Tagged with DC Universe Animated Original Movie

Atlas Batmanned

Reviewing Batman: The Dark Knight Returns, Part 2 is dispensed with easily enough. It is another fine example of the work being done under the banner of the DC Universe Animated Original Movies. As I mentioned in my short reviews of both the graphic novel and Batman: The Dark Knight Returns, Part 1, as I read the graphic novel I was struck by its cinematic quality. Given the quality of the previous DC Universe Animated Original Movies, it came as no surprise that these two films represent a flawless adaptation of a graphic novel that was already nearly 100% ready for this medium. And Part 2 is where most of the meat of the story is. You need the setup that was provided in Part 1, but Part 2 is where we get Batman vs. Joker, Batman riding a horse into Gotham City to restore order and essentially become the law, Batman vs. Superman… the fact that both encounters represented final encounters allowed the graphic novel (and, consequently, its animated film adaptation) to explore both conflicts to their logical conclusions.

Before I move on, let me just say that I am truly impressed by the technical proficiency with which this adaptation was made. The animation is top-notch, which should come as no surprise of consumers of recent DC films. The voice-acting was professional as always. Peter Weller was not a familiar voice as Batman, but I was actually pretty okay with that given the disconnect between this story and the rest of the Batman mythos (hold that thought for a moment.) As always, Christopher Drake provided an incredible soundtrack.

What’s pretty incredible to me is that they didn’t just combine these two 76-minute features into a single, 152-minute feature and release it in theaters. I understand the economic climate is different than when, say, Batman: Mask of the Phantasm came out, but it really feels like these films belonged on the big screen.

Alright. You’re all satisfied that I was impressed with this film? Good. Now let’s get into the more interesting part: why I hated it.

To be fair, that reaction had nothing to do with the film. It’s derived entirely from how I feel about the source material, a position which I never fully elaborated on when I reviewed said source material. Considering the graphic novel would have to be on a list of the ten most influential Batman comics of all time, I probably ought to do so, and now seems like as good a time as any.

My problem with The Dark Knight Returns is actually two problems that are so interconnected they start to feel like one problem: Miller’s politics, and the fact that this narrative is basically fanfiction.

Okay, look: if you think that a rehabilitative approach to the criminal justice system is totally bunk and a punitive approach is preferable, that’s totally up to you. There’s plenty of data that shows rehabilitation produces much better outcomes than the punitive approach, which is a long way of saying that you’re wrong, but you’re entitled to be wrong. That’s fine. And if you think that psychology is a pseudoscience, the government is weak, and physical violence is vastly preferable to discourse and understanding… again, you’re perfectly entitled to think that. If you hate women… you and I probably shouldn’t talk very much, but I can’t do anything about the fact that you think that.

Here’s the thing: leave all of that out of my comic books. If you want to write a comic book that is 100% about not only advancing your politics, but doing so with a smug sense of superiority, you should probably make your own original property rather than cramming it into the mouths (and fists) of Bruce Wayne, Jim Gordon, and Clark Kent.

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My Least Favorite Superhero Films. #5: Green Lantern (2011)

#5: Green Lantern (2011)

Rather than spending this entire entry talking about what makes Green Lantern such a transparently horrible film, I thought I’d go in a somewhat different direction with this by showing how good it should have been by contrasting it with the animated films Green Lantern: First Flight (2009) and Green Lantern: Emerald Knights (2011.) I selected these films not only because of the quality of the DC Universe Animated Original Movies, but because First Flight has basically the same plot as the live-action film (only better), and Emerald Knights demonstrates many of the qualities that make the Green Lantern Corps so awesome but were completely missing in the live-action adaptation.

The live-action film tells Hal Jordan’s (Ryan Reynolds) origin story. When Abin Sur (Temuera Morrison) crash lands on the earth after a fight with Parallax (voiced by Clancy Brown), his Green Lantern ring selects Hal Jordan as a replacement for reasons passing understanding. Seriously: Hal Jordan as characterized in this film does not belong anywhere near superpowers ever, especially ones that carefully select someone based on their worthiness. And Ryan Reynolds was probably close to the worst imaginable person for the role, as the character pretty much had to be characterized as a cocky alpha-male clown for him to at least seem like a “fit.”

Demonstrating his “worthiness,” Jordan uses his powers to defend himself from an attack (by workers who were laid off largely due to Jordan’s irresponsible actions earlier in the film) and showing off for his friend in a manner that seems disturbingly similar to how a frat boy would act if he suddenly got super powers. I’m not saying most people wouldn’t show off to their friends if they got super powers, or that doing so is wrong. What I’m saying is that the tone of how Jordan did so in this film was pretty grating to my sensibilities, and probably not very representative of the best humanity has to offer. I would just like to see someone more reminiscent of, say, Captain Kirk, who can have a lot of similar flaws and do a lot of similar things and get away with it better because he’s a better, more intellectual man with higher ideals.

Naturally, Hal is whisked away to planet Oa to meet other Lanterns such as their leader Sinestro (Mark Strong), who is displeased with Jordan’s selection as a Lantern (which I can’t help but agree with him about in the case of this Hal Jordan…), Tomar-Re (voiced by Geoffrey Rush) who teaches Hal how to use his powers, and drill instructor Kilowog (voiced by Michael Clarke Duncan.) Actually, these three seem to be the only members of the Green Lantern Corps, but whatever. Sinestro is concerned about the threat of Parallax, a threat which the Guardians inexplicably refuse to give Sinestro (or anyone else) any information about until much later in the film for no apparent reason. Things aren’t going so great on earth, either. Dr. Hector Hammond (Peter Sarsgaard), a highly intelligent scientist who gains mental powers due to being exposed to yellow energy from Parallax, makes two attempts to kill his father, U.S. Senator Robert Hammond (Tim Robbins.) The first attempt is to make his helicopter crash at a party, which Jordan is able to stop by using his powers. The second attempt comes at the lab, which Jordan is unable to prevent.

The Guardians finally spill the beans that Parallax was himself a Guardian who tried to wield yellow energy, but became an embodiment of fear itself. Sinestro inexplicably concludes that a yellow ring must be forged to combat him. No one gives any indication of why this makes any sense, especially given that this is essentially how a much more powerful being (a Guardian) became the evil they’re now facing, but everyone just sort of goes with it. Except for Hal, who isn’t especially wild about the idea of the earth being destroyed. He requests (and is denied) the Corps’ assistance defending his world, which would never happen in the other versions I’m talking about later ever and is a pretty jarring lack of heroism on the Corps’ part that seems to violate their core principles.

Back to earth. Hal has his showdown with Hammond, which really brings a fine point to this film’s awkwardness. Hammond really feels like a completely unnecessary character in this entire thing, which makes his inclusion as a secondary villain perplexing at best. Furthermore, we are told about halfway through the film that he and Hal were old friends. Wait, what? Where did that come from? You can’t just materialize a relationship out of thin air halfway through a film and then never do anything else with it.

But the true apex of this film’s awfulness comes in their final showdown. We see Jordan’s alpha-male macho bravado come face-to-face with Hammond’s twisted intellectualism. Jordan gives up his ring to Hammond, who finds himself unable to use it, to which Jordan offers the stirring rebuke, “You have to be chosen.” This is, to me, the most damningly awful thing about the film. It would’ve worked if Hammond’s story hadn’t largely depicted him as a sympathetic victim of circumstance, someone no one really understood who didn’t want to do any harm to anyone until he was corrupted by yellow energy. No one respected him. He was intellectual. He wasn’t conventionally ambitious. He was… the target audience of a lot of superhero films.

Yeah. The payoff of that entire subplot is an alpha-male jock type beating up a nerd. Makes perfect sense in a superhero movie, right? Then Hammond predictably gets eaten by Parallax and then it’s up to Hal to save the world. I won’t bore you with the details, but (spoiler alert) he succeeds, and the Corps realizes how wrong they were about him. And then, in a post-credits scene, Sinestro steals the yellow ring and puts it on for no apparent reason.

So, wow. Pretty much the only thing this film did “right” was have people who have known a hero intimately recognize him despite his face being partially-not-really-covered by a flimsy mask, and that has nothing to do with the Green Lantern, it just pokes fun of a convention that has always irked me.

Although it’s not really a secret that I think DC’s animated films are dramatically superior to their live-action films, I think the Green Lantern films provide the most striking example of this. Everything the live-action film did poorly or failed to do, First Flight and Emerald Knights did exceptionally well.

First Flight is an exceptionally striking example, as it tells the exact some story (Hal’s origin and introduction to the Corps, anyway; the villain is completely different), only better. A lion’s share of the improvement comes from the characterization of Hal Jordan (voiced by Christopher Meloni.) Whereas the live-action film could only portray him in his “fish out of water” state by having him be an exceptionally cocky bastard who got knocked around, was found unworthy, and quit on the Corps due to his frustration, First Flight shows him being similarly “in over his head” and reacting much more sensibly.

Emerald Knights uses an imminent crisis that interrupts Hal Jordan’s (voiced by Nathan Fillion) training of a new recruit (Arisia Rrab, voiced by Elisabeth Moss) as a frame for several stories about various members (past and present) of the Green Lantern Corps, and gives us an idea of both the Corps’ history and what it stands for. We see a Corps of individuals who are fully prepared to lay down their lives to protect others (which is a dramatic contrast to the live-action film.) Given the structure the big payoff message is pretty unsurprising, as one of the Guardians orates, “Once again the diversity of the Corps has proven to be its greatest asset.” It’s really hard to imagine the live-action version with all of its individualism and alpha-male B.S. even implying that kind of message.

And it isn’t just the message of that film, it’s represented in the reality of the Corps we see in those two films. In the live-action film, we get three other Corps members, all male. Admittedly, this is a bit weaker in First Flight where there are only two female Corps members depicted (and one of them turns out to be evil), but last time I checked two is still better than zero. Emerald Knights, though, has several female characters (including Arisia.) Furthermore, one of the featured stories Hal relates to Arisia focuses on Laira, and she is depicted as one of the most powerful and reliable members of the Corps.

Furthermore, the first story Hal conveys to Arisia serves as a pretty satisfying direct repudiation of all that alpha-male nonsense in the live-action film. In “The First Lantern,” Hal tells of Avra (Mitchell Whitfield), a scribe to the Guardians who was chosen to receive one of the first four power rings despite having absolutely no skill as a warrior. While the other first Lanterns are prepared to flee when battle overwhelms them, Avra alone demonstrates the willpower to continue the battle, and serves as an example for his fellow Lanterns.

These two films give two completely different characterization of Sinestro, and two completely different depictions of his relationship with Hal Jordan… both of which are superior to the live-action film’s approach to both. In First Flight, Sinestro takes Hal under his wing, but is doing so because he thinks the human might go along with his scheme to take over the Corps. This Sinestro is cunning, underhanded, and clearly evil. Jordan is disgusted by his methods, and in order to get him out of his way, Sinestro frames Jordan for murder. In Emerald Knights, though there are allusions to his later betrayal, Sinestro is much more fleshed out as Jordan’s mentor figure and the leader of the Green Lanterns.

Finally, the essential elements of both films were dramatically better than the live-action films. Nathan Fillion was a brilliant choice to voice Hal Jordan in Emerald Knights (and also fulfilled that role in Justice League: Doom), and I think would be a rather obvious choice to play him in a live-action feature. (Really, anyone would be better than Ryan Reynolds.) And the big payoff with live-action films is supposed to be that they’re more visually stunning, but I actually preferred the animated films. The more traditional-looking costumes were much more visually appealing than that ridiculous CGI suits in the live-action version, the Guardians were hideous-looking in the live-action version, and the space scenes in general just looked pretty “weird” in the live-action version.


(Try not to imagine what could have been. I DARE YOU.)

Both animated films succeed in giving us a sense of a “larger universe” while also focusing on the heroics of a man named Hal Jordan. Both also seem much more true to the themes of the comics, and especially to the principles of the Green Lantern Corps. Whether in brightest day or darkest night, I’d watch either of these animated films in a heartbeat. The live-action film…? Not so much.

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My Favorite Superhero Films: Honorable Mentions

Since we’re about to crack the top ten on my lists of favorite and least favorite superhero films, now seemed like a pretty good time to identify a few films that just didn’t quite make the cut on both lists.

(Hopefully this will also give you a pretty good idea of why my Favorite list was so much shorter than my Least Favorite list.)

(Disclaimer: I haven’t seen the Superman/Batman animated movies, the two Hulk animated films, or Thor: Tales of Asgard.)

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Honorable Mentions (Favorite Superhero Films)

Teenage Mutant Ninja Turtles II: The Secret of the Ooze (1991)

Not nearly as good as the first film, but not half bad either.

Kick-Ass (2010)

A lot of this film is very silly (in a good way!), but some of it is surprisingly poignant. Consider the main character’s narration: “In the world I lived in, heroes only existed in comic books. And I guess that’d be okay, if bad guys were make-believe, too. But they’re not.” Not to mention this film actually (realistically) has him get his ass kicked in his first few attempts. And Nicholas Cage was hilarious in this.

X-Men Origins: Wolverine (2009)

A lot of people would probably have this on the other list, but I enjoyed it. I’ve never been a huge Wolverine fan, but Hugh Jackman makes the character pretty impossible not to like. One pleasant surprise was having Cyclops, Emma Frost, and a bunch of other mutants rescued by Professor Xavier. I wish they had used this hook for X-Men: First Class as it would’ve allowed them to give a lot more screen time to some of my favorite characters (Cyclops and Emma Frost), but oh well.

Captain America: The First Avenger (2011)

Many would consider this a serious omission, but I have to admit I’m not quite as impressed with this film as everyone else was. Don’t get me wrong: it was good, and the fact that they managed to craft a version of this character whose patriotism didn’t bother me even a little was impressive, but I didn’t find it nearly as memorable as Thor or Iron Man.

Ultimate Avengers (2006)
Ultimate Avengers 2 (2006)

These Marvel Animated Features were a cut above The Invincible Iron Man for sure. The two films actually hit a lot of the same beats as The Avengers between the two of them (though not entirely as successfully.) Granted, these films suffer greatly in comparison to The Avengers, but at least we know Marvel is capable of making halfway decent animated features.

Batman (1966)

Yeah, the Adam West one. I absolutely loved that series. This was intentionally bad (like the series!), and featured appearances by pretty much every single villain from the show teaming up to try to defeat the caped crusader.

Superman (1978)

Honestly? The only thing holding this movie back was that I found it a little bland, but I’m not sure that’s entirely avoidable for a Superman movie. Then again…

Superman: Doomsday (2007)
All-Star Superman (2011)
Superman vs. The Elite (2012)

This may be largely symptomatic of the DC animated movies being far superior to DC live-action movies, but I’ve yet to see an animated Superman film I didn’t like.

Justice League: The New Frontier (2008)
Justice League: Crisis on Two Earths
(2010)
Justice League: Doom
(2012)

Justice League: The New Frontier was a pretty solid narrative and very distinct as it made the conscious choice to set the film in the 1950s, allowing them to make use of some Golden Age aesthetics. I was, however, frustrated that some characters (like Green Arrow) just randomly showed up for the final battle and didn’t do or say anything. Justice League: Crisis on Two Earths was pretty easily the best Justice League film I’ve seen, and probably belongs on the main list, if it weren’t for the fact that I didn’t see it until after I started the list. Justice League: Doom had the pretty major problem of trying to cram too much into too short of a film (and consequently being a bit of a mess), but I still enjoyed it.

Batman: Mystery of the Batwoman (2003)

It might not be the most popular opinion, but I actually enjoyed this one quite a bit. Yet again we have to turn to the animated adventures of Batman to see him with an actual mystery plot.

Batman Beyond: Return of the Joker (2000)

I have to admit I was never a huge fan of the Batman Beyond series, but this film really made me wish I had been. It was shockingly good. And the way it tied back into older Batman continuity is the kind of thing that would’ve made me enjoy Batman Beyond if they had done more of it.

Green Lantern: First Flight (2009)
Green Lantern: Emerald Knights (2011)

More on these later. (“Wait, but they’re on your Honorable Mentions list. Doesn’t that mean there won’t be an entry about them?” You’ll see.)

Batman & Mr. Freeze: SubZero (1998)

Man, in retrospect, this definitely belonged on the main list, I’m pretty upset that I forgot how good it is. It’s a bit below the cinematic quality of Batman: Mask of the Phantasm (but only a very little bit), which it largely makes up for with a great plot, one of my favorite villains (Mr. Freeze), and features Robin and Batgirl. This is a really great film.

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My Least Favorite Superhero Films: Dishonorable Mentions

Since we’re about to crack the top ten on my lists of favorite and least favorite superhero films, now seemed like a pretty good time to identify a few films that just didn’t quite make the cut on both lists.

(Hopefully this will also give you a pretty good idea of why my Favorite list was so much shorter than my Least Favorite list.)

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Dishonorable Mentions (Least Favorite Superhero Films)

Captain America (1990)

Before Captain America: The First Avenger we had… this.

Batman: Year One (2011)

This definitely takes the cake as the worst DC Universe Animated Original Movie I’ve seen so far. (Wonder Woman wasn’t actually bad, it was just… wrong.) Catwoman is there for no apparent reason and completely wasted. It’s really just a much less awesome version of Batman Begins. Although we ostensibly see Batman’s origin, what essentially happens is that we see Bruce have a bat-related revelation, and the next time we see him he’s in a full batsuit fighting crime. I don’t know if it was like that in the comic, but it really felt pretty unfulfilling in the film.

The Punisher (2004)

Boring. Depressing. Violent. Whee. I once saw this on TV opposite of Atomic Twister and I chose Atomic Twister. I’m not joking. The only reason this isn’t on the main list is that I haven’t seen it all the way through, so I can’t really write a review of it.

Zoom (2006)

This was basically a really, really dull version of a better film (Sky High) with terrible acting from the children. It’s really sad, because I was really excited when I first heard about this. “It’s like Sky High with Tim Allen!” Not so much.

The Invincible Iron Man (2007)

Do you want to know how much Marvel animated films suck compared to DC animated films? They made Iron Man boring. Let me repeat that: they made Iron Man boring. How do you even do that?

Teenage Mutant Ninja Turtles III (1993)

Even when I was a child I knew this film was terrible, which is really not a great sign because this was the first Ninja Turtles film that didn’t “get” that it was supposed to be entertaining for children and adults at the same time.

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My Favorite Superhero Films. #11: Batman: Under the Red Hood (2010)

#11: Batman: Under the Red Hood (2010)

It’s actually nearly impossible to believe Batman: Under the Red Hood was a direct-to-DVD release. It had a cinematic quality that would’ve made it excellent to experience in the theaters. This film is actually an excellent example of the fact that DC Comics’ animated features show much more fidelity to their characters than their live action versions, and arguably are just better films in general.

Batman: Under the Red Hood adapts both the similarly-titled Under the Hood and the one Batman storyline I never thought I’d see any medium of adaptation try to touch: A Death in the Family. I actually like this film’s version of Jason Todd’s return much better than Under the Hood‘s. While the essential elements were the same, and the conclusion is similar, it’s much more streamlined both structurally and in terms of the actual story.

The production values here are as impressive as they’ve ever been for the DC Universe’s animated features, and Christopher Drake turns in arguably his best performance as soundtrack composer. I was surprised by the choice to recast many of the voices for this film as I think the original voice actors would’ve been excellent reprising their roles, but I can hardly argue with who they got to replace them. Bruce Greenwood (as Batman) and Neil Patrick Harris (as Nightwing) bring serious Hollywood prestige to the cast, while veteran voice actor John DiMaggio (as the Joker) is, as ever, impressive.

The quality of this film stands out even among other DC Universe Animated Original Movies, which have been with few exceptions consistently excellent. I would love to see more major Batman storylines told in a similar vein. I’d love to see a (probably at least two-part) adaptation of Knightfall and Knightsend, largely glossing over Knightquest, and definitely a sequel adapting Prodigal. The Long Halloween and Dark Victory (still the best interpretation of Dick Grayson’s origin story ever) would be spectacular as well.

So far, though, the only additional storyline they’ve used is Year One (which was okay but not great), and there’s a forthcoming two-part adaptation of The Dark Knight Returns, which I must confess I’m not especially looking forward to. But then, my bias has always been for more exploration of the “Batman Family,” a concept which modern interpretations of Batman have largely tried to ignore. Under the Red Hood, on the other hand, plays into my prejudices by heavily featuring Bruce’s relationship with both Dick Grayson and Jason Todd. This is really what I’d like to see more of, just throw in some Barbara Gordon and Tim Drake and we’ll be all set.

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My Least Favorite Superhero Films. #15: Wonder Woman (2009)

Parallel to my countdown of favorite superhero films (though not perfectly so as there are far fewer noteworthy in this category), I will also be counting down my least favorite superhero films. As with the other list, the only “rules” for what constitutes a superhero film will be that it reasonably seems like a superhero film. I won’t be applying any ridiculous standards that end up making Batman not a superhero because he has no super powers, or anything like that.

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#15: Wonder Woman (2009)

If it seems like an overreaction to have this film on this list, it’s because I haven’t done an adequate job of explaining just how bad it is. Or how good it should have been. The DC Universe Animated Original Movies have included some of the best animated superhero features I’ve ever seen (Superman: Doomsday, Batman: Under the Red Hood.) Despite being one of DC’s “Big Three” along with Superman and Batman, every attempt to make a live-action Wonder Woman film has fizzled out in development hell. With that in mind, this film had a great deal more responsibility than your average animated feature to be a definitive interpretation of the character.

It wasn’t an unreasonable expectation, really. The DC animated features have consistently featured excellent production values, as this one indeed did. The animation has been consistently great, Christopher Drake’s soundtracks have been so great they almost seem out of place, and the voice acting has included a great blend of established DC talent and outside professionals like Alfred Molina, John DiMaggio, and Nathan Fillion (all of whom were actually in this film.) Given the resources DC is willing to put into its animated features, this film clearly had a lot of things going for it. All it really needed was an excellent story to go along with that. Something that dealt with Wonder Woman’s origin story, and established and showed her as an iconic hero on par with Batman or Superman.

Or, you know, an incoherent, unfocused mess that couldn’t juggle the various things the writers tried to cram into 74-minute film even if some of them hadn’t been horrible ideas in the first place.

To be fair, it’s nearly impossible not to be sympathetic to the creative team here. While many of their ideas were wrongheaded, it’s pretty easy to see why they made a lot of the mistakes they made. For one thing, having a star like Nathan Fillion involved in the project is both a blessing and a curse, as it practically demands that he be given a huge part. Steve Trevor, Wonder Woman’s traditional love interest whose accidental landing on the Amazons’ secret island is responsible for Wonder Woman’s entrance into the outside world, seems to fit the bill, but the film pushes too hard to actually make that role larger than it should be.

That also helps explain the nails-on-chalkboard awkward approach this film takes to gender issues. It’s clear that the filmmakers decided that, as this was a Wonder Woman film, they had to “deal with” gender inequity in some fashion. A fairly obvious way to go about this would’ve been to have Diane encounter a few egregious examples of sexism (which really wouldn’t have been too difficult) and get upset about them. Unfortunately that might “offend” people, so instead the film opted to take an extremely bizarre approach. When a coworker of Steve’s drops her pen behind her desk and asks him to help her move it, Diane becomes outraged and lifts the desk over her head with one hand. Before you can even say, “Wait, that’s how we’re dealing with this?” Steve takes Diane to a bar and started ranting about reverse sexism. The film’s handling of gender is inept at best, mildly offensive at worst. I would’ve much rather seen the film not broach the issue at all than address it in such an incoherent fashion.

As I alluded to earlier, by far my biggest problem with this film is that we never see Diane being Wonder Woman. The entire film focuses on her origin story and battle with Ares. Although this is a very important part of Wonder Woman’s story, the net result is that we never get to see her as Wonder Woman. Being an amazon warrior out of place in the outside world has always been part of Wonder Woman’s narrative, but what about Wonder Woman the superhero? We actually only get a glimpse of her in the last thirty seconds of the film, in which the audience is teased with a battle between Wonder Woman and her archnemesis, Cheetah. I couldn’t help but walk away with the impression that we got about thirty seconds of what the entire movie probably should’ve been about.

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Amazon Woman Who Eventually Becomes Wonder Woman, Later, Offscreen

Wonder Woman (2009) is a pretty interesting movie about reclusive Amazon warrior women and their struggle against the Greek god Ares. It’s a rather fascinating reinterpretation of Greek mythology, including the creative decision to make the struggle reach even into the modern day, and have their separate world interact with the more familiar one.

Oh, one odd thing: for some reason one of the women wears a costume that looks remarkably like Wonder Woman’s.

Okay, you caught me. From what I can tell, Wonder Woman’s origin story is retold pretty faithfully in this film. The thing is… that’s the entirety of the film. While I realize that was probably the intent, it’s a really frustrating creative choice, because we never really get to see Wonder Woman being Wonder Woman, except for about thirty seconds at the end of the film, which teased a fight between her and one of my favorite antagonists (Cheetah.) It really seems like about half of the film should’ve been that, considering it’s called Wonder Woman, not Amazon Woman Who Eventually Becomes Wonder Woman, Later, Offscreen.

Even in the story the writers/producers/director did decide to tell, something felt more than a little “off.” The final battle in particular felt very out of place, with the President randomly being shown ordering the military to defend Washington, D.C. despite not having appeared in the rest of the film. (Protip: don’t bring the President of the United States into a movie he hasn’t appeared in at all just so you can show him ordering the military to defend the nation’s capital. When the military shows up, we’ll figure out someone ordered them to show up. And no, we don’t need to cut back to him to show some advisor telling him the battle isn’t going well. You can also establish that by showing the battle not going well.)

Before I get into more bad, this is a DC Universe animated feature, so you know you’re getting high production values. The art and sound were excellent, and the voice acting was strong. I truly believe you can never go wrong having Nathan Fillion involved in any production. Christopher Drake’s soundtrack was, of course, a strength as well. This is a small thing, but I’m pretty disappointed there were no opening credits, as Drake was not afforded the opportunity to shine with a sweeping theme song ala Batman: Under the Red Hood or Justice League: Doom. I think Wonder Woman is iconic enough that she deserves an iconic theme, right?

Alright, now I guess I have to talk about the elephant in the room. Being a Wonder Woman film, you know this film has to deal with the whole gender “thing.” I’d like to blame the fact that any film about a female superhero will inevitably be forced to address gender in ways that no male superhero film ever is, but I will admit that Wonder Woman in particular is a hero who was conceived in such a way that any adaptation of her story is going to have to address gender issues.

Faithfully adapting Wonder Woman for a general audience requires a certain amount of bravery. I mean, this is a character who was originally conceived not with female equality in mind, but female supremacy. On the other hand, that idea was never portrayed by making her openly hostile toward men. She was simply better. Obviously this film had to tread very carefully, balancing the character’s spirit with the issues she brings out.

What? Oh, they did the opposite of that? I guess that’s cool, too.

There’s a rather clumsy attempt to portray Wonder Woman as being confronted with sexism (“You don’t have your women lift desks over their heads with one hand when they have to move them? You sexist pigs!”) and reacting negatively to it, but it’s jarringly out of place and it makes Steve Trevor come off as the more reasonable of the two. He’s portrayed as a fairly egalitarian man, and there’s really nothing shown to give any of Diana’s complaints any real weight. If you’re going to bring gender issues into a superhero film (especially, especially Wonder Woman), I feel you have a responsibility to handle them much less clumsily than this film did.

The last thirty seconds of the film (the part where Wonder Woman actually was Wonder Woman…) were pretty promising, and seemed not so much to suggest there might be a sequel as hit you over the head with the fact that there would absolutely, definitely be a sequel. Thus far, however, D.C. has not announced any sequel to this film, which is deeply frustrating to me. Because if this movie had to be the way it was, the upside very easily could’ve been, “Oh well, now that that’s out of the way they can actually make a Wonder Woman movie.” Instead, the payoff was about thirty seconds of what I was hoping the entire film would be like.

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