window and enter the room. Trant turns towards me with a snarl. Before he can say anything, I am on him, one hand clamping his jaw shut, the other delivering a quick blow to his throat. The Kingsguard staggers back, still clutching his dagger. He’s moving towards his sword, even as he struggles to breathe. He is, however, off-balance, and I sweep his feet out from under him. As soon as he’s on the floor, my feet are on his chest and his own dagger rests at his throat, clutched in my gloved hand.

“Whoever you are,” he manages to snarl, “you’re dead.”

“When morning comes,” I whisper, “you’ll wish you were.”

He laughs at me before I bludgeon him with the dagger’s hilt. Something tells me that will be his last laugh for a while.

When they find him, hours later, he was strung up over a street in Flea Bottom. Stripped and left to cook in the morning sun, his fingers were all broken, along with his wrists and elbows and knees. He had been cut many times, the most vicious cut being the one that left him without his manhood. He is, however, alive. Death, after all, is a mercy, to hear the Lannisters tell it. I’m merely playing by their rules.

From the Hand of the King to the lowest urchin in Flea Bottom, everybody wants to know who had done this. Of course, when they find the message on Trant’s body, they come asking me.

But I am a mere, lowly prisoner here. I have been since Ser Ilyn Payne took my father’s head. I’ve spent so much time learning to avert my gaze and agree that my family are a pack of traitors that nobody’s noticed the time I’ve spent preparing for that night, and all the nights to come. I keep my eyes downcast. I pretend to fear the queen. I mask my disgust for Joffrey. I can still convince them that a prisoner is all I am, and that I am no threat to their plans, their gold, their precious throne. But I’m not without that streak of rebellion. I carefully hide any evidence I leave, seek out stray red hairs, keep my face concealed; yet part of me enjoys the game, the chase, almost daring them to confront me, so I can tell them what I really link of their house and what they’ve done to me and mine.

That is why, into Meryn Trant’s chest, I carved the words “BAD WOLF”.

Movie Review: Iron Man 3

It would be hard for even the detractors of comic book geekdom to look at The Avengers and not consider it a success story. Years of planning and careful construction of disparate narratives culimated in a single cinematic experience that, to this day, nerds like me have yet to tire of watching. The whole shebang kicked off with Iron Man, which remains the only Marvel movie franchise to have sequels attached to it. The first was the ambitious but somewhat ambling Iron Man 2, and the second opens this year’s blockbuster season, and it’s called Iron Man 3.

Courtesy Marvel Studios

Right from the start, it’s clear that the events of The Avengers have had a lasting impact on Tony Stark, our favorite genius billionaire playboy philanthropist. Not only did he survive fighting alongside gods and super-soldiers, he carried a nuclear missile through a wormhole to annihilate an entire army, if not a civilization. Lacking sleep and suffering anxiety attacks, Tony throws himself into his work, building suit after suit, alienating his friends and even distancing himself from Pepper, who just moved in with him. But before he can be confronted with these issues, a bombing takes place that involves no known bombing techniques and puts his friend, Happy Hogan, in a coma. Tony immediately vows revenge and calls out the man responsible, the international terrorist known only as the Mandarin. Stark even tells the man his home address, because smart as he is, sometimes his ego gets in his way.

The first two Iron Man films were directed by Jon Favreau, the second with a great deal of input (or, more accurately, interference) from Marvel Studios. This time around, the reigns were handed to Shane Black, director of what was arguably Robert Downey Jr.’s best movie before Iron Man, a little noir favorite of mine called Kiss Kiss Bang Bang. The difference shows, in that this film strikes a very different tone from the first two. It simultaneously works on darker themes and moods than the others, and has more humorous and human moments. It’s the noir-flavored atmosphere and focus on character that make Iron Man 3 worth a watch from the very start.

Courtesy Marvel Studios
The Mk. 43 Classy Armor includes a champagne dispenser and built-in jazz soundtrack.

Either by coincidence or design, Iron Man 3 feels somewhat like The Dark Knight Rises, in Tony spends less time in his Iron Man armor than in previous tales, much like Bruce Wayne was Batman less often in his third Nolan film. We get a great deal of time with Tony Stark without his toys, taking him back to a state of working with a box of scraps to get out of his jams. Seeing him with little to rely on but his intellect felt like a return to the fundamentals of his character. At the same time, the floodgates opened by The Avengers means that more outrageous aspects born of the comic books can enter the arena. Tony’s opponents are more super-powered than ever, but thankfully, they’re more than just a guy wearing a suit or controlling drones similar to Stark’s designs. All of the suits are on Stark’s side this time; and I do mean all of them.

The film isn’t without its flaws. First and foremost, the ladies could have been given more to do. Rebecca Hall’s character especially could have easily been fleshed out beyond establishing or developing plot points. I like what they did with Pepper Potts overall, but towards the end of the movie I felt like she could have rescued herself more. A few Shane Black quirks may play on the nerves of some audience members, from the Christmas setting to the juxtaposition of its more noir-ish elements with the comic book stuff. And then there’s the stuff that will REALLY piss people off – which I will discuss in tomorrow’s post.

Courtesy Marvel Studios
Well-shot, earnest, and powerful scenes. A well-constructed film all around.

Stuff I Liked: Who doesn’t like all of the armor shenanigans? Happy’s bits are worth a laugh. I like the callbacks to previous films throughout the story – it makes everything feel more connected and coherent. JARVIS continues to be great, and the kid didn’t annoy me.
Stuff I Didn’t Like: I’m glad the film ended the way it did – Tony having all of that armor at his disposal would make future encounters way too easy.
Stuff I Loved: Tony’s character has grown, and it really shows in places. I love that he and Pepper still have their chemistry. The improvised fighting Tony has to do in the second act really pleased me, I’m glad Pepper got in on the action, I enjoyed every scene with Rhodey, and Ben Kingsley just killed it. Guy Pearce felt completely transformative, which was quite appropriate.

Bottom Line: Between its earnest character building and the variable nature of the threat and villainy, I’m going to say I liked Iron Man 3 more than its predecessor. It’s not quite as good as the first film featuring Tony Stark, but it comes close at times. I have the feeling I’m going to like it more on repeated viewings, and I definitely intend to buy this one for that purpose. It has snappy dialog, well-shot action, inventive storytelling turns, and it’s full of actors I like – Iron Man 3 is a winner.

Fine Villainy, Like Fine Wine

Don’t let the previous weeks of writerly pontification on heroes fool you.

I love a good villain.

Courtesy Marvel Studios

I’ve discussed in the past how even the shittiest human beings we love to hate are still human beings. But the ones I love to hate are not my favorite villains. Like a hero’s growth, a villain’s gains (and their tantrums) have to be earned. And often, to earn these things, the villain has to earn at least some measure of our sympathy and understanding.

The most effective ones do so through charm and guile. You might even know they’re the villain at first. They may come across as a confidant, or even begin the tale as a trusted friend. If they begin in this way, and maintain what makes them sympathetic to both the hero and the reader, they grow much more effective. They draw us in, make us interested in what’s to come, and their betrayals and extreme measures cut even more deeply.

Expected or no, many great villains are best described as “masterminds”. They do not always take the direct approach to achieve their goals. They set their plans in motion carefully, sometimes before the story even begins. Their plans may not always have noble roots, but they often make logical sense, at least to them. They take steps carefully, following meticulous outlines, and trying to anticipate any moves a would-be hero would make. These things take time, and the best villanous plans only get better as they go on, like fine wine getting better with age.

Some masterminds let their henchmen do all of the dirty work, but others like to get into the thick of things themselves. Be it due to the belief that henchmen will never get it right, or simply wanting to ensure the plans come to fruition, they are there amongst both their lackeys and the innocent, overseeing the goings-on, sowing a little discord, perhaps trying to woo the heroes’ loved ones over to their side. This is where we can draw true distinctions between villainous archetypes, the true multi-faceted schemers from the more single-minded but occasionally far more frightening demagogues.

Courtesy Warner Bros

There are some who would accuse stories based on comic books of being simplistic, simple-minded, or even outright dumb. In same cases, I would be hard-pressed to argue. But lately, more than a few of these stories have given us villains in the mold I’ve discussed. While my initial impression of him was less than favorable, the Marvel movies’ take on Loki has really grown on me. Repeated viewings of Thor reveal one of the multi-faceted schemers I was talking about. Even when his true nature becomes apparent, he doesn’t necessarily fly off the handle as some megalomaniacs might. His move against Asgard in general and Odin in particular is calculated; he only truly loses his cool when he makes the dumb decision of sending the Destroyer after his brother. But that’s a discussion for another time. Suffice it to say, The Avengers definitely makes Loki a better villain and even improves his previous showing, and I can’t wait to see him in Thor: The Dark World.

As much as I still believe Bane is, as I’ve said, “Darth Vader without the pathos,” he is still an extremely effective villain in his own right. True, the scheme he’s executing in The Dark Knight Rises is not of his own making; yes, the reveal at the end undercuts a portion of his ideology. He was still presented and portrayed in a way that made him both memorable and fascinating. It’s been pointed out to me that Bane is a very deliberate and implacable sort of character. The gait of his steady walk, that little bit of swagger, the stare from behind his arcane mask – all of this adds up to someone you do NOT want to see walking towards you. What I like most about Bane is how effectively and systematically he tears down both our hero and the city that hero serves, bearing out the observations made by the Joker. In a way, Nolan’s Batman films are all about fear. Scarecrow exploited fear; the Joker created fear all his own; Bane is pretty much the personification of it. Take another look at the scene where Bane confronts Daggit, the corporate sleaze who thought to use Bane to take over Wayne Enterprises. Watch the expression on Daggit’s face when Bane lays his hand gently on the douchebag’s shoulder, and simply says, “Do you feel in charge?”

Villainy like this excites me. I love seeing the bad guys work with intelligence and guile, executing plans that, from their perspective, make sense. It makes the hero work harder, stumble, maybe even fall. This causes an even more rewarding apotheosis, because in most cases, a hero’s fall is followed by their rise from the ashes. And the best villains cause the greatest of falls. The hero and their struggles may be the meat and potatoes of your story, but if you want to get the most out of it, pair that hero with a fine villain the way you’d pair that meal with a fine wine.

Movie Review: Justice League: Doom

Even when I was younger, I knew there was something that set Batman: The Animated Series apart from other cartoons. At the time I chalked it up to visual style – the black cels really sold the noir asthetic of Gotham. However, looking back, the writing is incredibly solid and often goes to dark places for what is obstensibly a children’s program. I haven’t watched a great deal of the Justice League or Justice League Unlimited series, but after watching Justice League: Doom instead of shelling out for Injustice: Gods Among Us, I may have to correct that oversight.

Courtesy Warner Bros

Batman is, as a rule, paranoid. He’s a very rich man with a very odd nightlife and some very interesting friends, ranging from nigh-invincible aliens to smart-alec test pilots with magic jewelry. He knows for a fact that they’re good people, these friends of his, but he also knows that good people can be mislead, controlled, manipulated, or even turn bad. So he has plans for dealing with each and every one of these friends. Now what, do you suppose, happens when these plans get stolen, cranked up, and unleashed on Batman and his friends in the Justice League? This is the brainchild of immortal douchebag Vandal Savage and his newly forged Legion of Doom.

What Justice League: Doom does right is taking the focus away from major super-powered threats or earth-shattering kabooms. The scope of this film is a lot smaller, its tone more intimate, than most stories that deal with super-heroes, especially teams. With animated features, where special effects are less limited by things like budget, the temptation can exist for a creative team or vision to override more character-focused story points. Thankfully, Doom does not fall into that trap. For most of its running time, we see how Batman’s contingency plans wreck havoc in the lives of his teammates. And since the plans are meant to deal these super-powered individuals on both a physical and a psychological level, the plans can be rather insidious, and make for good watching.

Courtesy Warner Bros
The art style is crisp but may seem too childish or anime for some.

The nature of the conflict is matched by good pacing and excellent voice work all around. Both Kevin Conroy and Tim Daly reprise their long standing roles as Batman and Superman, respectively. I happen to like Hal Jordan as Green Lantern, and Nathan Fillion supplying the voice was a great bonus. With this core of talent, the characters really come to life. This helps drive home some of the moments that could define, or destroy, these heroes. There’s also the fact that many of those moments go to very dark territory. We have bombs bolted to people’s bodies, live burials, major psychological trauma, and even people getting shot point-blank in the chest. It’s clear from the outset that this story isn’t messing around.

Unfortunately, Justice League: Doom is not perfect. The nature of the Legion of Doom’s formation means that each member other than Savage has a personal beef with an individual hero on the Justice League, and pairings pretty much remain fixed throughout the final battle. For example, Mirror Master might have given Superman a run for his money, and how would Metallo fare against Green Lantern? Another problem is in said final battle; since the plans are resolved as a prelude to said battle, most of the interesting character points have already happened or are largely inconsequential. It feels a great deal like the final minutes of Justice League: Doom simply run out of steam, which is a shame considering it’s good opening and fantastic second act.

Courtesy Warner Bros
I really like Mirror Master’s design. The see-through look nails the character.

Stuff I Liked: The implementation of the plans to take out the Justice League. I liked seeing these versions of Bane, Star Sapphire, Metallo, and particularly Mirror Master. Batman revealing he’s always got kryptonite available made me grin like an idiot.
Stuff I Didn’t Like: Vandal Savage is perhaps my least favorite kind of villain: he’s evil for evil’s sake. His plan is megalomaniacal in the extreme and he has only the most paper-thin of excuses for carrying it out. I’m still not a huge fan of Superman; it seems difficult for a given writer to decide just how much power kryptonite has over him or how long it takes for the glowing rocks to weaken him.
Stuff I Loved: The voice acting is very good. There’s a moment about halfway through involving Cheetah and Vandal Savage that really impressed me with its audacity. I’m not too ashamed to say I enjoyed Superman getting shot. Hal Jordan remains my favorite Green Lantern, and having him voiced by Nathan Fillion was a great moment of fanboy enjoyment for me.

Bottom Line: For all of the imperfections I saw emerging, Justice League: Doom still tells a decent story and inhabits some of the more fantastical characters of the DC universe with some humanity and vulnerability. As good as it could have been with some elements mixed a bit more and a couple more chances taken, what it does is done well.

Movie Review: The Amazing Spider-Man

In the wake of The Avengers, it seemed like Marvel could do no wrong. And, since Iron Man 3 won’t be out for another few months, the jury is still out on their record. However, given the critical and commercial success of the studio’s flagship project, and the resurgence of the X-Men label under the skillful hand of Bryan Singer (seriously, if you haven’t seen First Class yet, FIX THAT.), Sony Pictures suddenly got a lot of attention, as it had held onto Spider-Man after Sam Raimi left the character behind. People were likely crossing their fingers when The Amazing Spider-Man was released, hoping not only that fans of the original trilogy would like it, but also that Marvel wouldn’t ask for its favorite wisecracking web-slinger back.

Courtesy Sony Pictures

Being a reboot, we drop in on science student Peter Parker during his awkward teenage years. His parents, rather than simply being absent, abandoned him when he was young, leaving him in the care of his Uncle Ben and Aunt May. Peter’s only clue is that his father worked for the major pharmaceutical and scientific research conglomerate Oscorp. He discovers that lovely fellow student Gwen Stacy interns there, and her mentor is one Curt Connors, a one-armed biogeneticist who worked closely with Parker Sr. It is while wandering around the Oscorp building that Peter gets bitten by a genetically enhanced spider that, in turn, gives Peter super-powers. Peter’s background with his father’s work helps Connors perfect a formula to regrow his arm that also makes him become the Lizard, Gwen’s father is a police captain who despises vigilantes, Uncle Ben is shot by a carjacker Peter needs to track down, and it was at about this point in the film I found myself asking a new question every five minutes, only a few of which got answered.

The plot of The Amazing Spider-Man is, to put it simply, a mess. Multiple plotlines are nothing new in narratives, and some tales do benefit from some of them going unresolved within the course of a given story. However, in those cases, one or more plotlines either become superfluous or get completely resolved before the end of the tale. Here, all of the plotlines remain active and ongoing until the very end of the film, and all of them needing to share screen time causes the story to feel disjointed and meandering. It’s like all of the writers wrote up scripts separately without ever meeting one another, and director Marc Webb shuffled the pages together into something resembling a cohesive narrative and tossed it at his cast of characters.

Courtesy Sony Pictures
Much as I rag on him, this isn’t entirely his fault.

This leads me nicely into the other major problem here: Peter Parker. Not Andrew Garfield, though, I didn’t mind him. What struck me is that Peter feels very little like his own character, but rather an amalgamation of popular teen affectations. Peter is something of a loner even in the comic books, but the lengths to which he goes to convey that feels like overcompensation. Peter demonstrates that he has a brilliant mind, a creative way of thinking, and a determination to do the right thing, yet he chooses to wrap all of that in Abercrombie and hair gel and skater gear. I don’t know if this was Garfield’s intention, but it feels like Peter is already intentionally wearing a disguise long before he gets bitten. And after he gets bitten, aside from his powers, what changes about him? He continues to act as he does before the bite, and after Uncle Ben’s death, he simply has another task ahead of him. His final line demonstrates that he’s learned nothing about responsibility, continuing to act however he likes no matter what authorities say or experience has taught him. He fails to grow. He has no real arc. He falls flat as a character, and without him feeling realized and sympathetic, the rest of the movie fails to connect.

That’s actually a shame, as there are some really talented people involved. Like I said, I didn’t mind Andrew Garfield. In full-on snark mode he approaches the modern take on Spider-Man I’ve seen in the pages of the Avengers. As much as I loved the original pair, Sally Field and Martin Sheen have good chemistry as Aunt May and Uncle Ben, hinting at a genuine, long-standing, and affectionate relationship. Rhys Ifans does some remarkable work as the Lizard, his own face and eyes conveying emotion through the green scaly lens of advanced motion capture. Denis Leary is actually pretty solid as Captain Stacey, and as for his daughter, I could watch Emma Stone reading out of a phone book and be happy. But I’m probably a touch biased. She and Garfield do have decent chemistry of their own, and if Peter had come across as just a little less insufferable and a little more endearing, I probably would have enjoyed this more.

Courtesy Sony Pictures
This is definitely not her fault.

The Amazing Spider-Man is a study in failed ambition, misfired potential, and squandered goodwill. There are glimmers, here and there, of something better that could have been made with this cast and this atmosphere. It’s a dark film, about as dark as you can make an adaptation of one of the oldest heroes born of the House of Ideas, and some interesting ideas come and go during the running time. A few visual moments really stand out, and as I said, the actors do bring their A game. But between setting too many plotlines in motion and borrowing too many ideas from Batman Begins and Twilight, instead of interest and excitement, one is left with a lingering feeling of disappointment. And that’s not how you want your plea to hold onto your super-hero franchise to end.

Stuff I Liked: Spidey did have some good lines. May & Ben were good. I always like seeing Denis Leary. The realization of the web-shooters was a cool little touch, and the scene in the sewer making use of the web was a nice change from some of the other inane decisions being made.
Stuff I Didn’t Like: Peter felt a little too much like a hipster douche, and looked a bit too much like Robert Pattinson. Too many plot points go unresolved to actually build much mystery or suspense. Very little of the film actually feels all that tense or exciting.
Stuff I Loved: Emma Stone. Also, Stan Lee’s best cameo to date.

Bottom Line: I have seen worse super-hero movies in my day, and hardcore Spidey fans may enjoy this far more than I did, but the degree to which I am disappointed in The Amazing Spider-Man is… wait for it… amazing.

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