It’s a Classic: ‘Batman: Mask of the Phantasm’

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

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“Vengeance blackens the soul, Bruce”

Batman faces a new threat to Gotham City in ‘Batman: Mask of the Phantasm’ (image credit: Warner Bros.)

Year:  1993

Starring the voices of:  Kevin Conroy, Dana Delany, Hart Bochner, Stacy Keach, Abe Vigoda, Mark Hamill

Directed by:  Eric Radomski and Bruce W. Timm / written by:  Alan Burnett, Paul Dini, Martin Pasko & Michael Reaves (story by Alan Burnett)

What’s it about?

Wrongly accused of the murders of several Gotham mobsters, Batman investigates the appearance of a reaper-like figure…

In review:  why it’s a classic

Spinning off from the immensely popular Batman: The Animated Series, Batman: Mask of the Phantasm is an exciting, fun and emotionally resonant adventure for the Dark Knight that provides a fresh and compelling insight into the origins of Bruce Wayne’s crime-fighting alter ego, the heartbreak of a lost chance for happiness and the enduring tragedy of the murder of his parents.

Enlisting the voice artists of Batman: The Animated Series with a script (the plot inspired by Mike W. Barr’s Batman: Year Two comics storyline) written by regular writers of the series and directed by creators Eric Radomski and Bruce Timm, Batman: Mask of the Phantasm (originally intended as a straight to video release but ultimately receiving a theatrical release during Christmas of 1993) sees Bruce Wayne reconnect with the love of his past, Andrea Beaumont, who returns to Gotham City after disappearing some years prior.  It evokes bittersweet memories for Bruce who is still trying to understand why Andrea left so abruptly just as the pair planned to marry.

The mysterious Phantasm (image credit: Warner Bros.)

Flashbacks facilitate a glimpse into Bruce’s earlier days in his career as a vigilante but also shows a brief point in that period when he considers a happier and more hopeful path that would see him unburdened by his vow to avenge his parents’ murders and keep Gotham safe.  Meanwhile, in the present, Bruce continues his war against crime and as the Batman, investigates the deaths of some of Gotham’s top mob bosses for which the Dark Knight is wrongly accused and must uncover the identity of the real perpetrator – a mysterious cloaked reaper-like figure who stalks the city at night.  In order to tackle this new threat, Bruce must face unexpected revelations from the past and how it relates to Andrea and her father, a financier entangled in the affairs of crime lord Salvatore Valestra.

Kevin Conroy is the definitive voice artist for the lead role of Bruce Wayne/Batman, bringing a vulnerability and humanity to the former and skilfully infusing the latter with the right amount of intensity and confidence.  Dana Delany is sublimely cast as Andrea with an appropriately strong and heartfelt performance that enhances the love story element of the film.  Filling out the cast is Efrem Zimbalist Jr. who brings his warm, dutiful tones to the role of Alfred (the familial bond between Bruce and his faithful butler is an obvious highlight), Bob Hastings as Jim Gordon, Gotham’s tireless Police Commissioner, Hart Bochner as corrupt City Councilman Arthur Reeves, Stacy Keach as Andrea’s father, Carl, Abe Vigoda as Valestra and Robert Constanza as Detective Harvey Bullock.

The incomparable Mark Hamill returns to voice the Joker (image credit: Warner Bros.)

Naturally, any Batman story is made all the greater when it features the Joker and thankfully Mark Hamill reprises the role for Mask of the Phantasm.  Like Kevin Conroy, Hamill is perfect casting and he engages with the part passionately, bringing, assuredly, all the expected maniacal, deranged and playful qualities that define the Dark Knight’s greatest adversary.  The script ensures that the Clown Prince of Crime’s inclusion has important ties to the narrative so as not to simply throw the ever-popular comic villain into the mix merely for the sake of it – leading to a climactic showdown between Batman, the Joker and the Phantasm at the derelict remains of Gotham’s The World of the Future Fair.

Unfortunately, there’s no place for Dick Grayson/Robin in the story but this is very much a Bruce/Batman-focused narrative so whilst the inclusion of Loren Lester may have been welcome, it makes sense not to just shoehorn Robin into the plot – and there’s always the excellent “Robin’s Reckoning” two-parter from TAS.

The animation and design of Mask of the Phantasm is iconic, evoking the dark, retro-modern and gothic style of the series that displays influences of Tim Burton’s Batman.  The character designs are classic and strike the perfect balance between realism and caricature and the visuals flow beautifully with some great action scenes that are deftly executed under the guidance of co-directors Radomski and Timm.  Completing the package is Shirley Walker’s wonderfully atmospheric score which builds on the exemplary work she produced for Batman: TAS.

Batman: Mask of the Phantasm is essential viewing for older and newer fans alike and stands proudly alongside Tim Burton’s Batman and Christopher Nolan’s Dark Knight trilogy as a classic screen iteration of a beloved comic book character.

Standout moment

In the darkened caves deep below Wayne Manor, Alfred stands aghast as Bruce emerges from the shadows, donning for the first time the cape and cowl of the Batman…

Geek fact!

Impressing the producers with her work on Mask of the Phantasm, Dana Delany would be cast as the voice of Lois Lane for Superman: The Animated Series.

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Batman (1989) : perhaps the defining big screen presentation of the Dark Knight (at least for a particular generation) Tim Burton’s gothic fantasy approach to the source material provided a clear reference point for the makers of Batman: The Animated Series.

Film Review: ‘Star Wars: The Rise of Skywalker’

A celebrated science fiction-fantasy saga comes to its conclusion… 

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The end of a saga nears in ‘Star Wars: The Rise of Skywalker’ (image credit: Lucasfilm/Walt Disney Pictures).

Spoiler-free review

Starring:  Carrie Fisher, Mark Hamill, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Anthony Daniels, Domhnall Gleeson, Richard E. Grant, Ian McDiarmid, Billy Dee Williams

Directed by:  J.J. Abrams / written by:  Chris Terrio & J.J. Abrams (story by Derek Connolly, Colin Trevorrow, Chris Terrio & J.J. Abrams) / 142 minutes

What’s it about?

As the final battle between the forces of good and evil approaches, Rey prepares to complete her training as a Jedi and Kylo Ren investigates the apparent return of Emperor Palpatine…

In review

Forty-two years after it began, the original Star Wars story reaches its conclusion with Star Wars: The Rise of Skywalker the final chapter (‘Episode IX’) of what is now known as ‘the Skywalker Saga’.  It’s an entertaining and nostalgic ride that’s undeniably flawed, falling victim to a lack of a cohesive vision and direction for this sequel trilogy which began with 2015’s smash hit The Force Awakens and tries very hard to please fans jaded by the risky creative choices made by writer/director Rian Johnson in the divisive previous entry, 2017’s The Last Jedi.

The story of The Rise of Skywalker picks up in the wake of the events of The Last Jedi and sees General Leia Organa’s diminished Resistance struggling to survive as they continue the fight against the relentless tyranny of the First Order, under the rageful leadership of Supreme Leader Kylo Ren.  As mysterious transmissions from the supposedly deceased Emperor Palpatine are heard throughout the galaxy, the paths of Ren and Jedi-in-training Rey are once again drawn together as the powerful Dark Side of the Force beckons and the final battle between good and evil looms.

Returning director and co-writer J.J. Abrams (replacing Jurassic World’s Colin Trevorrow, who departed the project following creative differences) repeats much of what he brought to The Force Awakens, producing an action packed, visually striking and emotional Star Wars adventure that’s saturated with fan service, inducing the film with heaps of nostalgia that’s enjoyable and pleasing to a certain extent, but this reliance on sentimentality can also prove burdensome to the already convoluted and messy plot.  Abrams certainly builds a series of energetic and exciting set-pieces with land speeder chases, lightsaber duels and explosive space battles all confidently and rightfully in place although the CGI effects-heavy finale makes for a slightly muddled third act (which much like The Force Awakens has a tendency to repeat plot points of previous films, specifically Return of the Jedi).

John Boyega, Daisy Ridley and Oscar Isaac in ‘Star Wars: The Rise of Skywalker’ (image credit: Lucasfilm/Walt Disney Pictures).

The cast of The Rise of Skywalker are all solid with standout performances from Daisey Ridley and Adam Driver as Rey and Kylo Ren, respectively, with the pair confidently driving the core narrative.  Oscar Isaac once again enjoys an increased presence as the fearless Poe Dameron, bolstered by the fun camaraderie he shares with John Boyega’s Finn.  Beloved classic characters Chewbacca, C-3PO and R2-D2 are also back (and in a smaller capacity, Mark Hamill’s Luke Skywalker) and the charismatic Billy Dee Williams makes a welcome return to the Star Wars universe as the ever-buoyant General Lando Calrissian.  As for the return of Emperor Palpatine (last seen plummeting to his presumed demise in Return of the Jedi), Ian McDiarmid is at his scenery-chewing best and provides a devilish and sinister threat, yet the character’s role largely feels like a retread of the past.

Of course, there needs to special mention of the late Carrie Fisher (who, honourably and fittingly, receives top billing) who via the use of unused footage is incorporated into The Rise of Skywalker.  Given the limitations of those cut scenes (particularly in terms of dialogue), Fisher’s appearances can come across as a little distracting at times yet Abrams and his team do well with what little was available to them and ensure that the sequences featuring Leia are both respectful and have an importance to them.

If there is one grand fault of the sequel trilogy it’s that it didn’t take enough time to bring the trio of Rey, Poe and Finn together more and sooner rather than later and although strides are made to correct that in The Rise of Skywalker it feels like it’s too little too late and the sense of unity and friendship between the three can’t hope to match the inseparable familial bond shared by original heroes Luke, Han and Leia.

Undoubtedly a reaction to the reception of The Last Jedi and an attempt to re-invoke much of the praise which greeted The Force Awakens, The Rise of Skywalker ultimately plays it safe and results in an entertaining if not wholly satisfying finale to a long running cinematic serial.  It’s still a superior effort in comparison to the maligned prequels but likely the weakest instalment of the modern Star Wars sequels.

The bottom line:  Visually stunning and boasting some great action sequences albeit encumbered by a problematic narrative and uninspired story choices, Star Wars: The Rise of Skywalker is a flawed but entertaining finale to the franchise’s original saga.

Star Wars: The Rise of Skywalker is in cinemas now.

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

Film Review: ‘Star Wars: The Last Jedi’

Disney whisks viewers off on another journey to a galaxy far, far away…

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Spoiler-free review

 

The ‘Star Wars’ saga continues with Rian Johnson’s visually astonishing ‘The Last Jedi’.

Starring:  Mark Hamill, Carrie Fisher, Daisy Ridley, Adam Driver, John Boyega, Oscar Isaac, Andy Serkis

Directed and written by:  Rian Johnson / 152 minutes

What’s it about?

As the Resistance fights for survival against the First Order, Rey seeks to learn the ways of the Force and draw Luke Skywalker out of exile in the hope of restoring peace to the galaxy…

In review

Following the colossal success of The Force Awakens and Rogue One, Disney unleash their latest cinematic Star Wars adventure with the ominously titled The Last Jedi, episode VIII of the main saga which focuses on the story and legacy of the Force-strong Skywalker family.  Helmed by Looper director Rian Johnson, the title of this latest chapter may imply that all is hopeless with nothing but darkness beyond, yet despite some desperate stakes and high drama there’s still an overriding sense of optimism and a good dose of fun and humour (albeit some of the latter at times feeling out of place) along with the requisite spectacle that’s an essential element of any Star Wars outing.

It’s not a perfect film though and The Last Jedi doesn’t always fulfil its ambitions, there are certainly some wisely employed creative risks and surprising twists but the plot becomes burdened by one sub plot too many and a pace that drags momentum from time to time.  There’s also some commercialism at play, where it seems clear that Disney have one eye on potential merchandising revenue.  That being said, The Last Jedi is at least as good as The Force Awakens, even outshining it some instances though ultimately, it doesn’t achieve the same lauded status of ‘masterpiece’ awarded to classic instalments A New Hope and The Empire Strikes Back.  Still, The Last Jedi, on the whole, is undeniably a good Star Wars film.

Picking up where The Force Awakens left off, General Leia’s Resistance faces annihilation by the First Order as Leia and her forces are relentlessly pursued by General Hux (a slightly cheesy but enjoyable Domhnall Gleeson) who seeks to eagerly prove himself to the sinister Supreme Leader Snoke (Andy Serkis).  Leia’s only hope is that Rey can convince Luke Skywalker to cease his self-imposed exile and help end the First Order’s tyranny once and for all.

There is a jumble of sub plots along the way as the story shifts between Rey’s time with Luke and her exploration of the Force, the plight of the dwindling Resistance fleet, Kylo Renn’s continued slide into darkness and Finn’s (now recovered from the injuries he sustained in The Force Awakens) secret mission to a Casino planet.  It all hangs together in the end but it does result in some uneven pacing.  Thankfully, viewers are rewarded with an exciting, emotionally charged and epic final act that can be considered amongst the greatest Star Wars moments ever.

Where The Last Jedi can sometimes stumble in keeping its narrative concise and properly focused, it excels in its characterisation, actor performances and visual appeal.  Firstly, Mark Hamill is superb in a surprisingly more tortured, less hopeful take on Luke Skywalker, here a grizzled, brooding recluse who sees himself as much more of a failure than the legend he is purported to be.  Hamill is given some of the best material to work with and it leads to one of the finest performances of his career.  Likewise, the late Carrie Fisher is captivating in her final screen role with a turn that’s poignant and enlightening and together with Hamill provide The Last Jedi with a strong, satisfying and nostalgic emotional core.  The newer generation of characters are once again a delight, Daisy Ridley and Adam Driver are the clear standouts but there’s, pleasingly, an increased function for Oscar Isaac’s fearless Poe Dameron who, beyond more daring feats in the cockpit of an X-Wing, gets to butt heads with Laura Dern’s Vice Admiral Holdo.  John Boyega, again, brings a neat balance of fun and seriousness to Finn and although his adventure to Canto Bight is one of the weaker and more unnecessary plot elements it facilitates the introduction of Kellie Mary Tran’s Rose and Benecio Del Toro’s shady convict ‘DJ’.  Andy Serkis turns in another fine motion capture performance as Snoke and is a decent enough villain but it doesn’t feel as though the character quite lives up to the bleak threat that seemed promised in his brief appearance from The Force Awakens.

Director Rian Johnson (who also writes) is a masterful storyteller, delivering some astonishing visuals.  The expected space battles, ground assaults and lightsabre duels are all there and executed with attention and skill but it’s in the quieter, more emotional character focused moments, tied together with some rather trippy Force-infused sequences, that give The Last Jedi its own unique voice and originality – there are things in this film that have never been seen in a Star Wars film before and The Last Jedi is all the better for it.

Anticipation for The Last Jedi has been feverishly high and it’s unlikely to please everyone but as it stands, it’s a strong entry in the Star Wars franchise that’s not without flaws but is a highly enjoyable if not instantly classic SF Fantasy adventure.

The bottom line:  The Last Jedi has its flaws but is without a doubt a good Star Wars film and a highly enjoyable blockbuster that is a worthy addition to the series.

Star Wars: The Last Jedi is in cinemas now.

Film Review: ‘Batman: The Killing Joke’

Starring (voices):  Kevin Conroy, Mark Hamill, Tara Strong, Ray Wise

Directed by:  Sam Liu / Written by:  Brian Azzarrello / 76 minutes

What’s it about?

Hunting for an escaped Joker, Batman finds himself in a race against time to rescue Commissioner Gordon form the clutches of the deranged Clown Prince of Crime…

In review

Having already adapted Frank Miller’s seminal Batman: Year One and Batman: The Dark Knight Returns, it was always inevitable that Warner Brothers Animation would turn to tackling that other celebrated DC Comics work of the 1980s, writer Alan Moore and artist Brian Bolland’s The Killing Joke.  A dark and psychologically complex tale that’s equally unnerving, The Killing Joke adapted as an adult-rated animated feature would surely be a ready-made success?  Though enjoyable in many areas, Batman: The Killing Joke also proves flawed and never manages to hit the heights of the two-part adaptation of The Dark Knight Returns (which in all fairness is an entirely different story and set on a much larger scale).  The main issue lies with the source material, though Moore and Bolland’s graphic novel is an undisputed and flawless classic, it’s relatively short length would have resulted in too brief a running time had it been adapted ‘as is’.  As a result screenwriter (and fan favourite DC Comics scribe) Brian Azzarello has produced a wholly original 30-minute opening act focusing on Barbara Gordon/Batgirl that ultimately offers less to the overall story than it would hope to add.

There is a positive point to the opening act of The Killing Joke in that it provides Barbara Gordon with a larger role and resultantly a richer character arc in the story as Azzarello draws a complex and controversial relationship between Batman and Batgirl, set against her obsessive quest to bring down gangster Paris Franz (Maury Sterling).  It certainly helps the viewer to establish a deeper connection with Barbara adding some emotional weight to events later on yet it’s the almost jarring transition from this new material to the familiar where things falter, as nothing from the Franz sub-plot and very little from the Batman/Batgirl dynamic carries over into the rest of the film.  It’s appreciated that this would cause further deviation from Moore and Bolland’s original story and thus might have resulted in a messier final product but it’s a shame that even a small attempt to tie the two elements together couldn’t have been made.

The opening Batgirl story aside, the actual adaptation of The Killing Joke works relatively well.  It’s pleasingly faithful, the adult rating ensuring that director Sam Liu is able to depict every gut twisting moment uncensored, with some beautiful animation work utilising a style that sits somewhere between the realistic look of the Batman: Year One (also helmed by Liu) adaptation and the slightly more caricature visuals of The Dark Knight Returns.  Wisely, some of Brian Bolland’s most memorable and evocative panels are replicated perfectly at several key moments in the film which will give many a reason to pull out their copies of the graphic novel.

Of course, one of the greatest joys of The Killing Joke is that it features the return of Kevin Conroy and Mark Hamill in their respective and much loved Batman: The Animated Series roles as Bruce Wayne/Batman and the Joker.  They’re as great as they’ve ever been, Hamill in particular as he deftly straddles a fine line between serious and outright manic, his evermore gravelly tones delivering a reliably unsettling yet still silly Joker (aided by an odd but nifty musical number).  Tara Strong also reprises her Batgirl role from The New Batman Adventures and makes a decent job of conveying the more layered approach to the character featured here, whereas Robocop’s Ray Wise is a little flat as Commissioner Gordon which is slightly disappointing given what happens to him in the story.

Sweetening the deal are a number of nice little easter eggs for fans to lap up including visual references to Jokers from Tim Burton’s Batman and Christopher Nolan’s The Dark Knight (both of which were heavily influenced by The Killing Joke) and a twist on that iconic cover image from Detective Comics #27.

Despite some positive points, there’s an overriding sense that the animated adaptation of The Killing Joke comes off feeling a little slight and at times lacking the impact of the graphic novel (especially in the often dissected and endlessly debated finale) and the additional material would have arguably been better served expanded into its own feature.  Still, with Conroy and Hamill on hand and some striking visuals and a respectful adherence to the work by Alan Moore and Brian Bolland there’s still enough reason for fans to check out this latest DC Comics venture from Warner Brothers Animation.

The bottom line:  Though flawed, the animated adaptation of The Killing Joke still makes for an enjoyable watch that will ultimately lead fans yearning to revisit Alan Moore and Brian Bolland’s original graphic novel.

Batman: The Killing Joke is available on Blu-ray, DVD and digital download now.

Batman (Kevin Conroy) and the Joker (Mark Hamill) face off in the Warner Brothers Animation adaptation of seminal DC Comics graphic novel ‘Batman: The Killing Joke’.

Film Review: ‘Star Wars: The Force Awakens’ (spoiler free)

The Force is strong once more…

Starring:  Harrison Ford, Mark Hamill, Carrie Fisher, Daisy Ridley, John Boyega, Adam Driver, Oscar Isaac

Directed by:  J.J. Abrams / Written by:  Lawrence Kasdan, J.J. Abrams and Michael Arndt / 135 minutes

What’s it about?

As the evil First Order rises, young defector ‘Finn’ crosses paths with Rey, a scavenger who comes into possession of a star map that will lead them to the mythical last Jedi, Luke Skywalker…

In review

Unarguably the most anticipated cinema release of this year, perhaps even this decade, The Force Awakens – Episode VII of the Star Wars saga – is unleashed upon global audiences on a wave of positive buzz and record breaking opening box office numbers.

The Force Awakens is an important film not only to entertainment goliath Disney, following their $4.5 billion purchase of Lucasfilm, but also legions of Star Wars fans eager to see the beloved science fiction film franchise return to its former glories.  Turning to director J.J. Abrams seemed a wise move, not only a great filmmaker whose reputation was solidified when he refreshed Star Trek for a new generation with epic big screen reboots Star Trek (2009) and Star Trek Into Darkness (2013), but more significantly a life-long fan of Star Wars himself.

With The Force Awakens, Abrams and his production team have delivered a pleasing new entry in the Star Wars saga that restores much of the magic diluted by George Lucas’ overly polished, CGI littered ‘Prequel Trilogy’.  Whilst it’s all a touch familiar with several plot elements repeated from earlier instalments (mainly A New Hope) and some heavy doses of fan service, The Force Awakens reigns triumphant thanks to a rich mix of engaging characters, edge of the seat drama (peppered with a smattering of humour) and thrilling battles, bound by Abrams’ skilled direction and the quality craftsmanship on display.

Set some 30 years or so after the events of Return of the Jedi (1983), The Force Awakens presents the heightening threat of the First Order which has risen from the ashes of the Galactic Empire and seeks to continue its plans to dominate the galaxy, far, far away.  Luckily the Rebellion, which has now become known as the ‘Resistance’ survives to fight the forces of evil and it’s this conflict and the search for last Jedi Luke Skywalker that serves to reunite old heroes as well as introduce new ones.  Of the returning cast of the Original Star Wars Trilogy, Harrison Ford’s Han Solo (together with pal Chewbecca, with Peter Mayhew once again donning the fur) that is given most prominence – it’s great to see him in action once more – yet The Force Awakens really belongs to its new cast of heroes – lead by Rey (Daisy Ridley) and defecting Stormtrooper ‘Finn’ (Attack the Block’s John Boyega) together with daring Resistance pilot Poe Dameron (Oscar Isaac, villain of the forthcoming X-Men: Apocalypse) and his faithful (and adorable) droid BB8.  Feeling the draw of the mystical Force, the new generation are thrown into the path of the First Order and central villains Kylo Ren (Adam Driver), who has been seduced by the Force’s ‘Dark Side’, Stormtrooper commandant Captain Phasma (Gwendoline Christie) and General Hux (Domnhall Gleeson), their quest for galactic domination lead by Supreme Leader Snoke (a creepy CGI motion capture creation brought to life by Andy Serkis).

The new cast is great and it will be exciting to see their characters develop over the course of this ‘Sequel Trilogy’ much in the same vein as we saw the likes of Luke Skywalker, Han Solo and Princess Leia grow.  It’s true that some characters are given more time in the limelight than others but it’s obvious that The Force Awakens is merely the beginning and we’ll no doubt see more of them in the next instalment.

The Force Awakens is a well-crafted visual feast with J.J. Abrams leading the charge of melding CGI with practical filmmaking, the elaborate physical production design complemented by computer generated elements rather than overwhelming it.  With the era of practical miniatures largely surpassed by CGI, Abrams brings a real, weighty feeling to the requisite spaceship battles and stages some truly thrilling action sequences that will please and wow fans as well as casual viewers, from X-Wing dogfights to the Millennium Falcon’s hyperspace jumps to lightsabre duals – it’s all here and offset nicely against John Williams’ music score.  There’s also some beautiful imagery from director of photography Dan Mindel, enhanced by Abrams’ insistence on the use of physical 35 and 65mm film (the latter for the film’s IMAX sequences) with the blistering deserts of the planet Jakku being a particular highlight.

Overall, The Force Awakens is only hindered by that slight touch of familiarity (and to an extent it’s dangling threads reserved for Episode VIII), yet it was never intended to reinvent the wheel and J.J. Abrams and his cast and crew have delivered the Star Wars sequel many were hoping for, whilst not quite the masterpiece that A New Hope and The Empire Strikes Back are, it’s at least as good as Return of the Jedi and superior to the controversial prequels and a great new start for an enduring franchise.

The bottom line:  The Force Awakens is a triumphant, if at times familiar, new entry in the Star Wars saga that will please and thrill both fans and novices alike.

Star Wars: The Force Awakens is in cinemas now.

Director J.J. Abrams stages some thrilling action in ‘Star Wars: The Force Awakens’.