The Newest Trailer for "The Dark Knight Rises"

July looms on the horizon...

The latest trailer for The Dark Knight Rises has hit the web. Check it out below!

A new TDKR trailer was slated to appear in front of Marvel's The Avengers this Friday, but it is unclear if this is that trailer. I'm inclined to think so, but I'd be more than happy to be proven wrong if it means a few more glimpses at the upcoming blockbuster.

The Dark Knight Rises will conclude director Christopher Nolan's Batman epic on July 20th.

"Beware the Batman" Coming to Cartoon Network

You can't keep a good man down...or Batman for that matter.

Because of the unwritten rule that states that there must always be an animated Batman television series on the air, Cartoon Network has announced Beware the Batman, the latest animated incarnation of the Dark Knight.  Following up on Cartoon Network's latest DC-related project, Beware will be a computer animated series, just like Green Lantern: The Animated Series, currently airing on CN (Saturdays @ 10am).  Check out the new, digital Batman below the offical show description.

A cool, new take on the classic Dark Knight franchise, Beware the Batman incorporates Batman’s core characters with a rogues gallery of new villains not previously seen in animated form. Along with backup from ex-secret agent Alfred and lethal swordstress Katana, the Dark Knight faces the twisted machinations of Gotham City’s criminal underworld led by the likes of Anarky, Professor Pyg, Mister Toad and Magpie. Produced by Warner Bros. Animation, this action-packed detective thriller deftly redefines what we have come to know as a “Batman show.” Featuring cutting-edge CGI visuals to match the intricate twists and turns of the narrative, Batman steps out of the shadows and into the spotlight for an entirely new generation of fans. With WBA’s Sam Register executive producing, and Batman Beyond’s Glen Murakami and Scooby-Doo! Mystery Incorporated’s Mitch Watson producing, Beware the Batman, based on characters from DC Comics, is coming soon to Cartoon Network!

To be honest, the prospect of a digitally animated Batman series doesn't exactly get me excited.  As a Green Lantern fan, I was anticipating the premiere of the new GL series, but have been sorely disappointed by the blatantly kid-friendly turn it has taken.  Apparently the amazing writing and animation styles pioneered by the original Batman, Superman, and Justice League animated series have all but disappeared.  Young Justice appears to the sole bearer of that torch right now. It is possible, however, to make the argument that with the announcement of such Batman villains as Professor Pyg and Mister Toad, truly disturbing characters originally brought to life by the incomparable Grant Morrison, there might be the possibility of a darker element in this new show.  However, after seeing the apparent dumbing down of the Red Lantern Corps in GL:TAS, I might be grasping at straws here.

Review: Justice League: Doom

When it comes to the DC Universe Animated Original Movies, it’s hard to know what to expect.  Ranging from amazing (Wonder Woman) to horrendous (Superman: Doomsday), the ongoing series of direct-to-video movies tends to be hit-or-miss.  Thankfully, Justice League: Doom, the 13^th and most recent film in the series, ranks near the top.

Loosely based on the comic JLA: Tower of Babel, written by Mark Waid and originally published in JLA #43-46 in 2000, the members of the Justice League find themselves at the mercy of some of their most formidable foes.  Having stolen Batman’s secret files pertaining to the heroes’ weaknesses, the new Legion of Doom, led by Vandal Savage, systematically incapacitates the Justice League, leaving the world undefended.  It’s not exactly a new story, having also been adapted in Justice, the 12-issue series from 2005 – 2007 by Jim Kruger and Alex Ross, but Justice League: Doom manages to tell it well, exposing the physical and metal vulnerabilities of these larger-than-life superheroes.   Heavy on the action, but not skimping on drama, the film keeps your attention and even has a few good moments that will make the fans cheer.  However, like past films Justice League: The New Frontier and Superman: Doomsday, JL:D feels rushed as a result of compressing a multi-issue story into an under-90-minute movie.  Much of the Tower of Babel story is left out, most notably the communications breakdown that occurs throughout the entire planet. The story is stripped down to its barest elements.

JL:D also falls victim to the all-powerful force of marketing, taking plenty of creative liberties in order to tie the film into the current state of the DCU.  Gone are Aquaman and Plastic Man, who appeared in the original Tower of Babel comic, only to be replaced by Cyborg in order to reflect his Justice League membership in the New 52.  Kyle Rayner and Wally West are also absent, replaced by their Silver Age predecessors, Hal Jordan and Barry Allen, both of whom have been resurrected since 2000, and are extremely prevalent in ongoing DC storylines.  Bane appears as well, joining up with the Legion of Doom.  I’m sure his starring role in The Dark Knight Rises prompted his inclusion.  The replacement that makes the least sense is that of Vandal Savage in the place of Ra’s al Ghul.  It’s essentially an exchange of one immortal for another.

The biggest treat, however, to come out of JL:D is the cast.  Voice director Andrea Romano opened up her little black book and brought back almost every major player in the DC animated universe from the last 20 years.  Leading the cast are, of course, the only men who should ever be allowed to voice the World’s Finest, Kevin Conroy and Tim Daly as Batman and Superman, respectively.  Joining them are Justice League alumni Susan Eisenberg (Wonder Woman), Carl Lumbly (J’onn J’onnz), Michael Rosenbaum (The Flash), Phil Morris (Vandal Savage), and Olivia D’Abo (Star Sapphire).  Rounding out the core of the League is none other than Nathan Fillion, reprising his (rightful) role as Hal Jordan from Green Lantern: Emerald Knights.  Even David Kaufman, the voice of Jimmy Olsen from Superman: The Animated Series makes an appearance.  Having heard many of these voices coming out of these characters for so long, it’s hard to imagine an animated Justice League without them.

It has its shortcomings, but Justice League: Doom is a great deal of fun for both fans and casual viewers alike.  Spectacular action coupled with great character moments make it one of the better installments in the DC animated movie series.  Directed by Lauren Montgomery (Wonder Woman, Green Lantern: First Flight) and written by Dwayne McDuffie (All-Star Superman, Justice League), Justice League: Doom arrives on DVD and Blu-ray on February 28^th.

Justice League: Doom is dedicated to writer Dwayne McDuffie, who died in February 2011.

New Trailer for The Dark Knight Rises........rises!

Beacuse a teaser and a prologue preview just aren't enough to satisfy fans, a new full-length trailer for The Dark Knight Rises was released this weekend in front of Sherlock Holmes: A Game of Shadows.  Check it out below!

Adding to the ominous vibe already seen in the teaser trailer, the new footage showcases just about every actor in the cast, and also gives us our first sample of the voice that will be coming from behind the mask of Tom Hardy's Bane.  Sounds a little muffled, to be honest, but my faith in Christopher Nolan has paid off in the past, so I'm willing to roll with this one.

Bringing an end to Nolan's on-screen legend, The Dark Knight Rises will arrive in theaters on July 20th, 2012.

Review: Batman-The Dark Knight #1

Batman is, by far, the most prolific character in the DCnU, appearing in at least 8 of the newly released titles, 3 of which bear his name.  As we close out September with the final week of #1s, The Caped Crusader finds time to make one more appearance before the #2s hit shelves.

In addition to being the final week of #1s, Week 5 also saw the biggest turnout of artists-turned-writers.  Joining fellow artists Francis Manapul (The Flash #1) and George Perez (Superman #1), David Finch throws his hat in the ring and takes a stab at storytelling in Batman: The Dark Knight #1, the relaunch of the short-lived series from earlier this year.  However, while his name appears first on the cover, Finch provides the pencils, but is only credited as “Co-Plotter” alongside Paul Jenkins, who receives the actual writing credit.  Regardless of whoever penned the story, Batman: TDK maintains the tone set by Batman & Robin #1 and Batman #1, but loses points when it comes to originality.  The book kicks off with Batman channeling his inner Yoda, delivering an internal speech about fear, describing it as a cannibal as it feeds upon itself.  In addition to sounding like a lecture from everyone’s favorite diminutive Jedi, the narration also evokes memories of Batman Begins, the Christopher Nolan film that explored the theme of “fear” as the backdrop to Batman’s origin.

As Batman wraps up his soliloquy, he quickly ditches the cape and cowl, and arrives at a Wayne Industries function.  Not unlike Tony Stark’s more public arrival to the Stark Expo in Iron Man 2, Bruce Wayne, in a glaringly uncharacteristic move, swings down to a balcony and enters the event.  I’m sorry, but Bruce Wayne does not Bat-grapple across rooftops in a tux.  That aside, it is at this gathering that the reader learns of the newest threat that Batman must face – Gotham PD Internal Affairs!  Wait, what?  Apparently, a suspicious GCPDIA officer is accusing Bruce Wayne of funding Batman’s vigilante activities.  Sound familiar?  If you saw The Dark Knight, the sequel to Batman Begins, you might have an idea of where this is going. 

As if that wasn’t enough for Batman to handle, there’s been a breakout at Arkham Asylum….again.  We follow our hero to the front gate of Gotham’s notorious nuthouse just as several of its residents are busting out.  In a stunning two page spread, David Finch depicts several Bat-villains, including Mr. Freeze and Clayface, as they assault Arkham security.  Batman arrives to diffuse the situation, and upon entering the asylum, we can clearly see that Finch has taken inspiration from the enormously popular Arkham Asylum video game.  From the guard uniforms to the distinctive corridors, it is definitely the same environment established by the game.  For the book’s cliffhanger ending, Jenkins and Finch (whether intentionally or not) take one more cue from both Arkham Asylum and its upcoming sequel, Arkham City, but you’ll just have to check the book out for yourself to see if you agree.

Breakout at Arkham Asylum!

Scott Snyder’s Batman #1, was a hard act to follow, but that’s no excuse when your book is a mishmash of concepts from other material.  Batman: The Dark Knight #1 has potential with the IA arc, and Finch’s art is definitely a boon to the project, but unless the book finds its own rhythm soon, it might be as short-lived as its pre-New 52 run.

Review: Nightwing #1

Dick Grayson has been called many things.  Acrobat. Boy Wonder. Batman.  But deep down, Dick prefers one moniker over all others – Nightwing.   

With Bruce Wayne back in the picture, Dick has relinquished the cape and cowl, handed over Damian’s leash, and returned to his solo crime fighting career as Nightwing.  However, instead of taking up his old beat in Blüdhaven, Dick remains in Gotham.  Immediately, writer Kyle Higgins gets us inside Dick Grayson’s head, exploring how thrilled he is to be himself again, now that he is not filling in for Batman.  Dick does, however, acknowledge that the experience made him stronger, brought his technique to “flawless” levels, and granted him a new perspective.  As Dick delivers this soliloquy, artist Eddy Barrows depicts him leaping, bounding, and swinging his way across the rooftops of Gotham, artistically capturing the character’s exhilaration.  At key action points in the issue, Barrows also chooses to illustrate within diagonal panels, emphasizing the constant, dynamic motion and combat.

Echoing Bruce Wayne’s desire to make peace with his past and move on in Batman & Robin #1 and Batman #1, Nightwing #1 finds our hero facing a specter from his own past, struggling with how to confront it.  Haly’s Circus, the troupe with which The Flying Graysons toured, has returned to Gotham City for the first time since Dick’s parents were killed.  Drawing upon his newfound personal strength and choosing to face his fear, Dick visits the circus, even taking to the trapeze for old time’s sake.  It is the perfect parallel to Bruce’s decision to tear down and redevelop Crime Alley, the scene of the Waynes’ murder.  Both men have chosen to acknowledge their respective pain, and to stop running from it.  Kyle Higgins allows Dick to sum it up brilliantly – "...my past isn't my biggest weakness, it's my biggest strength - it's what makes me who I am."

Things look to be on the up and up for ol’ Dick Grayson!  That is, until a masked assassin attacks him in the streets of Gotham.  Confronting him as Nightwing, Dick dukes it out with the mystery man, only to learn that this particular villain is out for blood.  Why?  You’ll just have to read Nightwing #1 and Batman #1 to see how this particular crossover gets off the ground, and why Dick earns yet another label – “The fiercest killer in all of Gotham.”

Review: Catwoman #1

Holy fan service, Batman!  DC’s most famous femme fatale has returned, but while Catwoman #1 takes off at top speed, this oversexed issue struggles to humanize DC's favorite feline. 

Starring in her own ongoing title for the first time since 2008, Selina Kyle begins this new chapter right where we expect to find her – waist-deep in trouble.  The first few pages are a whirlwind of action and close-ups as Selina races to don her Catwoman suit and escape her apartment before a group of thugs bursts in.  She leaps out the window, half-dressed and clutching a crate full of her cats, stopping only to watch her apartment explode and burn.  If that opening doesn’t grab you by the throat, I don’t know what will.

Even as Catwoman barely escapes certain death, writer Judd Winick tries to keep the tone light.  Selina maintains a very flippant attitude as she watches her home burn, even cracking a joke to herself and focusing on the fact that she just needs to keep moving.  She seeks help from a friend, which, in and of itself, seems out of character.  Selina herself comments on how odd it is for someone like her to have an actual friend.  The internal monologue, as well as the actual exchange between the characters, emphasizes the loneliness that Selina experiences every day, a theme that will more than likely be the focus of this arc.  Judd Winick looks to be laying the groundwork for some honest-to-goodness humanity in the fiercely independent criminal/anti-hero.  Follow that up with some detective work in a Russian mob bar, a flashback to Selina's youth, and top it off with her brutally beating a man in a bathroom, and we are reminded that Catwoman is still a predator at heart.

The issue closes out with a very surprising encounter with the Dark Knight himself.  Not unlike Superman's appearance in Supergirl #1, Batman shows up right at the end in what seems like an effort to remind the reader that we're still in the same universe.  We get it.  However, the real surprise comes when the lonley and frustrated Catwoman throws herself at Batman and the two end up knocking boots.  Shock value?  Yes.  Necessary? Probably not.  It's the capper to an issue that definitely wanted to reestablish one of DC's most sexually charged characters.  

While the overt sexuality might seem excessive, you have to hand it to artist Guillem March for pulling off both amazing action and gratuitous fan service.  The best example of both is Catwoman's half-dressed leap from her exploding apartment.  But if this book expects to earn a following, the creative team will need to work a little harder to get the readers to care about Catwoman again.

New 52 Review: Batman #1

Scott Snyder has done it again. Batman #1 could very well be a perfect Batman book. How so, you ask? Read on!

Snyder has a way with all things dark, creepy, and unnerving, which places him as a perfect writer for the Dark Knight. I have not read his Detective Comics run yet, but, from what I have heard, this man was born to write Batman. His opening for Batman #1 is a monologue from Bruce telling us about a section of the Gotham Gazette called “Gotham is...” where people would send in an answer to this question in under three words. Normally, this could be pretty boring back story and setup, but Snyder is so much better than that. He lays this question and some of the answers sent in overlaid against an all out brawl between Batman and the better part of his rogue's gallery in Arkham Asylum. The genius of it all is that it sets up the mood and introduces any new readers to what the norm is in Gotham City, while at the same time providing a very exciting jump into this new Batman for seasoned readers. Bravo, Snyder. Bravo.

From this point, Snyder starts digging into the meat of his story, planting some pretty amazing seeds for Bruce Wayne’s and Batman’s future. I would love to discuss some of them here, but that would be unfair to anyone wanting to read this book. I won’t allow spoilers for something this good. The twists that Snyder has placed in this issue are very important for his future groundwork and to read them here would ruin any sense of gravity they held in the book. Trust me on this one: just read it.

Greg Capullo’s art, on the other hand, is a different story. Reading this book I felt like I was looking at two different artists. When Batman is on the page we are treated to some gorgeous, moody panels where Batman seems to melt into the shadows. His detail on some of the more famous of Batman’s villains is fantastic! Two-Face is absolutely grotesque, and The Joker is nightmare-inducing; but, as soon as Bruce is out of the cowl, it all falls apart. Capullo tends to draw everyone on the younger side, and it is actually hard to tell some characters apart. There is a frame where Bruce, Dick, Tim, and Damien are all standing, getting ready to enter a formal event. They all look the same; you could only really tell them apart by height. It was really kind of silly. But if this is the only thing wrong with this book, I’ll take it.

Go pick up Batman #1 now, if you can. If the empty shelves at my shop were any sort of indication, it’s going to be very tough to get your hands on the first printing of this issue. Snyder has laid some amazing groundwork that I cannot wait to see play out. Bravo, Mr. Snyder. Bravo.

Review: Batman & Robin #1

You like Batman, right?  DC sure hopes you do.  Of the 27 #1s that have been released in the last 3 weeks, 5 have been Bat-books, and there are still more on the way.  Alongside Batwoman #1, Batman & Robin #1 debuted this week, finally teaming Bruce Wayne with his insolent offspring, Damian.

Immediately, this book throws you into the modern Bat-verse established by Grant Morrison in both Batman & Robin and Batman Inc.  However, taking up the reins once again is writer Peter J. Tomasi, hot off his successful run on Green Lantern Corps. (Tomasi originally wrote 3 issues of the 2009 B&R run)  Tomasi does a superb job of interweaving current and classic elements from the Dark Knight’s history, establishing a Wayne Family theme as the backdrop for the latest chapter in Bruce’s life.  Unfortunately, if you are either a new reader, or just unaware of the global Batman Inc. network, you might be a little lost on the first few pages.  But hang in there.

Tomasi sets the stage with a quick look in on the previously unseen Russian representative of Batman Inc.  This prologue also sets up the story’s villain, a masked menace with invisibility tech and a connection to Batman’s past.  Ominous stuff right at the onset.  Meanwhile, in Gotham, Bruce Wayne is still struggling as both a father and as half of a crime fighting partnership. Damian, the son of Bruce and Talia al Ghul, continues to be an irritating little s***, maintaining an opinionated, holier-than-thou attitude, and countermanding every order Bruce gives in the field.  The time Tomasi spent writing dialogue for Guy Gardner has definitely prepared him for the impudent tone of Damian Wayne.

The book takes a somber, yet dignified turn as Bruce starts a new period in his life.  In light of the news that Crime Alley, the site of Thomas and Martha Wayne’s murder, will finally be bulldozed and redeveloped, Bruce chooses to stop honoring his parents’ death and start honoring their life.  Now a father himself, Bruce attempts to share this new outlook with his own son, but the little brat could care less.  Batman now finds opposition at home as well as on the streets of Gotham.

The dialogue-heavy, family-oriented material is then balanced out with fast-paced action.  In a skirmish between the Dynamic Duo and a band of thugs out to pilfer some nuclear cooling rods, Tomasi’s writing, supplemented by the art of Patrick Gleason, Tomasi’s partner from both Green Lantern Corps and Batman & Robin, creates a rapid-fire sequence that almost prompts you to read the panels quickly in an effort to keep pace with the action.  The acrobatics, beatdowns, and overall chaos is amplified by frenzied exchanges as Batman screams commands, only to have them blatantly defied by Robin.

Batman & Robin #1 reestablishes the tumultuous relationship between father and son for a new group of readers, and sets the two on an equally turbulent path that could very well end in tragedy.  With most of Batman’s attention focused on solidifying this new partnership, I’m intrigued to see its impact on how he deals with the new threat heading his way.

Review: Batwoman #1

Batwoman: the black sheep of the Bat-Family.  No, not the character, the book.

Batwoman is a DC heroine who dates back to 1956, when the original Kathy Kane debuted in Detective Comics #233 as a means to dispel the rumors of a homosexual relationship between Batman & Robin.  Nearly three decades later, the character was one of the many casualties of the continuity cleanup event, Crisis on Infinite Earths.  Skip ahead to 2006. The new Batwoman, now Jewish, lesbian heiress Kate Kane, burst onto the scene in 52 #7, this time to fill the void left by an absent Batman.  She then spent the next several years making scattered appearances throughout the DCU, most notably as the lead character in Detective Comics for 10 issues.  Eventually, Batwoman was due to receive her own ongoing title.  However, by the time it was ready to get off the ground, the New 52 were on their way.  Enter J.H. Williams III and W. Haden Blackman, the co-writers bringing Batwoman into the new era of DC Comics. 

If you’re a fan of Bat-Family stories, you probably expect the usual gritty, urban tales of crime, corruption, and super-villainy in the seething cesspool of Gotham City.  So far, Detective Comics #1 and Batgirl #1 seem to be in that vein.  Batwoman #1, however, kicks off with a very supernatural feel, opening with a kidnapping perpetrated by, what appears to be, a ghost.  Batwoman appears on the scene, fails to prevent the kidnapping, but promises the parents that she will find the children and bring them home.  Sweet! A detective story with a supernatural twist! Right? RIGHT?! …… No such luck.  What follows is a mess of overt sexual byplay, inconsistent art, and jumbled storytelling. 

For the first step in her investigation, Kate Kane, who is portrayed as whiter than a bleached sheet and bears a striking resemblance to Batman Beyond’s Dee-Dee twins, stops in to visit veteran detective, Maggie Sawyer.  However, instead of furthering the plot with a discussion of the mysterious crime, the two engage in a coy conversation that goes out of its way to remind you that both Kane and Sawyer are gay.  (The last thing I want to do is sound insensitive, but there’s a fine line between addressing the fact subtly and tastefully, and beating you over the head with it.)

Kate then recruits her cousin, Bette Kane (formerly Flamebird of the Teen Titans) to assist her in her investigation.  I’m hard-pressed to call it an investigation since the pair’s evening exploits consist of arguing about Bette’s new codename and costume, beating up some billiard-themed street thugs, and arguing some more as they return to Kate’s Bat-Penthouse.  The only ones who seem to be doing any actual detective work are Maggie Sawyer and Jim Gordon.  If the GCPD is actually doing some legwork to solve a case, you know the hero is slacking off.

Even the book’s art can’t save it.  J.H. Williams III, who provided the pencils as well as half the story, and inker Dave Stewart seem to fluctuate between two distinct styles.  One is reminiscent of Frank Quitely (All-Star Superman), minus the doughy-ness and funny mouths.  The other is more detailed, featuring more prominent shading and texture.  It is used primarily when illustrating Batwoman herself.  These two styles are clearly evident in a spread that attempts to cram Kate Kane’s entire history into two pages.  It’s a jumble of images covering her childhood, her time in the military, the alleged death of her deranged twin sister, her mother’s murder, and her career as Batwoman.  For a reader unfamiliar with the character’s past, it’s a very confusing clutter of faces and events.  Not the kind of thing you want to be throwing at your target audience of new readers.

Batwoman's history, juxtaposed against an argument illustrating her Daddy issues.

Even the book’s cliffhanger falls flat.  The final page finds Batwoman poking around a snowy riverbank, which is apparently a crime scene.  Is it related to the child-swapping ghost?  We have no way of knowing.  Oh, and Batman shows up at the last possible second with a “proposition” for Batwoman.  That’s the cliffhanger.  The whole page seems like an afterthought.

I don’t see how anyone would want to come back for more from Batwoman.  She’s angry, unlikable, and a really crappy superhero.  If this book has to rely on Batman showing up in order to draw in readers, then it defeats the entire purpose of giving a solo title to a character who has a great deal of her own potential.  Batwoman can make a great impact as both a socially-relevant character, and as a mainstream superhero, but she can’t make any progress if her custodians won’t give her the chance.