The Death of Superman and the Reign of Supermen – Lightning did not strike twice !

In the 90s my generation witnessed the death of an iconic character. Today the newer generations get to relive that momumental moment in the medium of comics. Read what how we feel about the new itiration and take on the comics that changed the path of Superman and brought him into the modern era.

Having grown up in the 90s I was lucky to have watched some of the best-animated features and series in the history of television and got to read some of the runs in comics. To me, it is my favorite era of comics because of the sheer volume of content being produced when it came to comics and action figures and kids of my generation really had a lot to see and pine over. One of the big things of the 90’s was also something that rattled comic book fans all over the planet as we first heard that DC comics were going to kill Superman! The comic itself is said to have contributed to the subsequent downward spiral in comic book sales as at the time there was a boom in which niether publisher lost time capitalizing on. To speak on this we must also discuss when this orginally came to be to compare previous installments.

Graphic Novel Cover
Cover of the Graphic Novel

The comic, titled ‘Doomsday’ (Dan Jurgens & Roger Stern) was discussed on national television and in the press when it dropped in 93 and apart from flying off the shelves Warner Bros and DC comics would fail capitalize, waiting until 2007 with it arriving on DVD in 2008 called Superman: Doomsday. Fun fact Kevin Smith has a cameo playing himself poking fun at the time he worked on a Superman script. Even the talent of legends Bruce Timm (Batman Animated Series and Justice League) and Duane Capizzi ( Transformers: Prime, Darkwing Duck, and The Batman).The animated feature was well-drawn but differed from the source material which is a pattern that would follow in the decades to come. The problem was that Warner Bros should have released this movie in the early 90’s when the comics were out to have fully capitalized as Superman: Doomsday was not released to rave reviews and was not making anyone’s top 10 list anytime soon. Superman dying is a big deal and coming late to the party may have affected the interest of the masses in this animated film but it was a decent release and if you can find it somewhere for cheap it is a decent addition to any collection for the sake of nostalgia.

It would be more than a decade later before DC and Warner Bros would revisit the storyline, this time opting to remain closer to the source material by including Superboy, the Eradicator, and Steel. I am reviewing the combo pack release in which you have the option of watching both titles back to back in on sitting.  My buddy and I from the board game club watched it and though it felt like it dragged on. We were two different demographics watching this movie, for him, it was his first time watching or hearing about Superman dying. It then hit me that the younger generation have grown up with blockbuster movies and loads of shows and movies and comics themselves were not mainstream for ages. This means my friend Lenny never really got into comics growing up and now in his late teens is diving deeper into the history of these characters he grew up with.

The casting of talent was spot on with Hollywood names such as Nathan Fillion (Firefly & Castle) voicing Hal’s Green Lantern, Rebecca Romjin   (X-men Trilogy, Punisher & The Librarians) as Lois Lane and Rosario Dawson (Daredevil and Iron Fist) as Wonder Woman. I have no complaints on their voiceacting and the dialogue proved to be convincing enough but it did not have the style and look of the 2007 adaptation. I was pleasantly surprized when I sutmbled upon the BluRay Double Feature release where you could get and stream both movies back to back.

As someone who is a huge Bruce Timm and Paul Dini fan I would have preferred if they tried to keep some of the original look from the 90s and early 00s but I will not hold it against them. Warner Brothers have been consistently releasing at least 1 animated feature a year if not more while continuing to support live action shows such as Super Girl, Green Arrow and Titans. Despite their major motion pictures earning big bucks at theaters but the negative critiques and feedback from fans following the Justice League movie and the how Aquaman failed to capture the the interest of many older viewers. With a new man in charge and at the helm of future Warner Brothers releases with a growing interest in appealling to the Chinese market the studio needs to be wise  to avoid the blunders of the past and the mistakes other corproations are making in appeasing the Eastern market.

Warner Brothers are wise to keep the fans happy with content over the years and this release will scratch an itch and does give you a story worth watching. The first part of the story (The Death of Superman) will have you watching Supes give it all his all as the Justice League struggle against the arrival of Doomsday. They carnage and desperation is paced well throughout and the inevitable ending does leave you wondering what would happen next. The Regin of the Supermen would see our first itiration of the comic series where in the absence of Kalel other ‘Supermen’ would rise up and attempt to fill that void. As to not spoil too much of it but we get to see Luthor still angling to be the most powerful man on the planet by introducing Superboy as other ‘versions’ of the former hero rose up including the Eradictor and Steel weaving an interesting narrative. The more adult tone of the story does well in immersing the viewer in what is going on. You have Darksied appearing and watching the heroes and citizens try to make sense of this new era where heroes compete over the top spot while new evils find their way to our blue marble with villianous intentions.

Reing of the Supermen Comic cover
Cover for the Graphic Novel

The second part of the arc plays out better than the previous installment and watching the dynamics between the different characters and the attention paid to the minute details of each of the ‘supermen’ added more to the feature. The writers and producers attempted to include as much as they could from the source material and do not make it a campy feature and touch on issues such as self belief, betrayal and revenge in a way we have not experienced in their perevious animated features.  I can warmly recommend watching these two features back to back when you have 3 hours to kill however I sadly will not recommend it as a purchase.

 

Despite being different to what most fans have grown accustomed and used to from WB Animations it does not go deep enough for me to want to re-watch it any time soon. For that reason I would have to give it a 6.5 out of 10 as it is a double feature package and it would be unfair to judge them as standalone releases (which you still can get seperately). It is good fun for Superman fans and fans of the genre in general but not worth the money as I do not see it adding much value or replay value to most collections.

Until next time I would like to wish all of our nerds and nerdettes the best possible week and just ask for you to invite some friends to our Facebook page and hit the like button so we know you enjoy our content. If you would like to suggest a topic for us to cover or a creator you think would care to be interviewed do not hesistate to send us an email after liking our FB page.

 

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..not as good as the comic

NerdDimension.Com presents the BATMAN: HUSH Film Review
by Talon

BATMAN: HUSH Film Review

by Talon

Batman: Hush is an animated film by Warner Bros. Animation based off an 8 issue Comic Book story arc of the same name written by Jim Lee & Jeph Loeb which ran from 2002-2003, the feature directed by Justin Copeland was premiered at San Diego Comic-Con of 2019. The leads of the film are voiced by Jason O’Mara, Batman, & Jennifer Morrison voicing Selina Kyle aka Catwoman.

Jeph, Justin, Jim, Jennifer and Jason
Right to Left: Jeph Loeb, Justin Copeland, Jim Lee, Jennifer Morrison & Jason O’Mara

This adaptation leaves much to be desired by true fans of the source material but will likely appeal to those new to the story as the writer and film team have taken liberties and creative licenses as with most movie adaptations today, especially comic related ones. Judging the film on its own merits Batman:Hush is good but not as good as the comic.

For those who are not familiar Batman: Hush is one the most popular and critically praised graphic novels of all time but most certainly of the last two decades (IGN Ranking it 11th in their top 25 list) evidenced by the first issue having 113,061 pre-orders in October 2002 placing it at the peak of the Top 300 comics charts. Going into the project Loeb, a fan favourite having done justice to the character in previous iterations, this time teamed up with maestro artist Jim Lee by both shaking up the status quo and making a few unexpected decisions creatively they succeeded in creating buzz and controversy .

comic cover hush
Original Comic Book Cover of Batman: Hush

Returning to the animation, DC has been consistent with its art style since the Flashpoint offerings creating a sort of baseline to illustrate the connectedness of the different films. This isn’t bad, but the style isn’t up to snuff compared to Batman: The Animated Series or Jim Lee’s masterful pieces in the original comic. This movie like countless other adaptations and reboots of the last decade plus suffers from the animation writing staff putting their own touches on the story. This approach hasn’t made great projects where possibly Teen Titans: The Judas Contract and The Death of Superman are exceptions which reinforce the rule. Unfortunately most writers make big alterations to great stories in an attempt to keep the story ‘fresh’ to fans who know the original story, whilst this can work in seldom cases it did not by and large in the New 52 era or for writer Ernie Altbacker in the case of Batman: Hush.

BTAS, TEEN TITANS DEATH OF SUPES
Left to Right Box Art of Teen Titans The Judas Contract, Batman The Animated Series & The Death of Superman

The film begins with Bruce Wayne making an appearance at an evening banquet where he bumps into an old school friend Thomas Elliot (Maury Sterling) and sees Selina Kyle which gets him thinking about giving their relationship a shot again.

Shortly thereafter he stumbles upon a conspiracy involving a kidnapped young boy who is being held by Bane (Adam Gifford), as he foils the plot Catwoman makes away with the ransom money promptly delivering it to Poison Ivy (Peyton List).

As Batman attempts to catch Catwoman his grappling line is torn by a sniper shot from the titular villain sending Batman crashing to the street. Luckily there are some good people to stave off encroaching threats.

Bruce decides to begin dating Selina, and when they attend the Opera the are met by Harley Quinn (Hynden Walch) who claims that she must kill Bruce Wayne in order to free her boyfriend The Joker (Jason Spisak).

To spare you readers as many spoilers as possible I ll just add that yes Catwoman and Batman get involved, yes.

Ernie, and Co
Left to Right: Ernie Altbacker, Jason Spisak, Maury Sterling, Adam Gifford, Peyton List & Hynden Walch

In essence the viewer is treated to large portion of the classic Batman rogues gallery thanking to the stratagem of Hush, a new player on the scene who is mind controlling the lot of them. The cast is solid but both leads would have been better served if they were voiced by Kevin Conroy & Adrienne Barbeau respectively. Other welcome voices to the troop to reprise their roles would have been Arleen Sorkin as Harley, Mark Hamill as The Joker, Loren Lester as Dick Grayson/Nightwing and Richard Moll as Harvey Dent.

Conroy & Co
From Top Left to Right: Adrienne Barbeau, Kevin Conroy, Mark Hamill, Arleen Sorkin & Loren Lester.

Fans of the source material will not be thrilled by certain changes made to the story, most being trivial and unnecessary (like switching Killer Croc with Bane or Huntress with Batgirl which basically ends Oracles role in the story) which eat away at the robust story itself but one which probably does detract from the story is the love affair between Bruce and Selina taking centre stage more so than in the comic books. Whilst this is the only aspect which is perhaps an improvement on the source material, the movie is not called Catwoman & Batman but Batman: Hush. That being said Damian Wayne’s (Stuart Allen) response to the pairing is probably the most memorable moment of the feature. Most changes feel to have been done to make the film fit in the current DC Animated universe, much like what Marvel has been doing the last decade or so, but with source material as strong as this is clearly not the best idea.

DAMIAN WAYNE CHAT
Screenshot of Damian Wayne played by Stuart Allen

The animation does feel a little generic and the above average fight scenes do not mask the misstep. Another thing I feel old school fans will be disappointed by is the seemingly forced use of profane language in an attempt to make the feature edgier, as is the sexual innuendo which feels static as it suggests O’Mara and Morrison lack adequate chemistry to pull off the romance in a believable manner.

The ending itself feels rushed and leaves one feeling anticlimactic and that the huge choices Batman made throughout the film are insignificant, which they are not. This story arc could have been better served if they spread the story into a two feature series or even three, instead we are left with numerous red herrings and you simply don’t feel Hush is a worthy opponent of the caped crusader.

This movie, unlike the beginning of Warner Bros. Animation, suffers from what most movies suffer from – too much meddling with what works. Batman: The Animated Series was a watershed moment and a classic which stands out today just because Jean MacCurdy (the company in this instance) allowed the creative team of Bruce Timm, Paul Dini & Mitch Brian to do what THEY felt was BEST.

WB DREAM TEAM
The Warner Bros Animation Dream Team Left to Right: Jean McCurdy, Bruce Timm, Paul Dini & Mitch Brian

This feature much like most films inspired by comics feels like making money was far and wide the top priority which there is nothing wrong with but by banking on an existing fan-base to support it without giving any fan service in return doesn’t seem fair. It is likely a sign of the times where everything must appeal to as many consumers as possible disrupting the organic quality of the storytelling in the process.

The animation is crisp and presented in 2160p in the Blu-ray and the DTS-HD 5.1 audio is just as quality so that is alright.

In closing its nice to see that DC continues to bring back some classic stories into the animated realm, unfortunately like others they are guilty of trying to ‘fix’ a working recipe. The original comic arc was built on a clever detective story, provided interesting plots twists and intelligent characterization from the writer and stellar artwork by the illustrator making it a classic which is still impressive today.

Worth praising is DC’s attempt to create a semblance of a continuity but I feel most fans would rather not have this done at the expense of the source material. The worse thing I felt upon finishing the film, and days later, was how generic it felt. As a big fan of Batman this leaves a bad taste in my mouth.

Batman: Hush will most likely appeal most to casual fans and a public which have no foreknowledge of the comic, as it is a good animated feature but for true fans of the original work who have been waiting for it to grace the small screen format it will very likely be a serious disappointment.

We give this film a score :

2.5 / 5

All images used are property of DC Comics, StarReel Entertainment, Warner Bros. Animation, Atlas Oceanic Sound & Picture, NE4U, Salami Studios and their associate/affiliates as well as numerous media outlets and I claim no rights over them.

Funny Zombies.. Welcome to ZOMBIELAND!!

Talon presents on behalf of NerdDimension.Com The Zombieland Film Review [ThrowbackThursday]

ZOMBIELAND Film Review

by Talon

 

Zombieland is a R-Rated adventure horror comedy (now Zomedy or Zom Com) written by Rhett Reese and Paul Wernick and directed by Ruben Fleischer released in 2009. The movie earned Best Horror Movie, Best Cameo (Bill Murray) and Best Ensemble at the Scream Awards. The film was shot and brought to market for $23.6 million then smashed the box office earning $102.4 million making it the most successful zombie movie ever released at the time. The winning ensemble comprises Jesse Eisenberg and Woody Harrelson as leads supported by Emma Stone with Abigail Breslin and we are treated to appearances by Bill Murray, and Amber Heard in a brief scene which really kick starts the movie.

Team
Paul Wernick, Rhett Reeese, Ruben Fleischer & Amber Heard

A road movie at heart set in a post apocalyptic earth thanks to an outbreak of a virus, related to Mad Cow Disease, which turns people into zombies. The ingredients of this film could have resulted in boring product but surprisingly the film works as an entertainment piece. Zombieland cemented its legacy along with Shaun of The Dead as one of few films which brought the Zomedy genre commercial success and prominence in the mainstream western market, as the far east especially Japan had been releasing zombie related games, literature and even zombie comedies throughout the 90s and early 00s.

F EAST
The House of The Dead, Versus, Resident Evil (Bio Hazard) & Bio Zombie

The movie begins with narrator Columbus (Jesse Eisenberg), a student at the University of Texas, one of the few non-infected people as he breaks down his various rules for survival. Shortly we find him walking down a highway strewn with abandon cars when he encounters Tallahasse (Woody Harrelson), who is on a quest to reach Florida killing as many zombies en route as he can and if possible secure himself a Twinkie supply.

The two agree to team up for a portion of the journey before deciding to examine a grocery store in hopes of finding some Twinkie’s. After fighting off several zombies and finding no Twinkies they meet sisters Wichita (Emma Stone) and Little Rock (Abigail Breslin) in the back of the shop, trying to help the ladies feigning distress our leads are conned and left without weapons or transport.

Shortly thereafter Tallahassee and Columbus in an attempt to set things straight track down their stolen SUV, where thanks to cliche Back Seat Inviso-Syndrome (where impossibly characters cant see people in the back-seat) the girls once more play the two leads. Fortunately Tallahassee swiftly turns the tables on the realistically outmatched femme duo and they decide to stick together until LA.

BILLY MURRAY
Bill Murray’s Residence, Ghostbusters Original Movie Poster & Bill Murray

The foursome arriving in Hollywood decide to find Billy Murray’s house using maps to the stars. Reaching the expansive Beverly Hills residence the crew split up, Columbus opting to show Little Rock Ghostbusters to show her who is the actor whose home they are squatting in, whilst also probing the kid for relationship info regarding her big sister. It is during this time we receive one of the most memorable cameos in film history but I do not wish to spoil it or the movie for you guys.

Unlike many movies of the horror genre Zombieland doesn’t suffer from overly pointless gory scenes, don’t get me wrong there is violence a plenty but the team doses it just right making the scenes amusing as they are action packed. Barring the back-seat reversal the cliches work well and are welcome, as is the kindling of potential romance between characters which doesn’t feel forced or contrived. There are seldom moments you feel for the characters and understand somewhat their intent adding needed respite from action and gags heightening the contrast between scenes.

Zombieland must have surprised both Columbia Pictures and Relativity Media with its box office success, both due to the genre being still fairly untapped in the US as well it being the feature film debut of Ruben Fleischer. I think because of the somewhat humble budget and a strong script (rewritten multiple times) the fairly established cast decided to sign on and I feel both production and cast pulled it off and am surprised the sequel came out just this year (2019).

The cinematography was spot on thanks to Michael Bonvillain, smart camera movement, angles and use of distance shots. The sound and score also helped bolster the theme and feel of film so a thumbs up to David Sardy and the Sound Deparment. The editing too was well done courtesy of Alan Baumgarten making Zombieland flow smoothly with no clutter, tight and compact.

crewwww
Alan Baumgarten, David Sardy & Michael Bonvillain

Eisenberg and Woody are both good actors and they pull off their roles masterfully. You believe that Jesse is the awkward nerd who compiled the rules list which pop up on screen throughout the film and Harrelson feels authentic as the macho tough guy on a rampage of vengeance.

Also enjoyable is the various ways in which the zombies are executed by the cast using a wide spectrum of equipment from guns to baseball bats and even gardening tools. There are even some truly bizarre comic instances which are rewarding to viewer.

The first time director possesses a great sense of timing and injects clever wit throughout the bloodbath of a film. As praised the cinematography is spot on really adding much to the feel of the film providing great visuals of different areas after the apocalypse. There are some poignant moments but don’t feel forced as mentioned and do not take away from the movies main goal which is to garner laughs.

The writers turned out a genre savy script and the meta feel of some scenes will be relished by cinephiles. I applaud most Bill Murray’s amazing cameo appearance which really steals the movie and is maybe one of the best cameos ever.

I feel the movie needed a little bit more something, maybe a little more character study or development but aside from that this movie succeeded in what it set out to do which is to entertain. This movie will be interesting to comedy fans especially of Zom Coms but also classic horror film aficionados.

I give the movie a score of :

3.75 / 5

All images used are property of Columbia Pictures, Relativity Media, Pariah and their associate/affiliates as well as numerous media outlets and I claim no rights over them.

JODOROWSKY’S DUNE …The Game-Changer That Never Was

Jodorovsky’s Dune is being reviewed by our in house writer Talon!

91KRqAzzB0L._SL1500_

Blu-Ray copy of Jodorowsky’s Dune

JODOROWSKY’S DUNE

..The Game-Changer that Never Was..

By Talon

Jodorovsky’s Dune is a documentary by Croatian-American director Frank Pavich screened at the 66th Cannes Film Festival as part of Directors Fortnight May 13th and released May 21st 2014. Of the numerous nominations and awards it has received most notable seem to be The Australian Film Critics Association’s Best Documentary and  Imagine Film Festival’s audience award The Silver Scream. Making appearances aside from titular Jodorowsky are Dan O’Bannon, H.R. Giger, Gary Kurtz and Chris Foss to name a few.

JODO & PAVICH
Alexander Jodorowsky & Frank Pavich

The film focuses on Chilean director Alexander Jodorowsky and his never actualized interpretation of influential Nebula & Hugo award winning novel Dune by Frank Herbert. Inciting a great deal of what-if sentiment in an enjoyable manner it is a well done nostalgia piece. Pavich lets you behind the scenes into a fraternal world of creative spiritual  warriors, Jodorowsky would call them, by weaving tales known only to select insiders and collaborators from a special moment in the past. The film serves as a call to action for visionary dreamers with an ambitious leaning.

At the beginning we are acquainted with Jodorowsky and some experiences making his breakthrough films “El Topo” & “The Holy Mountain” which propel him to cult fame and whose successes at demonstrating his unique take on film led him to be dubbed a father of the Midnight Film genre.

MICHEL SEYDOUX
Michel Seydoux

After falling out with distributor of both films and financier of “Holy Mountain” Alan Klien, Jodorowsky meets French producer Michel Seydoux who impressed by his style  grants Jodorowsky Carte Blanche in selection of his next feature. Without hesitation Jodorowsky requests Dune.

Following a trail of clues set by Pavich we learn of Jodorowsky’s methods of recruiting his diverse group of Argonauts on this spiritually inspired creative adventure. To peak some curiosity, amongst this motley of heavy hitters are iconic vocalist Mick Jagger, notorious surrealist Salvador Dali, ever enigmatic silver screen icon Orson Welles and pioneering rock group Pink Floyd to name a few.

Collage Dali, Floyd, Welles, & Jagger
(left to right) Orson Welles, Salvador Dali, Pink Floyd & Mick Jagger

You find yourself glued to the screen as you learn the herculean lengths the director is willing to go to collaboratively to create something truly great. From inception of idea, to means Jodorowsky utilizes to keep his team motivated and believing in themselves and their gifts. The sense of drive is palpable and uncanny happenstance occurrences further bolster sense of purpose and destiny the endeavour seems to possess.

The documentary inevitably pulls at heartstrings as one realizes the project is doomed, primarily stemming from executives fearing budget size and lacking gumption to venture into unexplored terrain. The sadness progressively turns into disenchantment and suspicion that crew and project were cheated out of their rightful place in history. The overall sentiment being that the bible of the dune, a compiled 3000 picture story board and preproduction book sent to major studios, being years ahead of the industry became a go to source of inspiration for countless Sci-Fi blockbusters which incorporate various visuals and even literary devices (albeit diluting them) making many common place in today’s cinema.

Collage Bab 5, Contact, Tron, Prom, 5th E, Matrx, Termi, Flash, Blade Runner
(left to right) Babylon 5, Contact, Star Wars (a new hope), TRON, Prometheus, The Fifth Element, The Matrix, Blade Runner, Alien, Flash Gordon, & The Terminator.

This film I feel set out to ensure the group’s legacy, particularly Jodorowsky’s who had little success post the Dune fiasco, and remind audience and industry alike at the folly of not taking chances creatively. The teams interpretation of Dune appears to be the best movie which was never made and they provide some in the way of perceived evidence for this case. After watching it some of you will wonder if Star Trek and Star Wars would have become as large franchises as they are now? You find yourself feeling if this Dune came out that the Sci-Fi genre and film-making would have received a much deserved dose of creativity and literary perspective on the art form itself.

Interviews are well shot as the camera movement, angles and distances are solid thanks to David Cavallo. Execution of close ups and specific moments was well done, as when focusing on Jodorowskys hands at different times to emphasis a moment.

One complaint is frugal use of Syd Garon‘s & Paul Griswold‘s animations of Moebius‘s (Jean Giraud) story board and H.R. Giger & Chris Foss sketches. You find yourself wishing they merely used story board and quality narration to the tell the entire story of Dune as they intended, but afterall is this is a documentary about making of the film and not the film, nonetheless some graphic exposition shots were cut too short to enjoy the artists’ mastery.

The Sound was solid, and at times definitely felt atmospheric thanking to the throbbing music provided by Kurt Stenzel. The Editing, handled by Paul Docherty & Alex Ricciardi, was quite alright.

It might have been swell to have Jodorwsky interviewed with several members of crew who are still among us in an intimate setting, so that we can observe some of their chemistry all these years later as they discuss various anecdotes. This felt missing for a movie striving to emphasize, in addition to other notions, what feels like the value of comradeship.

Deeper insight which can be derived is the sheer depth of dedication stemming from unfaltering belief, the dedication of Jodorowsky to make a movie to change the world. The sentiment is echoed by his faction as they discuss the making of the movie. All sacrificed but none complained what they were being put through including Brontis Jodorowsky, the directors son who for two years was training Martial Arts, Sword fighting and Gymnastics to prepare for the role of a young Paul Artriedes.

Giger, O'Bannon, Moebius & Foss
H.R. Giger, Dan O’Bannon, Moebious & Chris Foss

The story told is spellbinding packed with colourful characters, surreal encounters and events which if not true definitely should be. Jodorwsky’s Dune as a documentary is one of better released the last decade, with refreshingly unique subject matter. I am most impressed by the drive of Jodorwsky himself as with the talent and contributions of primary collaborators Moebious, H.R. Giger, Chriss Foss & Dan O’Bannon. It is this tandem of four gathered by Jodorowsky which brought a lot to one of the greatest Sci-Fi franchises ever Alien, and we appreciate the director’s hand in it.

I feel this movie appeals most to true fans of quality Sci-Fi and deeper cinema offerings (especially movie makers), skewing more to the 30 and up crowd who might have grown up hearing urban legends of the legendary Dune which was never made. Not to say a younger audience would not enjoy it but might find it harder to relate to as they are too young to remember some of the long gone pop culture icons involved in the project.

From a score of 1-5 this film gets:

4/5

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All images used are property of Snowfort Pictures, CameraOne, Endless Picnic, Babylonian Productions, Warner Bros. Television, Warner Bros., South Side Amusement Company, Lucasfilm, Twentieth Century Fox, Walt Disney Productions, Lisberger/Kushner, Twentieth Century Fox, Dune Entertainment, Scott Free Productions, Gaumont, Warner Bros., Village Roadshow Pictures, Groucho Film Partnership, The Ladd Company, Shaw Brothers, Warner Bros., Brandywine Productions, Twentieth Century-Fox Productions, Starling Films, Dino De Laurentiis Company, Famous Films, Hemdale, Pacific Western, Euro Film Funding, their associate/affiliates and various media outlets and I claim no rights over them.

 

Joker Film Review

Talon reviews the much hyped Golden Lion winning film Joker!

JOKER COVER CRITICS POSTER
Joker Critics Movie Poster

Joker Film Review

by Talon

Todd Phillips‘s “Joker” was released to much hype on August 31 2019 winning the most prestigious award the Golden Lion at the 76th Venice International Film Festival. The film proceeded to set a box office record for October grossing over $272 million on a somewhat modest budget estimated around $70 million (modest as compared to the last two movies based on DC characters). Widespread demand at the box office is one of few bright points in this review which is more a testament to marketing budgets and tactics than of a films artistic merits. “Joker” feels as if both writers Phillips and Scott Silver set out to humanize the iconic “Joker” character but fail as we never see him go beyond a one dimensional mentally ill victim who the world keeps relentlessly beating on, but instead acquire more of an understanding of what seems to us a logically consequential downfall of a person with grossly low self-esteem.

76th-Venice-Film-Festival
Joaquin Phoenix & Todd Phillips at the 76th Venice International Film Festival

The feature is infused like countless pieces of entertainment today, especially comic book movies, with darkness for no apparent purpose than for appealing to a target market. I find the movie lacks the depth it seemingly craves evidenced by its attempts at fabricating self importance. Trying to tie in what feels like everything from gun control to racism to prevailing mental illness one can’t help feel that the makers of “Joker” wanted to cash in on the current social climate but it all feels slapdash at best in its execution.

– Brief Summary, skip if you suffer from spoiler-phobia –

“Joker” starts off in the early 1980s in Gotham City which is suffering a garbage collector strike where we meet mentally ill Arthur Fleck portrayed by masterful Joaquin Phoenix. Arthur in his 30s is a party clown with stand-up comedy aspirations living in dire straits with Penny his disabled mother, played by Frances Conroy.

The action commences when Arthur is robbed on the job by teenage delinquents in front of an electronics shop of a sign he is twirling . Arthur proceeds to chase the boys down to a backstreet only to have this backfire in a violent fashion.

After Arthur is on a public bus where he finds a child turned backwards curiously staring at him. In response he goes into his clown routine making funny faces and grimaces which amuses the boy to laughter unfortunately earning Arthur a callous remark from the child’s mother demanding him to leave her child alone.

Upon returning home he shares the elevator with two of his neighbours a mother called Sophie, played by Zazie Beets, and her child where they exchange a somewhat awkward comedic interaction before he invites her to come see his stand-up comedy.

Glenn Fleshler, in the role of one of Arthur’s colleague Randall, the next day hearing about the attack  acts concerned and lends him his revolver. Arthur after botching a gig at a children’s hospital puts the weapon to use when three well-to-do men attempt to attack him on the subway train and he responds in brutal fashion even stalking and executing the sole escapee of the three who managed to reach the stairs exiting the terminal.

Joker-Los-Angeles-Premiere-14
Glenn Fleshler, Josh Pais, Brett Cullen, Frances Conroy, Joaquin Phoenix, Zazie Beets, Leigh Gill & Marc Maron at LA premiere of “Joker” (from left to right)

Attempting to be as spoiler free as possible I shall only mention two more scenes in this summary. Arthur is watching a black and white film in the apartment called “Shall we Dance” featuring legends Fred Astaire and Ginger Rogers. It starts with a scene on a ship where the engine room staff are crooning a tune lead by actor Dudley Dickerson and accompanied by a jazz band who are soon joined by Fred before going into a dance number. When the actors break into dance Arthur follows suit spinning around the living room accidentally pulling the trigger of his revolver making a hole in the living room wall.

Despite having several opportune moments to do so the movie seldom elicited any emotion barring the discomfort of violence. When Josh Pais, as Holt the clown agency boss, is giving Arthur an ear beating for something we know he didn’t do, Arthur sits and takes it providing little in way of resistance to the bullying he is suffering, as opposed to sympathy I felt myself and other cinema goers just felt frustrated. This is in no small part due to the caricature of Arthur Fleck, his simplicity as a mentally ill man is poorly conceived as all we see the whole movie is his odd laughing and some excerpts from his tattered diary.

Another similar instant is when he is callously treated by a mother on the bus for no reason apart from making her son laugh, but here too he seems to just take it with the difference being he provides a card explaining his condition (Pseudobulbar affect (PBA) or emotional incontinence for those curious) and continues to endure the effects of the disorder beginning to laugh repeatedly. I hold this condition in itself as a plot device was poorly thought through, utilized and does little but delay the films pacing and irritate viewers. You get the sense as if when all else fails cue Phoenixes odd laughter.

Due to our intent to not reveal spoilers there are two scenes which I cannot disclose, where one doesn’t only feel disturbed by brutal violence but the scene actually evokes feelings of deep sadness and realization. Foreshadowing was used cleverly to bring a modicum of comprehension and most to an idea of what is likely to happen next. This was the only true directorial highlight I can recollect of the movie.

The Joker Review
Ad posters for “The Killing Joke” 1988, “Taxi Driver” 1976, “King of Comedy” 1983 & “Joker” 2019

Phillips I feel was trying to make a movie of substance by combining three different and distinct source materials which served as inspiration. It seems that the team is going for a social commentary and deeper angle as opposed to pure entertainment and I feel they fumble it like the Giants in ’78.

To most film buffs it is obvious that Phillips was inspired a great deal by Taxi Driver and The King of Comedy, both Martin Scorsese films and both starring another legend Robert De Niro, which study rich well developed characters. But beyond inspiration it feels as if Phillips and company attempted a mash up of the two films, which could be a reason Scorsese decided to step away from production. Another source of inspiration especially for the premise appears to be Alan Moore‘s classic One Shot graphic novel from 1988 The Killing Joke.

To compare the first two sources, both are made dark but for different and fairly sound reasons. Where “Taxi Driver” explores results of alienation on the psyche and perspective of De Niro’s Travis Bickle, “The King of Comedy” studies awkward ideas as it cuts to bone of De Niro’s Rupert Pupkin’s denial of his repeated rejections. Whilst trying to bring the two very different concepts into one film plausibility of behaviour and execution of the idea itself seem to be the challenge. Where Travis repeatedly attempts to make connections in his film we get the feeling Arthur doesn’t try which can demonstrate Arthur possessing severely low self-esteem which can be seen as further stimulated by his mother who even asks him that for one to be a stand up comedian shouldn’t they be funny.

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Marc Maron & Robert De Niro from the “Joker”

With “The King of Comedy” it is visible that a lot has been taken from the plot but there is one crucial difference, Rupert makes his success as a stand up comedian his sole focus and relentlessly attempts to gain recognition and veneration for his skills but as we watch Joker we don’t get that feeling of effort truly invested from Arthur’s side as is the case with Rupert.

Finally to discuss the alleged inspiration coming from “The Killing Joke”, I am lost for connecting points as they are few an far between. If you mention you were inspired by “The Killing Joke” one finds it hard to find what inspired Phillips. In the novel Moore and Brian Bolland, the artist, attempt to illustrate the notion that Joker is a mirror reflection of Batman, that one bad day can separate us all from insanity and depravity. One tragedy creates both iconic characters on opposite ends of the spectrum, Bruce Wayne spends his life trying to find meaning from it whilst Jack Napier (Joker) reflects the absurdity and injustice which can befall us.

In “Joker” Batman is absent and Arthur is pushed to the edge due to seemingly a build up of lifelong torment. Beyond the obvious I enjoy Moore’s take on the project that he feels when they crafted “The Killing Joke” it was to do something original, to stimulate the industry to try new ideas and be creative and he like most reviewers I feel has become sick of the trend he birthed with his stories especially The Watchmen and “The Killing Joke”. We we can derive purpose from the source material but finding a purpose for making “Joker” aside from financial gain is difficult.

Alan Moore & Brian Bolland
Alan Moore & Brian Bolland

The movie seemingly attempts to be a social commentary and falls flat, surely pulling inspiration from various crimes and tragedies which occurred in New York during the 1970-1980s such as The Central Park 5 or the Bernhard Goetz attack but switching things up enough to not make connections clear. Some reviewers claim this is a movie about racism and white supremacy, about mental illness or even about class systems but I feel none of these themes were well enough developed and simply don’t meet the mark.

There is one scene which I feel would have made for a perfect point in the movie to endear Arthur Fleck to the audience as Peter Finch‘s Howard Beale did in Network when he went on his tirade denouncing how bad things have become, instead we receive a inefficient attempt at such with unsophisticated sentiment like “Everybody just screams at each other. Nobody’s civil any more” which obviously fails in what it endeavours to do through its simplicity and lack of substance.

All being said it feels this movie was created to launch a new movie series and build unwarranted hype. If one wanted to create something new and divergent, why not simply create a new character as opposed to using someone who has their own canon and following. Then again both Marvel and DC comics have altered their characters so much to make each character appealing to everyone possible, I feel alienating the fans whose dollars these giants built there empires on in the process.

We shall briefly touch on the film-making itself, as there are few gripes here and as there is praise to be dished out likely ensuing from the exchange of a forceful plot for continual discomfort.

Lawrence Sher‘s cinematography was solid, the camera movement is smooth, the camera angles safe as are the camera distances. Feeling it would have done better with a stronger score but the sound was decent, no complaints come to mind. The editing was handled by Jeff Groth and things seemed to flow easily, feel like the other aspects we have discussed not much to really write home about.

Globally though I perceive the “Joker” came off looking catchpenny or rushed, the scenes appeared smaller than could have been and angles could have been more varied. Some rally scenes seemed nearly as slapdash as the plot, with one protestor literally holding a garden chair over his head.

If any deeper meaning can be derived I am troubled finding it, the closest thing I can find is the alluded to mash up of three iconic pieces of art in an attempt to create a hybrid of substance. Apart from that Phillips could be attempting to paint an image of a disabled downtrodden man who has been neglected and left out to dry by family, society and the government whilst pointing a finger of blame at the wealthy. If this is the case I feel he has missed the mark.

(Possible Spoiler) You don’t really get upset when you feel the director wants to you to be mad at the Wayne family. How is it an employers responsibility to take care of a former employee or her child? It is Penny’s responsibility to take care of Arthur, and here is where one might be able to blame government for even allowing an unstable woman such as her to raise a child let alone return him to her after what he endured in her care but that again rests on a society to demand such things. On the other hand when Arthur decides to take revenge it feels wrong as he is becoming exactly what he encounters regularly, a bully. Now I am feeling if I provide any more examples the movie will be spoiled for all who wish to see it.

The only thing certainly which can impress is Joaquin Phoenixes acting, he is a great actor and this role I feel forced him to resort to his bag of actors tricks constantly as there was little substance to be work with. This movie will likely be most appealing and interesting to youthful faux-nerds and less demanding quasi-fans of darker film and fiction. It has the hype to sell it, a great actor and an iconic character which they’d probably know little about previous to Heath Ledger’s Joker in the Dark Knight series (which he was amazing in) so this will probably work with a crowd in their early twenties to mind 30s with little love of comics from the era of Crisis on Infinite Earths and prior. For movie buffs I can say this movie is skippable in my humble opinion.

Please leave a Comment, Like, Subscribe and Share! If there is any Movie, Comic, Series, Game or Film you would like our team at Nerd Dimension to review YOU please let us know!

All images used are property of DC Comics, Embassy International Pictures, 20th Century Fox, Columbia Pictures, BRON Studios, Creative Wealth Media Finance and their associate/affiliates as well as numerous media outlets and I claim no rights over them.

Gotham by Gaslight Review

The concept of putting Bruce Wayne in Victorian Era comes from a somewhat cult classic One Shot of the same name from 1989 which was the result of a strong team up of Brian Augustyn, Mike Mignola with inks by P. Craig Russell. It focuses on the Caped Crusaders fictional battle with the infamous Jack the Ripper the notorious never identified serial killer of 1888 London. The notion is an interesting one and I definitely was curious to see how faithfully the story transitioned to the film format.

GOTHAM BY GASLIGHT (Film Review)
Review by Talon

Gbg Animated Cover
DC Comics Promotional Poster Digital

The Gotham Knight in a Victorian setting? Sounds interesting, but how well do DC with Sam Liu manage to pull this off.
For those who do not follow ‘The Nerd Dimension’ podcast, I have to provide a slight disclaimer – I am a big Batman fan, primarily his depiction by Bruce Timm and Paul Dini of Batman The Animated Series (BTAS) era. That being said I hope to be critical as I should be.

The concept of putting Bruce Wayne in Victorian Era comes from a somewhat cult classic One Shot of the same name from 1989 which was the result of a strong team up of Brian Augustyn, Mike Mignola with inks by P. Craig Russell. It focuses on the Caped Crusaders fictional battle with the infamous Jack the Ripper the notorious never identified serial killer of 1888 London. The notion is an interesting one and I definitely was curious to see how faithfully the story transitioned to the film format.

 

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Cover of the Original One Shot

 

I believe the team were attempting to recapture the feeling of BTAS to a degree and I feel finding Bruce Timm as an executive producer of the project lends credibility to the idea. Having mentioned all this, unfortunately, I feel that unlike BTAS the story falls back into the realm of simplicity with less character development making it more skewed to younger viewers. That being said, it is most definitely an enjoyable watch and one of the best-animated transformations of a comic book to a film which has been a strong trend the last decade or so. The previous statement comes with a disclaimer though if you are not into the Victorian setting and into the Dark Knight this may not be the most enjoyable move you could choose to watch.

The original Elseworld´s one shot piece was a quick read at 52 pages, and was for of a sparring or testing of an environment and its mechanics, specifically a Victorian Era Gotham. In my humble opinion, it was a well-done piece, albeit lacking the usual level of mystery and suspense I enjoy but that is in kind due to the aforementioned length of the piece itself. This I feel would have been an interesting direction the Dark Knight could have went down, a graphic novel would have been interesting to see. *

The animated incarnation I feel attempted to add to something cosmetically using, in my humble opinion, commonplace or fairly used mechanics and tropes to ‘beef up’ a shorter story with a somewhat predictable ending. Though I enjoyed how they added certain characters which weren’t in the original piece, I feel it did little for the whole especially the addition of classic love-hate relationship of Selena Kyle for political correctness or ‘playing it safe’ but detracted from the focus of the material which was I feel the exploration of a different type of Gotham.

A different Gotham not just geographically per Se but I would imagine rather contrasting to today’s more neo-liberal politically correct society. This piece could have been a form of study of the different ways our characters could have come to be in their positions, the different vocations they might be engaged in even expected gender role examinations with clever twists would be welcomed in my view.

All in all the video carnation of Gotham by Gaslight is definitely worth a watch and compared to most animation being released today the more mature rating is welcomed as the film overall quality when measured against similar comic book animated releases. This being said it could have been better, adding maybe more time to the film or simply removing the (I feel forced) characters who were added post source material which would have allowed possibly for more time to allow the environment to be explored and for us to gain more for a feel of the different characters.

All in all, this is probably one the best animated incarnations of our beloved Batman and is a strong 8/10

* The One Shot came with two stories from that Era in the edition. This tale is a little longer is called Master of the Future and is set 11 months after the events of Gotham by Gaslight.

All images used are property of DC Comics and associate/affiliates and I claim no rights over them.

Nerd Dimension Podcast TOS EP 4 , MOVIES !!!

Another show from the trio nerdos so tune in to hear their take on movie, movies and more movies !!!

Your favorite Nerds have succeeded in sending out another signal from the dark depths of  the dimension they are voluntarily trapped in. Stream their latest show and hear them go in on bad movies and praise some old favorites. The team recorded a long one this time around for all of our fans who said they wished they were a bit longer. Let us know what you think in the comments and please share with those you feel may enjoy our content.

Farscape TV Show Review

A cult classic for some, be sure to read what we thought of the tv-show which launched the careers of several actors in the mid 00’s.

 

Farscape was a show I started watching in the early 00s and became a fan instantly. I loved how at the time they managed to blend great make up and creature creation with CGI without one detracting from the other. I realized how a lot of people I spoke to online at least from Eastern Europe were not familiar with the series and decided I should do a write up so something new is online for people to check out. Some of the things that drew me into the show was their interesting spin on living in space, engaging characters and did I mention Claudia Black was in it?

Farscape-Wallpaper-1

Wrong Turn meets the Fugitive…but in space !

The story starts out with US astronaut John Crichton (Ben Browder; Stargate SG-1) is launched into space for what he believes should be a straight forward mission. While out there he looses control of his craft before getting sucked into a wormhole and comes out in the middle of a space dogfight. He helps save ‘Moya’ a living spaceship (yeah, I know pretty cool) that is home to an outlaw group all on the run for their own reasons. Having aided them they allow him to crash with them until he can figure out how to get home but they all wind up going into uncharted space meaning returning might prove to be a lot harder than expected.

John has to play nice with D’Argo (Anthony Simcoe), a lethal Luxan warrior with a mean temper who enjoys a fight as much as a tumble in the sack. Aeryn (Claudia Black) the renegade peacekeeper officer is clinical in her interactions towards John and being gorgeous did not make it any easier on the poor guy having to deal with her feminist ways. The voice of reason is the Delvian Priestess Zhaan (Virginia Hey)  who has a somewhat budistic approach to everything and the most welcoming to our human traveler. Other crew members include the exiled Hynerian ruler Rygel (Johnathan Hardy) zipping around on his floating armchair with lavish eating habits and a selfish attitude. However the most interesting character would have to be Pilot (Lani John Tupu) who is pretty much an alien lobster from the waist up but from the waist down is part of the actual vessel, Moya. The latest to join is the the young and attractive Nebari stowaway Chiana (Gigi Edgley).

Together this unlikely fellowship float through space with the Peacekeepers and a vast assortment of galactic baddies on their tail. They do odd jobs, trade and engage in mercenary work just to stay alive while John struggles to survive in this new reality whilst trying to find his way back home. The villains are interesting and the show is quiet unlike any other space science fiction shows out there, definitely at the time it aired. The show has a small Star Trek vibe but with more adult content and has some Firefly to it with less powerful graphics. All in all the show has 4 action packed seasons with a great TV movie to cap off the memorable series. If you are looking for something new to watch that is different, well written and boasts a very talented cast then look no further than Farscape. You will be glued to your screen and is a show you can either binge watch or enjoy episodically, either way you will not regret watching this series. We do stress watching the Peacekeeper Wars movie to know how it all ends !

Our all overall score for this gem is 7.5 out of 10

Farscape_The_Peacekeeper_Wars_poster

Let us know what you think in the comments section and please feel free to email us suggestions for our next review. Check out the contact guidelines and be sure to like our NERD DIMENSION FB Page prior to reaching out.

 

 

Spawn – The Anti Hero we all love

Find out more about your favorite anti hero, how he was created and how big he was for comics.

Some history…

Growing up  in the 90s and 00s I was lucky enough to have spent my young and formative years with my head in a comic and good hip hop in my Walkman (a portable music playing device for playing cassette tapes). The 90s to me will always be larger than life production, gritty writing and an age of wonder to me. I mean consoles, arcades, new comics, tv shows and blockbuster action movies were coming out non stop. So before we get into one of the greatest anti hero’s of all time allow me to set things up.

In 1992 Batman: The Animated series was on the air which would later be the dubbed the best animated series of all time. Sega & Nintendo buttons were being mashed and Activision’s original company Mediagenic filed for chapter 11 bankruptcy. This is the time in the aftermath of Frank Miller‘s legendary ‘The Dark Knight Returns‘ and Alan Moore’s masterpieces ‘The Watchmen‘ and ‘V for Vendetta‘ meaning comics witnessed a shift into more adult content with darker stories, sex and just grittier settings. Also remember that readers saw Superman die in 1993 and Venom get his own comic (interesting seeing as he was designed by Todd MacFarlane).  I say this so that a reader can attempt to envision the time and feel of that era that would later be dubbed The Dark Age or Iron Age of comics.

Todd MacFarlane and Image Comics

image-comics-logo
Image comics logo

Todd MacFarlane earned recognition first for his work on Marvel’s  ‘The Amazing Spider-Man’ comic staying through the 80s for 28 issues and illustrated the first full appearances of the super villain ‘Venom’ as Edie Brock. The Canadian cartoonist and artist did not come out of nowhere, himself siting that he sent out more than 700 submissions in pinup size with next to no reaction from the publishers, mostly rejections. When he did get put on by the giant publisher he became a superstar in the world of comics. He would eventually part ways with Marvel due to their ‘work for hire’ policies towards their artists, in short they never got  percentages of sales or retained any Intellectual Property for the duration. Todd would join forces with other disenfranchised artists from the big publishers including: Jim Lee (X-men), Marc Silvestri (Wolverine) Jim Valentino (Guardians of the Galaxy) to name a few and veteran writer Chris Claremont (Uncanny X-men).  This group would reduce Marvel’s share price by $3.25 per share and they never turned back. Todd would mention in his own comics that he believed that artists deserved to be treated with respect by the publishers who made millions off their talent and not feel ripped off when a business relationship ended. Together Image comics would publish some of the best titles in comics including : Spawn, Witchblade, The Walking Dead and Saga. Image comics not only put out good product by renown artists but took a stand against corporations, their charter best says it:

  1. Image would not own any creators work; the creator retained it
  2. No partner interference either financially and creatively.

Enough said.

Spawn & Batman
Image Comics Todd MacFarlane

The birth of Spawn

After a life of full of murder, betrayal, pain and espionage serving his country he would get promoted to top assassin for the C.I.A. after saving the life of the president. Al is then murdered, by whom he knows not so during his journey through the inferno that is hell he makes one last plea, screams and begs for a chance to see his wife Wanda again. Needless to say making deals with demons never bodes well for the one signing on the line so Al returns to Earth, face looking like a badly burned burger drowned in scabs…yuck would be an understatement. Al is in a new body as his mind is tormented by flashbacks and memories of his great love. While trying to put all the pieces together he decides to crash in the alleys while becoming the protector of the homeless in the Bowery, a run down hood in New York. Gradually he learns he got stiffed in his deal returning 5 years after his death, his best friend knocked up his widow and he was celebrated a hero…I know, and believe me it get’s worse. I am trying to not spoil of the story or giveaway too much but I can say that every panel is worth the paper it’s printed on. Spawn means a lot to me because it challenged me as a young reader, opened my mind to new horizons concerning creativity and imagination. I mean hot angels waging war with demonic lords with New York City as the backdrop most of the time. Spawn fights Predators, Xenomorphs to Gotham’s caped crusader himself. Even the supporting cast are written well as you begin to empathize and relate to certain characters. Spawn is an ever evolving character and his universe is by far one of the most sinister in comics. Be sure to check out the first couple of issues and below I will include a link for you lazy cats out there who would rather watch the show. The movie was meh, but the HBO is a lot better and will give you a limited yet good idea of what to expect from the literature.

We encourage all our readers to supports publisher, designers and authors by at least checking out their sites if not through purchases.

 

MacFarlane

Image Comics

Goosebumps 2015 The Movie (Review and write up) R.L Stine starring Jack Black

Jack Black & R.L. Stine come together to leave you feeling like a kid again. Find out what we think of this soon to be classic.

While searching for something to watch this week I stumbled upon ‘Goosebumps‘ the movie and remembered reading about it before it went to theaters and could not believe I had missed it! I was genuinely surprised that I didn’t catch word of it or even see the trailer plugged on television. Having grown up reading the books then reading that Jack Black was starring in it I immediately made the call to watch it.

Today my car broke down first thing, effectively leaving me stranded at my folks place and the weather was horrendous leaving me with an opportunity to kick back in the room and watch the movie with no interruptions. I played the trailer to my brother who would be watching with me and he too said he was stunned that he had heard nothing about it until today.

Goosebumps

 

The story goes…  Zach (Dylan Minnette) comes to small town Madison Delaware where his mom is the new vice principal of his high school and just happens to move in next door to the legendary author R.L. Stine (Jack Black) and takes a romantic interest in his daughter Hannah (Odeya Rush) as they team up to battle against the characters from his books who have been let loose in suburbia.

If you ever read any of his work then the idea of mashing up all of his fiendish creatures into one movie is pretty stellar. Man Eating Plants to evil little garden gnomes, some of your favorite monsters make appearances and Jack Black playing R.L. seemed like movie gold to me. Well, until I heard Rob Letterman was behind the camera (Shark Tale & Gulliver’s Travels) I did got a little skeptic, after all Goosebumps were not really happy go lucky tales of joy from summer camp and a PG rating could prove fatal when you set high hopes for childhood classics. The budget was $50 Mil and it grossed north of $80 Mil  which is not too bad considering that the marketing was not that big but I would expect more for an author who is one of the best of our time. Yes, when a writer sells 400 Mil copies you have to tip your hat to him, especially if you ever read a copy for yourself.

Columbia Pictures produced a good movie which could be enjoyed by families and an adult audience with clever humor mixed in with great special effects. Rob throws you into it within the first seven minutes and the party does not stop, slow down or disappoint all the way to the end. This is a must watch for all Goosebumps fan if for not for the fun factor but for the nostalgia it awakens, watching them come to life was something take in. The shots are good, the tempo fast but not too fast and the writing is better than some of the ‘serious’ horror releases of late. I felt that it lost steam  in some places but that is my only qualm with the movie. I must thank Jack Black for doing a great job with this role and bringing his A game. I recommend it all the way and am hoping that Columbia decide to make another Goosebumps picture or perhaps a TV-Show in the years to come.

8 out of 10

  • Too Short
  • Steam is lost at some points which could have been easily avoided

 

Some of his works I would recommend for reading :

The Haunted Mask

Why I’m Afraid of Bees

Attack of the Mutant

Bottom Line : WATCH IT ! 

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You can find out more about the legend at his website : www.rlstine.com