Film Review: ‘Joker’

Joaquin Phoenix is the man beneath the clown make-up in Tod Phillip’s Scorsese inspired reinvention of DC’s iconic villain…

Joker (a)

Joaquin Phoenix delivers a powerful performance in Warner Bros. Pictures’ ‘Joker’ (credit: Warner Bros. Pictures).

Spoiler-free review

Starring:  Joaquin Phoenix, Robert De Niro, Zazie Beetz, Frances Conroy, Brett Cullen, Douglas Hodge, Dante Pereira-Olson

Directed by:  Todd Phillips / written by:  Todd Phillips & Scott Silver / 122 minutes

What’s it about?

Grappling with mental illness amidst the crumbling society of Gotham City, a victimised and broken man walks a dark path as he adopts a deranged persona known as ‘Joker’…

In review

After riding a wave of festival focused critical plaudits and finding itself subject to some pre-release controversy (cancelled screenings and increased police presence rising from concerns that the film may incite acts of violence), Warner Bros. Pictures’ Joker, based on the iconic Batman villain, has landed in cinemas.  Featuring an intense and Oscar-worthy performance from Joaquin Phoenix, Joker is much less a traditional “comic book” interpretation of DC’s Clown Prince of Crime and far more a bleak, at times disturbing and often unnerving character study of a man cast aside by society, broken and pushed to the limit and through violent means – pushes back.  As has already been suggested since the film’s inception, Joker finds its roots within the celebrated works of director Martin Scorsese (who at one point was attached to produce) – specifically Taxi Driver and The King of Comedy.

Phoenix plays Arthur Fleck, a loner struggling with mental illness and afflicted by a condition which leads to uncontrollable bouts of laughter (something that may sound silly on the surface but is realised painfully by a startlingly gaunt Phoenix).  Caring for his mother (played by Frances Conroy) and making a meagre living as a sign twirling street clown, Fleck looks to pursue a career in stand-up comedy…but one bad day too many sees the tragic figure consumed by his demons as he transforms himself into the deranged and homicidal persona of ‘Joker’.

Joker is certainly a good piece of filmmaking (captured beautifully by cinematographer Lawrence Sher) and in many ways compelling, unshackled from its comic book origins and unburdened by any requirement to connect to a wider universe, favouring it’s Scorsese inspirations – the character of Fleck very much informed by Travis Bickle and Rupert Pupkin, perhaps more so than he is by the Joker as we’ve seen in previous iterations.  Director Todd Phillips (who also co-writes) takes these influences and runs with them, proving his capabilities beyond the crowd-pleasing comedy fare of The Hangover trilogy.  It does, admittedly, make it a tad derivative and adds an element of predictability to proceedings, but at least provides a viable approach to this reinterpretation of a classic comic book foe.  Joker also benefits further from a small but key role for acting legend Robert De Niro (as talk show host Murray Franklin, who Fleck idolises), who certainly brings a heap of gravitas to the project – yet, the film unmistakably thrives on Joaquin Phoenix’s portrayal.

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Joaquin Phoenix as the haggard and troubled Arthur Fleck (credit: Warner Bros. Pictures).

Despite some of its creative laudability, the film is not exactly “fun” in any sense, but nor does it aim to be given the themes it explores (the societal tensions and spiralling crime rate sadly all too relevant) and Fleck’s descent into madness can make for a difficult viewing experience.  Truth be told, Joker cannot match itself to Christopher Nolan’s The Dark Knight which was able to depict a satisfyingly dark and dangerous version of the Joker whilst offering some semblance of hope via Bruce Wayne’s war against crime.  It’s also arguable that the Joker is very much defined by his ‘relationship’ with Batman which makes the approach of Joker, although invigorating, ultimately lacks something without that counterbalance.

Joker does however maintain its links to the comics, the Wayne family playing an important role within the story and the (seemingly early 1980s) Gotham City setting, though a more grounded extrapolation of a crime-ridden New York of the 1970s, a familiar placing.  Fleck’s failure as a comedian is also, of course, an identifiable homage to Alan Moore and Brian Bolland’s The Killing Joke.

Joker leaves itself open to the interpretation of viewers and is likely to provoke fierce debates about not only the film itself but in its world-view and subjects it doesn’t take lightly – it may not be “entertaining” in a manner most would expect and the Joker is arguably better presented in his battles with the Batman but this is still a bold take on a particular, standalone, version of the character.

The bottom line:  ‘Dark’ in every sense of the word, Joker pulls no punches in its depiction of crime, violence and a society in decline, driven by Joaquin Phoenix’s powerful and mesmerising performance.

Joker is in cinemas now.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

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Comic Review: ‘Batman/Superman’ #1

The greatest team-up in comics returns…

Batman Superman #1.jpg

Cover art by David Marquez (image credit: DC Comics).

 

Written by:  Joshua Williamson / art by:  David Marquez / colours by:  Alejandro Sanchez

What’s it about?

Batman and Superman unite to grapple with the deranged Dark Multiverse villain, the Batman Who Laughs as he transforms their comrades into ‘the Infected’, his horrifying horsemen…

In review

Spilling out of the pages of the recent The Batman Who Laughs mini-series (by writer/artist duo Scott Snyder and Jock), Joshua Williamson, current writer of DC’s The Flash, teams up with artist David Marquez (who previously worked on Marvel’s The Invincible Iron Man and Civil War II) for a new Batman/Superman series, a title that’s been sorely missing in the post-Rebirth era of the DC Universe.

Given that this first arc takes it’s lead from The Batman Who Laughs, pitting the Dark Knight and the Man of Steel against the terrifying schemes of the twisted Dark Multiverse Batman, Batman/Superman #1 has a more gothic, horror infused tone to it than previous Bat/Supes team-up books and although that may leave it ‘feeling’ more like a Batman comic in some respects, it’s immediately clear that Joshua Williamson is perfectly suited as writer of the series.  Williamson quickly proves adept at handling the big two of DC’s pantheon, ensuring the focus is equally split whilst demonstrating an understanding of the established (and expected) traits and qualities of each character and the dynamics of their relationship, given the differences in viewpoints.  Most of these explorations occur via the dual narration/monologues that run throughout the book, although this is nothing new in any iteration of Batman/Superman (or Superman/Batman as it was before the New 52), it is part of the creative make-up of the title and really gives the reader a feel for what motivates the heroes and reasoning as to why, despite their opposing views and methods in the pursuit of justice, Batman and Superman continue to be allies – and more importantly, brothers.

As with any debut issue, there’s a certain amount of exposition in Batman/Superman #1 in order to establish the characters and the main narrative, but Williamson manages to keep things relatively tight, coherent and moving at a steady pace – the central plot and the investigations by Batman and Superman building gently throughout, drawing the reader into the action neatly without it rushing the story along or hindering its momentum.  It’s unfortunate that DC spoiled the closing twist of the book in their marketing but whether you’re familiar with that or not, the issue remains a gripping and suspenseful read.

Making the move from Marvel Comics to DC, David Marquez produces superlative visuals, rendering powerful characters and cinematic layouts – adding an ever so slight element of grit to his beautifully detailed pencils that’s fitting for the tone of the comic, keeping it moody and atmospheric in all the right places whilst creating exciting and clearly staged action scenes.

The bottom line:  It’s been too long since we’ve had a Batman/Superman comic and it’s off to a confident and reassuring start under the perfectly matched creative team of Joshua Williamson and David Marquez.

Batman/Superman #1 is published by DC and is available in print and digital formats now.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

It’s a Classic: ‘Batman: Year One’

Looking at some of the best pop culture offerings in film, TV and comics…

“From this moment on…none of you are safe”

Batman Year One

An example of the amazing artwork for ‘Batman: Year One’ by David Mazzucchelli (image credit: DC Comics).

Year:  1987

Written by:  Frank Miller / art by:  David Mazzucchelli / colours by:  Richmond Lewis

What’s it about?

As Gotham City faces endless crime and corruption, billionaire Bruce Wayne decides to adopt the vigilante persona of ‘the Batman’ and soon learns he may have an ally in Gotham Police Lieutenant James Gordon…

In review:  why it’s a classic

Subsequent to the culture shattering success of The Dark Knight Returns, “Year One” is Frank Miller’s other – no less significant – seminal Batman work.  Originally published as a four-part story arc in Batman (volume 1) issues #404-407 and collected numerously over the past thirty years, Batman: Year One, as the title suggests, chronicles the Dark Knight’s first year of crime-fighting in Gotham City.  Written by Miller, with art by David Mazzucchelli (who also collaborated with Miller on the iconic Daredevil story “Born Again”) and colours by Richmond Lewis, Year One is a perfect companion piece to The Dark Knight Returns.  Although Year One is a more grounded and less politically charged affair than that former work (which takes place out of the regular continuity in an alternate 1980s), there is a clear sense that they share the same DNA.

A Batman tale infused with influences of detective noir and classic crime fiction, Year One (which itself would go on to influence director Christopher Nolan’s Batman Begins) sees the return of Bruce Wayne to his home after several years away, discovering that things have only gotten worse as criminal gangs – spearheaded by mob boss Carmine Falcone aka “The Roman” – and dishonest officials feed the societal decay afflicting the people of Gotham City.  Whilst Year One depicts the beginnings of Bruce Wayne’s rise as the Batman, it’s equally a story about future police commissioner James Gordon, newly transferred to the Gotham City Police Department who, faced with a corrupt police system and bent colleagues on the take, fights to preserve the values of the good and freely practice the true and trusted responsibilities of law enforcement.  Miller deftly builds and intertwines this dual narrative as destiny draws both Wayne and Gordon together – kindred souls on different sides of legality ultimately battling for the same cause.

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More of David Mazzucchelli’s incredible art (image credit: DC Comics).

What is especially appealing about Year One is that Miller is not afraid to explore the frailties of the central heroes, which only makes the characters richer and more relatable.  Bruce continues to be haunted by the murder of his parents, his anger fuelling his war on crime and the actions he undertakes as he becomes a feared creature of the night.  He’s far less brutal than the elder and more grizzled man he is in The Dark Knight Returns (and in fact commits several heroic acts in the story, including saving the life of Gordon’s son) but the seeds are planted here.  Gordon himself is inherently a decent man working hard to protect all that he loves and values but despite being a devoted husband and father succumbs to an affair with his GCPD partner, Sarah.  Selina Kyle is less clear cut, a prostitute and thief who decides enough is enough and that those less fortunate need not fear the criminal gang hierarchy as she begins to adopt a certain feline-fatale vigilante persona of her own.

Year One is beautifully realised by David Mazzucchelli (whose Bruce Wayne bares a nifty resemblance to Hollywood legend Gregory Peck) with a clean, classic pulp style that’s moodily enhanced by the nuances of Richmond Lewis’s colour palette, giving the visuals an appropriate film-noir appearance.  It’d also be remiss not to mention the lettering by Tod Klein, which is especially effective in the monologues, adding to the poetic quality of Miller’s writing all making for one of the all-time greatest Batman stories.

Standout moment

Injured and forced into the basement of a dilapidated building, Batman faces capture as a SWAT team closes in on him…but they didn’t reckon on his ingenuity as he calls for ‘backup’.

Geek fact!

Ben Mackenzie, who portrayed James Gordon in Batman prequel series Gotham provided the voice of Bruce Wayne/Batman in the 2011 animated adaptation of Year One.

If you like this then check out…

Batman: The Dark Knight Returns : considered by many as Frank Miller’s magnum opus that’s not just a phenomenal, operatic Batman story but also a landmark in comics and pop culture.

Batman: The Killing Joke : Alan Moore and Brian Bolland’s iconic Joker story is a stark, shocking and dramatic affair and presents a possible origin for the homicidal and psychotic Clown Prince of Crime.

All images herein remain the property of the copyright owners and are used for illustrative purposes only.

Comics Review: ‘Action Comics’ #1012

There’s mystery and intrigue as Brian Michael Bendis continues his Superman work…

Action Comics #1012

Cover art by Jamal Campbell (image credit: DC Comics).

Written by:  Brian Michael Bendis / art by:  Szymon Kudranski / colours by:  Brad Anderson

What’s it about?

As Superman faces the threat of Leviathan’s attacks, Daily Planet reporter Robinson Goode investigates the rise in criminal activity in Metropolis…

In review

Following the recent launch of the Event Leviathan mini-series, Brian Michael Bendis continues his Superman run with the latest issue of Action Comics.  Building on the previous arc, “Leviathan Rising” and the ‘Invisible Mafia’ storyline, Action Comics #1012 is a slow but interesting read – it’s lack of action (ironically there’s much more of that in the main Superman book, also written by Bendis) made up for with some intriguing character work.  Despite the comic’s cover, there’s actually not a lot of Superman – or Clark – in this issue, which makes sense given he’s busy with what’s going on in Superman and Event Leviathan.  Bendis does however provide some enjoyable moments between Clark and Lois in the Fortress of Solitude, where there’s some sweet and playful dialogue as the couple discuss their first meeting before Clark speeds off to deal with a crisis or two.

The bulk of Action Comics #1012 focuses on the Daily Planet’s newest reporter, Robinson Goode a.k.a. Superman’s new adversary known as the Red Cloud – who seems to be having trouble controlling her ‘red mist’ powers (as her ambiguous secret meetings with the Invisible Mafia’s ‘Queenpin’ continue).  Bendis gives Goode an appropriately snarky quality and her often dismissive attitude towards her colleagues, specifically Trish, adds to that although there’s a little bit of fun as the pair ponder over a photograph of Lois Lane locked in an embrace with Superman…a moment that could have consequences?  Shifting the narrative forward, Goode meets with Rose Forest who reveals that she has been fighting the underground criminals of Metropolis as the meta-vigilante ‘Thorn’ and believes that there’s a conspiracy within the city’s police that’s linked to the increasing Metropolis crime-wave.  This is where the story begins to get interesting and more so as it builds ties to Event Leviathan – that series can be enjoyed separately, but Action Comics also functions as a companion piece whilst still fleshing out its own ongoing story arcs.

Part of what works well with Action Comics is that Brian Bendis brings a more grounded, street-level quality to the book (saving the epic scale and spectacle for Superman) with a tighter focus on characters such as Robinson Goode, the Daily Planet and an investigative angle that’s all in evidence here and whilst there is less of Superman, his presence is still felt throughout the story.

Szymon Kudranski’s art is rather excellent – there are a couple of odd facial expressions but it’s generally strong and full of detail, with an extra grittiness employed in the brutal sequences depicting Thorn’s violent encounters with Metropolis gangsters.   Colours by Brad Anderson are especially effective in the contrast between the darker, more sinister moments and the brighter, clearer scenes elsewhere.

The bottom line:  A slow yet intriguing issue of Action Comics with which writer Brian Michael Bendis continues to build a solid run for the Man of Steel whilst neatly tying into Event Leviathan.

Action Comics #1012 is published by DC and is available in print and digital formats now.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Comics Review: ‘Event Leviathan’ #1

Brian Michael Bendis and Alex Maleev re-unite for DC’s new mystery thriller…

Event Leviathan #1

Alex Maleev’s evocative and moody cover for DC’s ‘Event Leviathan’ #1 (credit: DC Entertainment).

Written by:  Brian Michael Bendis / art by:  Alex Maleev

What’s it about?

Drawn together as they investigate the destruction of key intelligence agencies, Batman, Lois Lane, Green Arrow and The Question find that they must uncover the identity of the mysterious perpetrator known as Leviathan before more attacks can occur…

In review

Writer Brian Michael Bendis expands his DC Comics work with Event Leviathan a six-issue mini-series that unites some of the DC Universe’s greatest detectives – Batman, Lois Lane, Green Arrow and The Question to investigate the decimation of the intelligence community by Leviathan, an enemy whose true identity remains unknown.  Teaming up with his most celebrated collaborator, artist Alex Maleev (the duo having previously worked on titles such as Daredevil, International Iron Man, Infamous Iron Man and the creator-owned Jinxworld series, Scarlet), Brian Bendis provides a promising and intriguing start to this gritty mystery thriller.

Less of an actual sprawling ‘event’ in the traditional sense, which usually involves collecting a plethora of titles and numerous tie-ins, Event Leviathan spills out of the recent “Leviathan Rising” arc in the Bendis penned (with art by Steve Epting) Action Comics yet is a contained story in its own right, although a reading of that aforementioned arc (and forthcoming issues of Action) will enrich the experience of this first issue.  This isn’t an action and plot heavy premiere and Bendis incorporates a decent amount of exposition to recap the events in Action Comics and the groundwork laid there, making the book accessible to new readers.  This might make things a little slow and ponderous to those who do follow that Superman – who is actually absent here – title but it sets the mood and we are drawn in by the dialogue as Bendis reiterates the stakes, principally the destruction of the facilities of intelligence agencies ARGUS, the DEO and Spyral, the dynamics between the central characters (always a strength with Brian Michael Bendis) and the mystery they must work together to quickly unravel – the identity of the masked Leviathan.

Bendis has already been crafting a solid run on both Superman and Action Comics and has certainly nailed the core components of Lois Lane’s personality and that continues seamlessly in Event Leviathan, pinning down her drive and determination to the truth – and not unlike her Kryptonian husband, justice.  He also has a unique handling of Batman who is slightly more engaging and forthcoming with others as well as being prone to a dash of dry sarcasm, in comparison to the more bleak and troubled soul of Tom King’s Batman.  That’s no criticism of King’s work but that specific approach wouldn’t quite fit in with Event Leviathan where the Dark Knight needs to be committed to a common cause.  It’s not necessarily inconsistent, just appropriate for this story and Bendis ensures that there’s a focus on the skill and deduction we expect and enjoy in any representation of Batman.  Aside from Lois and Batman, Bendis delivers strong takes on Green Arrow and The Question giving both significant roles to play and the tension is heightened by an injured and defensive Steve Trevor, desperate to prevent his survival of Leviathan’s acts being seen as a source of suspicion.

Alex Maleev’s art (who also provides his own inks and colours) is, as usual, sublime with the dirty and gritty visuals giving Event Leviathan the sort of grounded, detective noir feel it needs and whilst there’s that certain street-level sense that came with his work on Daredevil, he’s also just as capable when it comes to creating epic scenes – the crumbling interior of the new ARGUS base and the establishing exterior shot of its prior state are stark and beautiful, respectively.

The bottom line:  Event Leviathan launches with a slow burning but interesting and atmospheric start, made all the more appealing thanks to a tried and trusted creative team.

Event Leviathan #1 is published by DC and is available in print and digital formats now.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Film Review: ‘Shazam!’

The Worlds of DC greets its newest hero…

Spoiler-free review

Shazam

Zachary Levi enters the Worlds of DC in ‘Shazam!’ from Warner Bros. Pictures and New Line Cinema (c. Warner Bros. Pictures/New Line Cinema).

Starring: Zachary Levi, Mark Strong, Asher Angel, Jack Dylan Grazer, Djimon Hounsou, Grace Fulton, Ian Chen, Jovan Armand, Faithe Herman, Cooper Andrews, Marta Milans

Directed by: David F. Sandberg / written by: Henry Gayden (story by Henry Gayden & Darren Lemke, Shazam created by Bill Parker & C.C. Beck) / 132 minutes

What’s it about?

Foster child Billy Batson, granted god-like powers by a mysterious wizard finds he must grow-up sooner than expected when he finds himself faced against the threat of an ancient evil…

In review

Warner Bros. Pictures and New Line Cinema’s Shazam! Is the latest offering from the ‘Worlds of DC’ cinematic universe, a sweet, fun and funny superhero romp that wears its childlike innocence and sense of adventure with pride. It doesn’t reinvent the wheel or stand amongst the very best of the genre but Shazam! is non-the-less a good time and a crowd-pleaser with a spirit that harkens back to the Christopher Reeve Superman films.

Based on one of DC’s lesser known – but oldest – characters (who at one point was selling more comics than Superman and originally known as Captain Marvel until legal issues got in the way), Shazam! sees troubled fourteen year old foster child Billy Batson (Asher Angel), struggling to adjust to life with his new adoptive family, encounter a mysterious wizard (Djimon Hounsou) who believes Billy to be pure of heart and selects his as a successor to his incredible powers – by merely saying the word “Shazam” (which on the face of it seems silly but is actually an acronym of Greek gods Solomon, Hercules, Atlas, Zeus, Achilles and Mercury), Billy’s body transforms into that of a muscle-bound adult (Zachary Levi) endowed with an almost limitless range of powers and becomes the only hope of preventing evil demons, known as the Seven Deadly Sins, from being unleashed upon the world by the crazed Dr, Sivana (Mark Strong – formerly Sinestro in Warner’s ill-fated Green Lantern) who plans to seize the power of Shazam for himself.

Shazam! doesn’t hide from the fact that it’s essentially a superhero version of Tom Hanks classic Big (with a hint of Spielbergian magic) and much like Spider-Man: Homecoming did with the coming-of-age films of John Hughes, it simply goes along with it. Although the opening act may be a little sluggish it serves to give viewers a proper introduction to the characters and draw you into Billy Batson’s story – a significant part of which is his friendship with his foster brother and superhero fanboy Freddy, superbly played by It’s Jack Dylan Grazer and it’s the chemistry between the cast and their respective characters (which also includes an undeniably cute turn from the talented Faithe Herman as young ‘sister’ Darla) that really makes things click. Angel and Grazer are obvious standouts but it’s when Zachary Levi enters the frame that Shazam! hits its stride. The former Chuck star is absolutely the perfect choice to play the empowered version of Billy and he exudes the right combination of youthful excitement, awkwardness and physicality the role demands, handling all the action, heart and humour (an integral and well executed element of the film) with equal skill and with a believability and vulnerability that sells the idea of a boy in a man’s body. As Sivana (whose father is played by John Glover – Smallville’s Lionel Luthor), Mark Strong provides a decent amount of menace and danger – pitched with an appropriate touch of corniness. Sivana is by no means one of the all-time “great” villains but Strong does well with the character, for which we do get a bit of a backstory that helps define his motivations.

Shazam! is not as action orientated as other comic book blockbusters but it still has a fair measure, mostly reserved for its hero-forging middle section where Billy/Shazam must quickly master his abilities in a deadly face-off with Sivana and the climactic finale as he grapples with the creepy CGI-horde of the Seven Deadly Sins and director David F. Sandberg (Annabelle: Creation) has a firm grip on it all. These moments are certainly exciting but in the end it’s the family-focused, character driven aspects of Shazam! that make it all-the-more appealing and whilst it may make some fans hungry for a return of Superman, Batman and Wonder Woman it expands the DC film universe as it continues to find itself on firmer footing.

The bottom line: a solidly entertaining comic book flick with a great leading cast, Shazam! successfully balances emotion, laughs and superhero punch-ups to engage the masses.

Shazam! is in cinemas now.

Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Comics Review: ‘Detective Comics’ #1000

DC celebrates 80 years of their most treasured icon…

Detective Comics 1000.png

Main cover art by Jim Lee for the milestone ‘Detective Comics’ #1000 (c. DC Entertainment).

Written by:  Scott Snyder, Brian Michael Bendis, Tom King, Denny O’Neil, Kevin Smith and more / art by:  Greg Capullo, Alex Maleev, Tony S. Daniel, Steve Epting, Jim Lee and more / colours by:  various

What’s it about?

An anthology of short stories to mark the 80th anniversary of Batman as Detective Comics reaches one thousand issues…

In review

Following Superman’s landmark 80th birthday last year, DC presents the 1,000th issue of Detective Comics (more accurately going by the full title of Batman: Detective Comics in contemporary times) in celebration of 80 years of Batman, the comic book publisher’s most treasured (and lucrative) character and one of the world’s most popular and beloved fictional icons.  This behemoth 96-page issue enlists some of the greatest comics talent to produce a truly special and memorable collection of short stories.

There are numerous tales in Detective Comics #1000 and it would be exhaustive to provide a detailed overview of each one but needless to say there are many highlights.  Perhaps fittingly, the book opens with the fan favourite creative team of Scott Snyder and Greg Capullo (whose character work is, pleasingly, a little less rough and cartoonish than in his previous collaborations with Snyder) and intriguingly as they deal with Batman’s longest and most mysterious investigation.  Current Batman writer Tom King with artists Tony S. Daniel and Joelle Jones present “Batman’s Greatest Case” an expectedly strong contribution that involves the whole Bat-Family and some fun interplay between the various players, particularly Dick Grayson and Damien.  Geoff Johns and Kelley Jones team-up in a creepy story dealing with a copycat criminal.  Jones’ art is the only real ‘blip’ here as there’s a diminished, muddied quality to his visuals in comparison to his work in the nineties.

Superman and Action Comics writer Brian Michael Bendis reunites with Alex Maleev for “I Know“, a stark and gritty tale where an elderly and bitter Oswald Cobblepot laments that he always knew what Batman’s other foes never knew – the true identity of the man beneath the cowl.  It’s a reminder of Bendis and Maleev’s monumental Daredevil run that will only make readers yearn for a full Batman mini-series from the (dynamic?) duo.

A real treat is the return of the legendary Denny O’Neil (whose most celebrated collaborator, Neal Adams appears elsewhere with a story written by Christopher Priest) who together with the sublime Steve Epting presents an appropriately sombre and moody sequel to the popular “There is No Hope in Crime Alley!“.  O’Neil’s tenure as a Batman writer in the 1970s helped to bring the character back to his darker crime fiction roots after the camp and zany 1960s and revisiting one of his most beloved stories is a perfect addition to this anthology.

The pick of the bunch though has to be “Manufacture For Sale“ by Kevin Smith (geek icon and writer of Batman: Cacophony and Batman: The Widening Gyre) and Jim Lee (DC art god who also pencils the main wrap-around cover for this issue), a heartfelt and poignant story which sees Bruce Wayne’s search for a specific item that ties to his past and turn it from something used for an evil deed and utilise it as an object of hope.  It’s beautifully crafted and bound to be cited in the years to come as a classic moment in Batman history.

Whilst much of the content of Detective Comics #1000 is self-contained it does close out with the title’s regular writer Peter Tomasi and rotating artist Doug Mahnke as they set-up the upcoming Arkham Knight arc that kicks off fully in issue #1001 which brings the popular video game character into DC Universe continuity and leaves the reader ready and waiting for many more issues of Detective Comics.

The bottom line:  Essential for even the most casual of comic book readers and Batman fans, Detective Comics #1000 is a perfect celebration of 80 years of the Dark Knight Detective, boasting some of the very best comics talent.

Detective Comics #1000 is published by DC and is available in print and digital formats now.  A Deluxe Edition hardcover containing extra material is slated for release in June.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).