Review: Batman '66 #6

This issue changes thing up, with a new writer, Tom Peyer.  His script, featuring the Bookworm, is above average with some clever moments, such as the opening sequence where Robin is giving a lecture on literacy at the Gotham Chamber of Currency, chaired by millionaire Bruce Wayne.  The overall plot has to do with Bookworm compiling an Encyclopedia of Batman, in an attempt to deduce his secret identity. While Peyer's script is no masterpiece, the artwork by Ty Templeton certainly is.  He is clearly the best artist to work on this series.  His drawings perfectly capture the TV show likenesses while still embracing typical comic book grandness.  Only two critiques: his action panels are not quite as well laid out or as epic as Jonathan Case's, and he tends to give Batman a pronounced pot belly in some panels.

Jeff Parker is back writing the issue's second story, with art by Ted Naifeh.  As usual with most of these short second stories, its kind of a mess, reminiscent of bad third season episodes.  This one features Olga Queen of the Cossacks, in a lame plot to try to marry Batman, kind of a rehash of the TV show's Marsha Queen of Diamonds episode.  The art is OK but a little sloppy.  There is a non sequitur with Barbara Gordon hinting at a continuing storyline.  Overall the second story is weak.  Clearly, excellent short comic book stories can be done, as that was the norm of comics pre-1970, but today's creative talent can't seem to grasp it.  I'd rather see DC end the short second story, and have well done book length stories instead.  This issue earns a B, mostly due to Ty Templeton's excellent artwork.

Review: Batman '66 # 5

Issue 5 brings back second season one-shot villain Dr Somnambula aka The Sandman. The story, by Jeff Parker, is not bad, but not a stand out, either. The art by Ruben Procopio often veers into Mad Magazine territory, as this series occasionally does. Any old timers out there remember the Batman GAF View-Master set, and the artwork in the accompanying booklet?  It would be nice to get some art in that style.  In some panels, the art takes a "new-old-look" Irv Novick look, which I liked. Some nice touches are we learn Aunt Harriet's husband's name was Walt, and there is a shot of Gotham lifted directly from the animated opening credits of the series. The Sandman induced dream sequence takes on a trippy-psychedelic 1960s feel to it. On first reading, I did not catch any connection between this story, and Sandman's last panel cameo with Minerva in issue 2 and it seems doubtful that Minerva in that one panel was really supposed to be Sandman's African-American moll, Aurora, who appears in this issue.

 

The second story brings back the TV version of Batgirl, who takes on the Earth Kitt version of Catwoman. Again, Jeff Parker's script is average. He gives no reason as to why there are two Catwomen in Gotham. There is an elongated fight scene that seems like filler material. The artwork by Colleen Coover is very fluid and good, and has an "Archie"/Dan DeCarlo look to it. However, her take on Chief O'Hara is inexplicably as a youngish, strapping redhead.

Overall, issue 5, while not the best, isn't the worst either. It earns a B-.

movie review: THOR THE DARK WORLD

For some reason, my movie review of THOR is this blog's most viewed entry, even though reviews of other Marvel movies, like CAPTAIN AMERICA , THE AVENGERS , and AMAZING SPIDER-MAN  have significantly lower view counts.  So, it is my responsibility to review THOR THE DARK WORLD. 

Alan Taylor takes over the director's reigns from Kenneth Branagh, and there is a shift in the franchise.  The new movie has more CGI and bigger action, but it loses characterization and fun.  The plot is often convoluted, and deals with evil elves (yes...you read that right- evil elves) who developed a supernatural weapon called the Aether.  This coincides with the nine realms converging, and Jane Foster gets infected with the Aether, which causes the few surviving elves to reclaim the weapon so they can destroy all nine realms.  Thor is forced to seek the help of his imprisoned brother Loki in order to save the worlds. 

The majority of the movie takes place on Asgard, in what seems like an attempt to tap into the Lord of the Rings/Hobbit fan base.  Idris Elba, who became a fan favorite as Heimdall, gets a lot more screen time. One of the things that sets the modern Marvel movies apart from the post-2000 DC movies, is that the Marvel films are infused with humor and fun to balance the action and drama.  But THOR THE DARK WORLD takes a hard left turn into DC territory by nearly reaching a level of Christopher Nolan/Zack Snyder humorless darkness.  Not including a few exceptions, the only humor in this movie is provided by Kat Dennings, and there is a funny cameo by Chris Evans as Captain America. 



Why can't they make Hemsworth wear the helmet?

Instead of the character development of the first movie, this time around we get a generic sci-fi action film. The finale when the elves invade  England is a little too similar to the alien invasion in THE AVENGERS, just on a smaller scale.  Chris Hemsworth, who put a lot of character in as Thor in the first movie and THE AVENGERS, kind of just phones his performance in this time. One of the things I really don't like about the movie version of Thor is that the film makers threw out the concept of Norse mythology, opting to go with Asgard as an alien world, essentially making Thor Marvel's take of the Kryptonian Superman concept. And Thor still doesn't wear his helmet. I mean, come on... the hammer and the helmet are Thor's two biggest gimmicks.  Why won't they let Thor wear the helmet in the movies?  And there were a few moments in the movie where Thor is separated from his hammer for a length of time, I was thinking, "wow, this would be a great, dramatic moment to have him transform into Donald Blake".  But, alas, the movies have omitted that aspect of the character. Although I wouldn't label THOR THE DARK WORLD a franchise killer, it is far less enjoyable than its predecessor.

Review: Batman '66 #4

Where as writer Jeff Parker seemed to get everything wrong with issue 3, he makes up for it by getting everything right in issue 4.  In the first story, Batman and Robin have to jet to London to prevent Jervis Tetch, The Mad Hatter, from stealing the crown jewels.  There are nice touches through out the story, like The Beatles on the same plane as Batman and Robin, and both get a fitting welcome.  We see a teenage girl throwing herself at Robin, which seems to be a running gag in this series. We see the British Batmobile, which is very cool (or should I say "gear"?).  As with Parker's script for issue 1, we get some high octane action sequences reminiscent of the 1968 Filmation cartoons.  The art in this story is by Jonathan Case.  It is the same high level as his work on issue 1.

The second story, also written by Parker, features The Clock King who is also in London, as Batman uses his great detective skills to deduce the Mad Hatter had a tech-savvy partner.  It is revealed the Clock King's real name is Morris Tetch, Jervis' brother.  The art on this story is by Sandy Jarrell and is a much better effort than his Egghead story last issue.  Jarrell captures the likenesses of the TV actors better than Case, and there is a moody, noir-ish quality to the art, even if the figures at times lack fluidity.  Not only does this issue redeem the bad taste left by last issue's Joker and Egghead tales, but this issue is also far superior to the lackluster "Londinium" three part episode from the third season.  Issue 3 earns a solid A.

Review: Batman '66 #3

The third issue of Batman '66 brings back the Joker.  In the lead story, writer Jeff Parker continues to mash up generic DC continuity with the continuity of the TV series, but this time around, it has more negative effects.  A different kind of take is used for the Red Hood, which involves Professer Overbeck, a character from the second season Mad Hatter episode (the one with the infamous pink cowl), but now he is the head of Arkham Asylum.  Harley Quinn is introduced, in her pre-crazy form as Dr Quinn (looking a bit like Sandy Duncan).  The Joker is established as insane (as are several other villains residing at Arkham), and is referred to as "Patient J".  On the TV show,  Romero had two different personalities for the Joker. In the first two stories, he was a joking, yet cunning, criminal mastermind, with just a faint hint of insanity (see the end of Batman Is Riled where a captured Joker laughs with a demented look in his eyes.... or He Meets His Match, The Grisly Ghoul where he attempts to murder his own moll, teenage Susie).  But by the third story, Romero's portrayal was reworked to make him more of a childish, brat like character, which it remained for the rest of the series run.  But in Batman '66 #3, we get essentially a generic crazy DC Joker who happens to look like Romero.  I think this is all needless, and seems to undermine the purpose of Batman '66 by making it more of a typical "Johnny DC" version of Batman.  As a result, I did not enjoy this issue as much.  The art, by Joe Quinones, was excellent, and he got Cesar Romero's Joker spot on, even with the hint of a mustache.  The coloring of Batman's costume was unique, as Maris Wicks gave it the purple hue of the TV show.

The shorter second story featuring Egghead, also written by Parker, was, like last issue's short Siren story: too much like a bad third season episode.  The art, by Sandy Jarrell, had a little Mad Magazine parody flavor to it.  Egghead looked nothing like Vincent Price (perhaps due to DC not getting the rights to use his likeness), and at the end we see Warden Crichton (played by David Lewis on the series), who has transformed into a black woman! Holy Political Correctness!  By issue 3, what started out as a great series, has suddenly sunk to a low.  I think DC may need to bring in some new writers rather than rely on Parker to do the entire series. I'd like to see bronze age writers like Steve Englehart, Mike W. Barr, and Gerry Conway, contribute some scripts. They need to stop trying to morph the TV show into standard DC continuity (and let me reiterate, I unquestionably do not want to see Dick Grayson become Nightwing), and need to capture the spirit, the style, and the storytelling of the best first season episodes.  Issue 3 earns a C.