Scruffy Nerfherder Presents: The Top 10 Best Batmans

By Andrew Braid

This year marks the 75th anniversary of the creation of arguably the most iconic and overwhelmingly popular superhero in comic book history: the caped crusader, the world's greatest detective, the dark knight, Batman. While his three-quarters of a century as a character in comics is massive and wildly varied, the character also has a long, diverse and very rich history in film and television, perhaps more so than any other single comic book hero. This includes 8 live-action feature films (soon to be 9 with the looming release of Batman v. Superman: Dawn of Justice in 2016), two different sets of 1940s adventure serials, a classic live-action television series, numerous animated shows, literally dozens of animated movies, and more guest appearances or cameos than you could shake a Bat-stick at. Naturally this would cause many a Bat-fan to ask a serious (and not very easy) Bat-question: which is the best version of their iconic childhood hero? There's so many versions to choose and compare that even narrowing it down to a Top 10 list is far from a Bat-picnic. But in honour of the character's 75th anniversary I plan to take on this challenge and do just that, presenting today my picks for the Top 10 Best Batmans!
First, the ground rules:

-This list is strictly regarding film and television incarnations of the character.

-Both live-action and animated versions are being included.

-This is all subjective and based on personal preference, so keep that in mind (I probably didn't need that last reminder, but you never know).

Alright, let's light that signal in the sky and kick off our countdown, starting with...

#10: Rino Romano

Appearances: The Batman (2004-2008), The Batman vs. Dracula (2005)

Look, it was either this or Val Kilmer, so deal with it. 

In all seriousness though, The Batman has always been seen as some awkward "middle child" among the various animated television incarnations of the caped crusader. Whereas the much-loved and lauded shows that preceded (Batman: TAS) and followed it (Brave and the Bold) both chose one extreme and stuck with it, The Batman felt like it was trying to find a middle ground: kind of but not really that dark (most of the time, anyway- the episodes involving the first Clayface and Robin's origin being notable exceptions), and occasionally silly without ever going into full-on silver-age camp. Mostly it was an excuse for cool-looking and fast-paced hand-to-hand action scenes with all manner of martial arts moves coming from every single character (yes, even the fucking Penguin). At the centre of it all was a younger, late 20s Batman who's still early in his career and has plenty left to learn. Experienced voice actor Rino Romano (the original english voice of Tuxedo Mask, for all you fangirls out there) takes on the role here and does a measured and all-around solid job, if not a spectacular one (though there's this one episode where he gets infected with Joker venom that lets him stretch his acting range more than usual). The distinction between his Bruce Wayne and Batman vocals is more subtle than in many other versions, but he still gives us a Batman with an edge of cool who proves plenty formidable in a fight. 

#9: Peter Weller

Appearances: Batman: The Dark Knight Returns (2012/2013)

A feature-length adaptation of Frank Miller's iconic Batman story The Dark Knight Returns (live-action or animated) had been long-anticipated by many fans of the character, so casting the right actor to play an aged, out-of-retirement version of everyone's favourite crime fighter was crucial to say the least. Enter Robocop himself Peter Weller, lending the role less the feel of gruff, grizzled growling that you might expect and more the tone of a wise yet tortured veteran, one who finds out that his old habits really do die hard. His voice lends Miller's Dark Knight a sense of weariness and (perhaps particularly appropriate for this incarnation of the character) an almost-calming sense of authoritarianism. When one of the book's most famous moments comes up (the fight with the mutant leader- "This is an operating table... and I'm the surgeon"), Weller's delivery has no growls or bellows. Instead he sounds like a disappointed teacher (I do mean that in a good way): this is what Gotham has come to, this is what he has to deal with and clean up, these are the misguided faces of a new generation that he'll have to take it up on himself to whip into proper shape. It's a distinctly unique interpretation of the character, one that particularly stands out considering the iconic source material.

#8: Bruce Greenwood

Appearances: Batman: Under the Red Hood (2010), Young Justice (2010-2013)

Bruce Greenwood, probably best known for playing several U.S. movie presidents and as Captain Pike in the J.J. Abrams Star Trek movies, might not initially have seemed like an obvious choice to play Batman, even for an animated incarnation. But his performance for the acclaimed DTV movie Batman: Under the Red Hood turned out so good that he was asked to reprise the role for the underrated (and unfairly cancelled) Young Justice. Despite a whole different kind of story, his work on Young Justice actually feels fairly consistent with the approach he takes in Red Hood, namely how Greenwood plays Batman primarily as a stern yet loving mentor and father figure. He can play the part just as gruff and imposing as anyone else, but its that underlying paternal layer he embodies that helps make Under the Red Hood so heartbreaking, whether he's reminiscing the good memories he had with Jason Todd as a young Robin or desperately trying (perhaps in vain) to convince the resurrected adult Jason/Red Hood that murder and revenge aren't the answers to fixing Gotham's problems (their climactic moral debate is truly compelling, and far more engaging than any standard round of fisticuffs). He knows better than anyone how easy it is to cross that line, and failing to teach a son that can only take a heavy toll on his conscience. 

#7: Adam West

Appearances: Batman (1966-1968), Batman: The Movie (1966), The New Adventures of Batman (1977), SuperFriends: The Legendary Super Powers Show (1984)

Once loved by millions of audiences in a fever of "Bat-Mania", then derided by many fans who desperately wanted their comic book idol to be taken seriously, the 1960s Batman television series fortunately seems to have been regaining cultural and fan appreciation over the last few years or so (and should only continue to grow with the release of this year's Complete Series box set). While credit must absolutely be given to the show's writers for their often-clever camp cheekiness, Adam West's almost magically straight-faced line delivery made sure that just about every thinly-veiled absurdity hit its mark. Despite the show's tongue-in-cheek parody approach, he truly felt like the Batman of the Silver Age comics come to life, to the point where the comics in turn tried harder to be more like the TV series. His approach perfectly reflected the era- his identity as Bruce Wayne is barely concealed yet never discovered, his Bat-gadget supply literally has no limits, his villains' plots are often as insane as they are inane, and the mind-boggling leaps of logic in his deductions are somehow always right. West played it all with only the slightest of hints that he was in on the joke, whether he danced the Batusi or laid the onomatopoeia-assisted smackdown on evildoers. While later reprisals of his role as the Caped Crusader proved decidedly lacking, we'll always have the original series to cherish for whenever we want to hear Adam West say something utterly ridiculous with only the utmost of conviction (his many appearances on Family Guy notwithstanding).

#6: Will Friedle

Appearances: Batman Beyond (1999-2001), Batman Beyond: Return of the Joker (2000)

This one is maybe kind of debatable, seeing how this isn't the standard Bruce Wayne Batman. But if you ask me it honestly doesn't matter, as Terry McGinnis (and Will Friedle as his voice) handily proved his mettle over the course of Batman Beyond's run. He's a new kind of Batman, a cocky, rebellious and surprisingly capable teenager who feels very much like he's taken a page or two from Spider-Man's book. But Terry proves to be more than just some souped-up Robin in a Batman costume: while he lacks the same kind of training, experience and detective intellect as Bruce Wayne (now an old man serving the Alfred role as Terry's mentor), he proves to be resourceful, creative and determined enough to live up to the mantle and carve out his own legacy as the Dark Knight of a new era. Thanks as much to Friedle's likable, funny and good-natured performance as it is the show's quality writing, Terry McGinnis makes for a more immediately sympathetic and relatable version of Batman, raised with a mostly ordinary (if occasionally troublesome) middle-class childhood before tragedy strikes and inspires him to don the upgraded new suit. Considering how often he has to hold his own against the practically legendary Kevin Conroy as elderly Bruce Wayne, Friedle makes it look almost easy and develops a fantastic rapport with his mentor in the process. He may not be the original we're all so familiar with, but this Batman 2.0 undoubtedly proves his worthiness. 

#5: Will Arnett

Appearances: The Lego Movie (2014)

It's no secret that Batman is a huge scene-stealer in The Lego Movie, and watching it again it's not hard to see why. Will Arnett delivers a killer parody of the Dark Knight, in particular all the more self-serious and gritty takes on the character that have mostly dominated the pop culture landscape over recent years. Lego Batman is a super-cool badass and he knows it, and can't seem to help using it as an excuse to get away with being a total egocentric jerkwad. In doing so Arnett's take on the character, matched by a Bat-voice that would probably still sound great even in a genuinely serious Batman movie, reveals the paradoxical nature of our culture's overwhelmingly huge, obsessive love for the character. We know he's a jerk, a billionaire vigilante who clings to childish ideals (and maybe even childish attitudes) as an excuse to beat up criminals and puts his vast wealth towards making anything he can slap a Bat-symbol onto. But at the same time we can't help but love him anyway, since he basically embodies what many of us wish we could be ourselves- rich, badass and awesome at just about everything.
Well, except managing a good healthy relationship.

I don't actually have a reason for putting this here, other than the fact that I can't stop laughing.

#4: Diedrich Bader 

Appearances: Batman: The Brave and the Bold (2008-2011)

This show has a Bat-musical episode. Guest-starring Neil Patrick Harris. As if you need more reasons to watch this show...

To be honest #4 and #3 are practically a tie, and I'm still mulling over which one is actually better, but the fact that they both rank so high should say plenty about the very different qualities each brings to their Bat-portrayal. First up is voice actor Diedrich Bader, who plays the caped crusader in the fantastic (possibly underrated? Wait, can we actually still call it that anymore?) animated series Batman: The Brave and the Bold. The series namely played as a direct adaptation of the Silver Age era of Batman's comics history, though a lot of the time it plays like a giant love letter to the character's rich 75-year history as a whole, with every episode featuring different team-ups of heroes and villains, be they recognizable, goofy, campy, obscure or even downright weird. The series was usually comedic in tone, often pointing out its inherent absurdity while also sincerely embracing it, and Bader pitch-perfectly plays Batman as the justice-obsessed, crime-fighting straight man. He understands that no matter how silly a story or scenario gets, Batman always takes himself seriously. Hell, he's so devoted to the cape and cowl that we very rarely ever see him as Bruce Wayne throughout the show (you could count the number of episodes we see Batman sans mask with one hand). That makes it all the more impressive when the show throws us a curveball with "Chill of the Night", a genuinely dark and tragic episode where Batman tracks down Joe Chill, the man who shot his parents dead all those years ago. The show makes it clear that despite all the humour and Silver Age antics this is still the Batman we all know, and Bader nails it when he gets to go for genuine emotional turmoil. No matter what the script calls for, Bader gamely plays it completely straight and gives it his all, whether he's fighting, brooding, flirting, singing, body-swapped with Batwoman, or eating nachos. Wait...

Look, I just couldn't help it. Can you really blame me?

#3: Michael Keaton

Appearances: Batman (1989), Batman Returns (1992)

Still the definitive live-action Batman for many growing up in the late 1980s and 90s,  Michael Keaton surprised many when he donned the rubber Batsuit (complete with its infamous inability to turn one's head while wearing it- seriously, watch the movie again and you'll totally notice). Thought of namely as a goofy comedic actor in roles like Mr. Mom and Tim Burton's previous film Beetlejuice, many were sent into an uproar over the initial casting announcement. But famously all those quick-to-jump detractors soon ate their words when they were treated to the first truly serious and gothic screen iteration of Gotham's dark knight. As Bruce Wayne he was an awkward, brooding loner, with a puzzled, uncertain face that can say so much despite his lack of words. But when he dons the suit he brings a truly intimidating presence, one who strikes fear into the hearts of criminals without even having to raise his voice (I still can't remember a single moment where he ever shouts, screams, yells, or  utters anything a decibel louder than average speaking volume). The intense focus on the character's duality makes scenes like this one all the more surprising, lending a sense of genuine unpredictability to what this Bruce Wayne guy is really capable of. It's for good reason why many 80s kids like Seth Rogen will still attest that Keaton is the best Batman.

#2: Christian Bale

Appearances: Batman Begins (2005), The Dark Knight (2008), The Dark Knight Rises (2012)

Alright, I'll address the elephant in the room upfront here: yes, Bat-Bale's famous/infamous raspy growl of a voice is oh so very easy to make fun of to this day, and probably for all time (and having Bane impressions to bounce off of has only made it worse). But when it comes time to watch the movies on their own, in the context of their gritty, sprawling crime saga and epic action, the Bat-voice weirdly fits right in. Despite having a less gothic and more grounded approach to the character and to Gotham City itself, Bale's Batman still handily proves both imposing and fearsome as a shadow of the night (it helps that, much more so than any other live-action portrayal so far, this is a Batman who looks like he could seriously kick your ass in a fight). More importantly however is Bale's full-throttle commitment to the role, truly throwing himself into the character and just how effectively he builds himself as Bruce Wayne first before Batman. We truly feel his pain, his loss and confusion as to who he wishes to be, and we're allowed ample time to see him ponder and wrestle with himself (particularly when he seeks Alfred's devoted yet reluctant guidance). Both his socialite billionaire Bruce Wayne and his raspy-voiced warrior Batman come off overtly like a man doing a performance. Because we've seen the real man behind the masks, we can see right through his overplayed rich jerk and his infamous Bat-growl. He's both Bruce and Batman, but at the same time he's also neither- underneath all that is a man lost in longstanding trauma and guilt, a man who wishes to follow in his parents' footsteps and save the city they helped build.
Whereas previous live-action Batman movies often allowed the villains to steal the show and overshadow Batman himself, Christian Bale's performance makes that all but impossible in the game-changing Nolan trilogy. Heath Ledger's Joker in The Dark Knight was already an iconic force of nature, but when he finally gets to be face-to-face with Bale's Batman? Bat-Bale goes toe-to-toe with Ledger, and as Joker himself says in the same scene, he didn't disappoint- it reminds one of the famous diner scene in Heat, two legends finally staring each other down as they embody the duelling sides of law and chaos. Bale's Dark Knight becomes more than just a man over the course of Nolan's epic trilogy- he becomes a legend. And it takes a legend to anchor a series like this one.

#1: Kevin Conroy

Appearances: Batman: The Animated Series (1992-1995, 1997-1999), Batman: Mask of the Phantasm (1993), Batman & Mr. Freeze: Subzero (1998) Batman Beyond (1999-2001), Justice League (2001-2004, 2004-2006), Batman: Gotham Knight (2008), Superman/Batman: Public Enemies (2009), Superman/Batman: Apocalypse (2010), Justice League: Doom (2012), Justice League: The Flashpoint Paradox (2013), Batman: Assault on Arkham (2014)

Honestly, could it be anyone else? From the beginning of the revered 90s animated series to present day in DC Animated features and the Arkham video game series, Kevin Conroy has been, continues to be, and pretty much simply IS Batman. His Batman voice is perfect to the point of being definitive- dark, brooding and commanding without ever feeling forced or overplayed. Not only that, but he's done by far a better job than anyone else of distinguishing Bruce Wayne as a separate performance, a public playboy facade cleverly concealing the damaged and driven soul underneath (the ways he so seamlessly shifts between the two voices in many scenes is often downright remarkable). He adapts to whatever kind of scene he needs to with utmost ease, whether it's a deadpan joke or a somber musing, a howling scream of fury or an earnest insistence of hope. He even grows over time along with the rest of the DC Animated Universe, whether its as the Justice League's would-be loner or as a grizzled old mentor in Batman Beyond. No matter what the situation, no matter which movie or TV episode, you always hear the same thing from Kevin Conroy:
You hear vengeance.
You hear the night.
You hear BATMAN.

Plus, as it turns out, you also hear a great set of pipes. Close us out, Batman!

Thanks for reading, everyone! And Happy Bat-iversary!

Guardians of the Galaxy Review: "Ain't No Mountain High Enough" for Marvel Studios

By Andrew Braid

Directed by James Gunn

Starring: Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Bradley Cooper, Lee Pace, Michael Rooker, Djimon Hounsou, Karen Gillan, John C. Reilly, Glenn Close, Benicio Del Toro

Release Date: August 1, 2014

Presented in 2D, 3D and IMAX 3D (specially formatted for IMAX screens)

It goes without saying now that Marvel Studios' cinematic hot streak is a game-changing, industry-shaping and unprecedented one. Even when one of their movies falls somewhat short of greatness (Iron Man 2, for instance), it still scores big time at the box office and any sour taste is quickly forgotten about once their next movie hits screens just a short while later. But all the risks they've taken along the way so far pale in comparison to what's riding on Guardians of the Galaxy, their 10th feature film since 2008 and the last "Phase 2" Marvel movie before next year's mega-anticipated release of Avengers: Age of Ultron. Directed and co-written by James Gunn (the cult director of Tromeo and Juliet, Slither, Super), Guardians follows a ragtag group of cosmic heroes that, in stark contrast to the likes of Iron Man, Thor or Captain America, the vast majority of viewers have never even heard of before. In fact, they even lack much of a long history on comic book shelves: while the original Guardians of the Galaxy team debuted back in 1969, the current team which the film adapts was only formed back in May 2008 (coincidentally at the same time the original Iron Man was released and kickstarted the whole Marvel Studios canon). This film is the make-it-or-break-it point, the film meant to kick the doors wide open to a whole slew of cosmic characters from the Marvel Universe, and most importantly proof that the studio can get audiences to not only turn out for but fall in love with their characters no matter how unfamiliar or obscure they may be. 

It's the biggest gamble Marvel has made so far, and I can most happily attest that, at least on a quality level, they've once again knocked it out of the park.

"What a bunch of a-holes..."

Guardians of the Galaxy opens with Peter Quill (Chris Pratt) as a child being abducted by a mysterious alien spacecraft in 1988, following what has already been a traumatic, emotionally devastating day for the young boy. In the present day he's become a self-styled intergalactic outlaw who calls himself Star Lord, roaming the galaxy on the lookout for his latest score. He believes he's found it when he comes across an unknown ancient artifact hidden on the planet Morag, one which he ends up escaping with by the skin of his teeth. But it turns out this orb contains an Infinity Stone (a term Marvel fans ought to be very familiar with), an immensely powerful and destructive object which could spell certain doom for billions of people on the planet Xandar, who are the target of the fanatical Kree warlord Ronan the Accuser (Lee Pace). Ronan, under an agreement with the Mad Titan Thanos (Josh Brolin, setting the stage for his time to shine in Avengers 3), will stop at nothing to obtain the orb, and his genocidal quest gradually forces the Guardians of the Galaxy to form an uneasy alliance with one another. The role call includes vengeful brute Drax the Destroyer (Dave Bautista), trained assassin and favoured "daughter" of Thanos Gamora (Zoe Saldana), and the inseparable bounty hunter duo of walking tree Groot (Vin Diesel) and genetically-engineered raccoon Rocket (Bradley Cooper). They're the only hope Xandar has, and they're up to the task... if they don't get each other killed first.

Much like Captain Kirk before him, Gamora's not the only alien beauty that Star Lord's tried to win over with his charms...

When it's all boiled down to its base elements, the plot for Guardians of the Galaxy is a very familiar, well-worn one: a ragtag group of outsiders is forced together by circumstance to save the day from the forces of evil, all in the name of trying to secure a valuable MacGuffin object. But in terms of execution, director James Gunn the film counters this familiarity with a particular brand of winking acknowledgement and carefree irreverence. Peter Quill, a child of the 1980s still clinging to the dated pop culture of his youth before being scooped up from Earth, uses this filmgoing savvy not just for the sake of humour (particularly any line involving Footloose) but to point out the tropes the story is so gung-ho about diving into. Through Quill the film compares the orb everyone's chasing after to the Maltese Falcon, the classic movie king of MacGuffins. The opening credits unfurl as he sets foot on a mysterious new world in search of treasures, recalling Raiders of the Lost Ark with its moody, unknown atmosphere, only to soon undercut it once Peter kicks out the jams to Redbone's "Come and Get Your Love". Much of Guardians of the Galaxy is built upon taking what you'd expect from a sci-fi action movie and subverting it with its own kooky sense of humour and self-awareness, all while still getting us genuinely engaged on an emotional level with its gang of misfit outlaws. Gunn's approach is much like that of his Marvel alumni Joss Whedon (albeit not quite so shoved in your face). And does it work? Well, as Rocket Raccoon might say...

"Oh... YEAH..."

Marvel's success on the moviemaking scene so far has all come down to their innate understanding of character, always giving it top priority over the story itself. Even if the film's story stumbles at any point, the audience will still be engaged if they're invested in the plights of our heroes and enjoy being in their company. Heck, even in a twisty, paranoia-laden conspiracy thriller setting like the recent Captain America: The Winter Soldier, the focus of the film is put on the characters first and foremost. Guardians of the Galaxy is no different in that regard, prioritizing character interaction and comedic interplay above a galaxy-threatening plot that, for much of the runtime, our heroes can hardly muster any energy to care about. What's most impressive about Guardians is how well-balanced its titular ensemble is. All five of the Guardians each get ample time to shine with great laugh lines and badass action moments. Groot may lack a vocabulary (he only ever says "I am Groot"), but he more than makes up for it with heart and soul, always the most well-intentioned of the group. Rocket Raccoon takes every chance he gets to steal a scene, combining flippant wisecracking with the impassioned anger of a wounded animal. He's experienced much abuse and loneliness in his past, and needs the powerful yet naive Groot by his side more than he'd ever like to admit. Dave Bautista proves a huge surprise as Drax, playing his violent, dumb bruiser of a character with such utter conviction and sincerity that he actually manages to get some of the biggest laughs in the entire movie. Zoe Saldana's Gamora is namely playing the straight-woman of the group dynamic (an essential part of any real comedy ensemble), but she gets plenty of opportunity to kick ass in a fight and shows strong chemistry with Chris Pratt's Star Lord (I will now never stop laughing at the phrase "pelvic sorcery"). Speaking of Star Lord, Chris Pratt takes his big breakthrough opportunity and owns it in what's destined to be a star-making turn. Pratt oozes brash swagger, coolness and charm, and he kills it when it's time to show the character's goofier side. At the same time though he allows us to see the more emotional underbelly of what makes Peter Quill tick, a man clearly shaped by unresolved traumas and a longing for the life he's lost.

Another close escape for the legendary outlaw Star Lord...

The film is packed with inventive and high-energy action throughout its running time, delivering all the spaceship battles, brawls and shootouts one could ask for without ever going too overboard into excess. The action is always tied into the flow of the story- it never exists purely for its own sake, and it's always infused with a smattering of laughs as our mismatched team of outlaws bicker and struggle to coordinate with one another. It's all supported by fantastic visual effects, creating worlds of huge scale and creating all manner of alien characters through both extensive makeup work and first-class computer animation. Rocket and Groot in particular are amazing CG creations- if Superman's tagline was "You will believe a man can fly", then Guardians of the Galaxy's tagline ought to be "You will believe a raccoon can talk, while also wielding a high-powered space machine gun". Further adding to the visual grandeur is the use of 3D, something which Marvel movies have struggled to really utilize up to this point (usually ranging from decent yet unnecessary to downright detrimental to the viewing experience). Despite being post-converted the film was clearly planned with 3D in mind, having a lot of fun throwing things at the audience, swooping through tight openings in ship chases, and evoking a grand sense of awe as every new location seems to reach out into the stars of space. I particularly have to recommend seeing the movie in IMAX 3D if you can, as several scenes from the movie have expanded the film's aspect ratio to fill the full IMAX frame, making for one truly eye-popping experience.

Aside from being equally hilarious and flat-out awesome, Rocket and Groot are amazing creations of CG visual effects, making them all the easier to believe in as characters.

Guardians of the Galaxy is the most shamelessly fun, deliriously funny, and satisfyingly action-stuffed blockbuster this whole summer, one that's destined to have amazing replay value among both Marvel fans and movie fans in general. Unlike previous continuity-heavy "Phase 2" Marvel films Guardians is wholly accessible as a standalone action-comedy, yet the Marvel diehards can still expect to be greatly rewarded as they see how this latest film fits into the larger Marvel Cinematic Universe (and get some cool character cameos and easter eggs in the process). It revels in and slyly winks at its own sense of familiarity, all while using its amazing cast interplay, offbeat humour and killer soundtrack to infuse it with its own distinct and irresistible flavour. The summer movie season this year has recently been suffering a deadly dry spell (Dawn of the Planet of the Apes notwithstanding), and Guardians of the Galaxy proves to be the perfect blockbuster  to give the moviegoing scene some much-needed spark and vitality again.
While every hot streak has to go cold at some point, for the moment at Marvel it seems that the sky's the limit. Heck, if Guardians is any indication, the limit clearly goes beyond not just the sky but the reaches of space itself.

Final Review Score: 9.5 / 10

Pros:

+ An amazing cast where everyone on our team of heroes gets ample time to shine

+ A gut-bustingly hilarious script with tons of killer team interplay and subversive irreverence

+ An expertly paced 2 hours that's packed with one exciting, creative action sequence after another

+ Fantastic visual effects are joined by surprisingly great use of 3D (particularly in IMAX)

+ Accessible blockbuster fun that's still stuffed with fanservice 

+ The music (both Tyler Bates' score and the lively 70s/80s soundtrack) kick all kinds of ass, proving integral to the film's distinct identity

+ That end-credits scene... (I wouldn't dare spoil it, it's just too awesome)

S. Nerfherder Presents: The Top 10 Best Comic Book Movies of All Time

By Andrew Braid

Ever since the launch of the original X-Men in 2000, comic book movies have slowly but surely overtaken the pop culture landscape, breaking box office records and reshaping the whole industry as we know it. Now they're the safest bets Hollywood can make in a marketplace increasingly lacking in "safe bets". In conjunction with the opening of the latest instalment of the X-Men franchise, X-Men: Days of Future Past (which is awesome, BTW), I figured now's as good a time as any to take my own stab at narrowing down the cream of the ever-growing crop. Seeing just how many new movies seem to be pulling out the "best superhero movie ever" quote in their advertising (Days of Future Past included), I think it's about time to sort out which movies truly deserve such hyperbolic proclamations.

Before we begin, some notes/disclaimers:

-This list is strictly limited to live-action, theatrically-released films based on either a comic book series or graphic novel (animated comic book movies warrant their own Top 10 in the future- there's plenty of good ones to go around)

-While there is no "one movie per series" rule, I have tried to make the list somewhat diverse anyway (as awesome as Batman is, the list would look kinda boring if he took up half the spots).

-This list (of course) only covers films that have come out so far, and I will be more than happy to update this post in the future for any upcoming comic book movies that prove worthy of a spot.

-And finally, this is all just my own personal opinion. Feel free to let me know what your favourites are if you like (there's so many other good movies that didn't get a spot here- makes me feel guilty)

Leading into the list, here is my list of Honourable Mentions:

Superman II [The Richard Donner Cut] (1981)

Batman (1989, Dir. Tim Burton)

Batman Returns (1992, Dir. Tim Burton)

Ghost World (2001, Dir. Terry Zwigoff)

X2: X-Men United (2003, Dir. Bryan Singer)

Sin City (2005, Dir. Rober Rodriguez and Frank Miller)
Batman Begins (2005, Dir. Christopher Nolan)

V for Vendetta (2006, Dir. James McTeague)

Superman Returns (2006, Dir. Bryan Singer)

Hellboy II: The Golden Army (2008, Dir. Guillermo Del Toro)

Watchmen (2009, Dir. Zack Snyder)

X-Men: First Class (2011, Dir. Matthew Vaughn)

Captain America: The First Avenger (2011, Dir. Joe Johnston)

Iron Man 3 (2013, Dir. Shane Black)

X-Men: Days of Future Past (2014, Dir. Bryan Singer) [Seriously, it's awesome, go see it]

And now, the Top 10 Best Comic Book Movies of All Time, starting with...

#10: Captain America: The Winter Soldier

(2014, Directed by Joe Russo and Anthony Russo)

If there's one character in their stable that Marvel has proven they understand more than any other, it's Captain America. After a rollicking retro origin story in Captain America: The First Avenger, Winter Soldier shows Steve Rogers' struggle to adapt to the modern world- a man displaced from time, a veteran displaced from war, uncertain of what his duty as a soldier even means anymore. However, just as Phil Coulson said once, it turns out people just might need a little old-fashioned. Winter Soldier does damn near everything right, smoothly transitioning from the first film's period adventure into a paranoia-laden action-thriller where no one can seem to be trusted and security is valued over freedom. The pacing is perfect, knowing exactly how to juggle all its characters so no one feels superfluous or under-utilized. The humour is spot-on, keeping things fun despite the heavier subject matter without overtaking the film. The Winter Soldier himself is cold and imposing, showing an utter relentlessness akin to a Terminator. The action scenes are terrific, carrying a real sense of hard-hitting impact whether its fistfights, shootouts, or chases (the two big faceoffs between Cap and Winter Soldier in particular burst with a flurry of tension and intensity). The twists and ramifications for the future of the Marvel Studios universe moving forward are huge, and yet they don't distract from the film's ability to stand on its own. It's the current gold standard for Marvel's solo movies to date, positioning Captain America as the optimistic, hopeful, example-setting hero of the big screen in a time where the world could really use one (it helps that he doesn't destroy half of Metropolis in the process).

#9: A History of Violence 
(2005, Directed by David Cronenberg)

Believe it or not, but this intense, powerful and surprisingly thoughtful thriller from David Cronenberg (Videodrome, Scanners, The Fly) was actually an adaptation of a graphic novel published by DC Comics (through their "mature readers" Vertigo imprint). Viggo Mortensen gives one of his best performances here as Tom Stall, a small town restaurant owner and family man who may or may not have had a violent past as a gangster in Philadelphia. Tom denies these accusations from a scarred gangster (played by a memorable and chilling Ed Harris) to his wife and children, but as tensions rise it becomes apparent that there may be more to Tom than he's telling anyone, and that violence may just be in his nature no matter how hard he denies it. The film builds to a thrilling climax and perhaps one of the most perfect final scenes I've ever seen. A lot of you may not have seen it, so I'll avoid saying much more, but out of Cronenberg's huge body of work one could easily argue for this being the best film he's ever made.

#8: Scott Pilgrim vs. the World
(2010, Directed by Edgar Wright)

As we mourn the departure of Edgar Wright from Marvel's Ant Man, we can at least console ourselves by watching his first stab at making a comic book movie, the near-perfect film adaptation of Bryan Lee O'Malley's Scott Pilgrim series. While some changes and concessions have to be made to condense the six-volume comics series into a 2-hour film, the spirit (and even much of the hilarious dialogue) of the comics is preserved, yet also injected with some fresh material of its own (my favourite being this bit, obviously). Michael Cera gives his best performance here, as his one-note "awkward nice guy" routine hides the jerkier aspects of Scott, making his rise to grow up and mature at the end all the more effective. He's surrounded by an amazing supporting cast, with Jason Schwartzman's "final boss" Gideon and Kieran Culkin as gay roommate Wallace in particular doing their best to steal the show. Filled with fantastic action scenes equally influenced by comic books, martial arts cinema and late 80s/early 90s gaming and paired with a killer soundtrack, this is a romantic comedy that's both riotously funny and surprisingly deep.

#7: Kick-Ass

(2010, Directed by Matthew Vaughn)

Whereas Scott Pilgrim vs. the World proves equal to its source material, Kick-Ass manages the amazing feat of surpassing it's source in nearly every way. Based on the first graphic novel in a trilogy by Mark Millar, Kick-Ass poses the question of what would happen if a geeky teenager in the real world decided to get himself a costume and become a superhero. The results spiral into a deliciously twisted blend of dark comedy, astute genre satire, kinetic and brutal action sequences, and even some surprisingly affecting drama. While the comics had most of these things too, it often pushed things too far and extreme (Hit-Girl snorting cocaine, anyone?), as if it was trying too hard to be shocking and provocative, and the series' gradually growing contempt for its protagonist causes many of the emotional beats to fall flat, particularly once the second book starts (why should I feel anything for this guy when I've just seen how much of a pathetic, unlikable asshole he is?). The film version works overtime to fix these issues, keeping the darkly funny and brutal tone of the book without seriously pushing it over the edge. More importantly though is how much more genuinely likable and endearing it makes its characters, whether it's Kick-Ass himself, the foul-mouthed fighter Hit-Girl, her ex-cop father Big Daddy (an offbeat, inspired and even bizarrely sweet Nicolas Cage performance), or the dorky and awkward would-be hero/villain Red Mist. Even the main villain, crime lord Frank D'Amico (still Mark Strong's best bad guy role to date), proves full of personality despite how dangerous and violent he is. Kick-Ass is a rare gem among comic book movies, a brilliantly entertaining action-comedy with a gleefully subversive bite. 

#6: The Avengers
(2012, Directed by Joss Whedon)

Do I really need to explain why The Avengers is on here? The fact it's from geek god Joss Whedon alone ought to justify its place on this list, not to mention the fact that it's a goddamn Avengers movie. Believe all the "holy crap they did it, they really did it, they actually pulled this off" reactions from comic book geeks across the globe: The Avengers is the real deal, a big-scale, supremely fun and ever-so satisfying work of nerd nirvana. The simplicity of its plot is more than made up for by its stellar cast, whip-smart and witty Whedon dialogue and shamelessly enjoyable action scenes, all building up to a huge climax that has practically become a standard-setter for popcorn blockbusters to come. It's really that simple: if you're a comic book fan, the odds of you not loving this movie are statistically insignificant.

#5: The Dark Knight Rises
(2012, Directed by Christopher Nolan)

Well, I guess here's where it really gets into the whole "personal opinion" territory. Whereas some felt that The Dark Knight Rises was a disappointment (at least relative to sky-high expectations because did you even see the movie it has to follow up?), I absolutely loved it. The story feels huge and carefully structured, and we watch in anticipation as Nolan's many pieces fall into place. Michael Caine proves once and for all why he's the best Alfred ever, as we see the character truly pushed past his breaking point for the first time (and it's utterly heartbreaking to watch). Bane is an intimidating and brutishly intelligent foe, and Tom Hardy's performance brings him to imposing life despite the challenge of acting with most of his face obscured (plus there's that famous Bane voice- admit it, you love it, don't you?). Anne Hathaway really turns out to be the film's real MVP as Selina Kyle, finally giving us a live-action Catwoman who feels truly in line with her comics counterpart: playful, manipulative and toeing the line between good and bad whenever it benefits her most. The IMAX-scale climax set in the snowy streets of Gotham is astounding, an all-out war on the streets for the city's future that results in a satisfying and definitive conclusion to the story that started in Batman Begins. Rises cements Christopher Nolan's Dark Knight saga among the greatest trilogies in cinema history, a truly epic finale to a series that changed the film landscape forever.

#4: The Rocketeer
(1991, Directed by Joe Johnston)

Yeah, now we're getting into super "personal opinion" territory. While The Rocketeer has been steadily developing a cult fanbase since its initial release back in the early 90s, it's still often overlooked by many. But holy hell does that deserve to change: The Rocketeer is a ridiculously charming, old-school styled comic book action movie, filled with heart, humour and unabashed fun. The 1930s period detail is fantastic, the cast is great (including a stunning Jennifer Connelly, a reliably cantankerous Alan Arkin and a delightfully villainous Timothy Dalton), and the effects work is top-notch in an era where practical effects were still the main go-to. It completely commits to the tone and feel of retro adventure serials (imagine Indiana Jones crossed with a superhero movie), instilled with just the right amount of patriotic cheese. This is the kind of movie where the hired gangsters turn against the villains they've been working with once they find out they're Nazis, saying (and I honestly quote):

"I may not make an honest buck, but I'm 100% American."

Maybe it's just me, but it's hard not to love a movie with dialogue like that.

#3: Spider-Man 2
(2004, Directed by Sam Raimi)

The best of the original Sam Raimi trilogy and still easily the best Spider-Man movie to date, Spider-Man 2 improves on the fondly-remembered original in every regard, and still stands as a textbook example for how to make a great sequel. Peter Parker's life is at its most crushing and conflicted here, making him feel all the more relatable while also letting Tobey Maguire give some of the best scenes of his career (the two standouts being his heartbreaking pay phone confessional and when he tells Aunt May the truth behind Uncle Ben's death). Alfred Molina's Doc Ock is the best villain of the series, equal parts sympathetic and slyly menacing. The effects work is a huge step up from the first film, whether its Spidey's web-swinging acrobatics or Doctor Octopus' mechanical arms with minds of their own. The action scenes step up their game in a big way, especially in the fantastic extended train setpiece. Best of all is Raimi's distinct sense of humour, where goofiness and the crushing unfairness of reality are firmly in sync at every turn (resulting in the Best. Montage. Ever.) If you've ever wondered why so many people hate on Spider-Man 3 (even though it's actually an alright movie overall), the answer's simple: it's because this was the movie it had to follow up.

#2: Superman
(1978, Directed by Richard Donner)

While it's certainly not the first comic book movie ever made, the original Superman really was the film that started it all, the film that set the template for how to make a big-budget comic book movie back when such a thing didn't exist. Even now the result of a massive gamble by producers Alexander and Ilya Salkind (at the time it was the most expensive film yet made) still holds up sublimely well, a soaring epic comic book yarn that delivers a truly definitive vision of the Superman mythos. It's like getting five movies in one (in a good way): across 2 1/2 hours you get a mythic comic book fantasy, a big-scale disaster movie, a hilarious screwball comedy, an emotional coming-of-age character drama and a winning romance backed by screen chemistry that ignites fireworks at every turn. The huge star-studded cast is sublime, led by Christopher Reeve's pitch-perfect performance as both bumbling Clark Kent and pure-hearted do-gooder Superman. And who can forget John Williams' iconic score, alternately majestic, sweeping and thrilling at every turn? No one can deny the Superman Theme is still far and away the best anthem for any costumed hero who's ever graced the screen. When people say the old phrase "movie magic", Superman is exactly the kind of film they're referring to- there aren't really any other superhero films out there that you could call downright enchanting.

#1: The Dark Knight
(2008, Directed by Christopher Nolan)

I know, I know, real original top pick, right? Then again, could it really be anything else? The Dark Knight was a game-changer, and for good reason: it proved that comic book movies could transcend their own genre without betraying their origins the process. It's a movie that, even though it's the middle chapter of a trilogy, works completely as a standalone story, a sprawling and complex crime saga that just happens to star Batman. Its themes are powerful, questioning the nature of justice and order and whether or not people are inherently good or trustworthy. The action scenes are incredible to this day, striking just the right balance between CG and practical effects that the film's vision of Gotham retains a sense of gritty realism. Heath Ledger's Oscar-winning performance as The Joker speaks for itself, a fully embodied and personified agent of chaos both darkly funny and outright terrifying. It is still the high benchmark for its genre, an influential masterpiece of modern Hollywood cinema that changed the landscape forever.
Also, the Bat-Bale voice is still hilarious/awesome. Admit it, you're doing it yourself right now, aren't you?

Thanks for reading, everyone! Tune in for new posts in the near-future!

The Amazing Spider-Man 2 Review: Popcorn Fun in a Tangled Web

By Andrew Braid

 

Directed by Marc Webb

Starring: Andrew Garfield, Emma Stone, Jamie Foxx, Dane DeHaan, Colm Feore, Felicity Jones, Paul Giamatti, Sally Field

Release Date: May 2, 2014

Presented in 2D, 3D and IMAX 3D

2012's reboot The Amazing Spider-Man was a generally entertaining film with some real sparks of promise within it, namely some palpable screen chemistry between its lead actors (no doubt helped by director Marc Webb, who previously helmed indie darling (500) Days of Summer, having a solid hand with character and dialogue scenes). Unfortunately it was held back by a series of stumbling blocks: a focus on a bland, at times outright clumsy retelling of the origin story we'd already seen before in 2002's original Spider-Man movie, a "mystery" plotline that doesn't really add up to much of anything, a version of Curt Connors/The Lizard that doesn't get to be as fleshed-out or interesting as it could have been (Rhys Ifans is good, but his character gradually gets dumbed down into generic mad scientist territory), competent but uninspired action scenes, occasionally iffy visual effects (for a movie that cost $230 million to make, you'd think they could afford better CG fire effects), and one of the most groan-inducing final lines of any big-budget movie I've seen in recent years.

Also, the costume kinda sucked.

Okay, after saying all that, it really sounds like I don't like the movie, doesn't it? Well I do... kind of.
Look, it's complicated... sort of.
The thing is, I recognize that The Amazing Spider-Man wasn't a very good movie. Hell, if you went so far as to say it was a weaksauce piece of crap, I wouldn't really have much to argue against you with. But it wasn't completely without merit, either. That promise of a fresh start, of better things to come was definitely there. And judging from the level of enthusiasm and charm from its cast and crew, combined with the endless barrage of marketing being plastered everywhere in sight for The Amazing Spider-Man 2, it all seemed to be saying to the world: "those better things to come are here, honest!" Now that the sequel is here to kick off the summer movie season, it's time to see if Webb and company were right, or if the filmmakers were making promises they couldn't keep.

UGH... let's just move on, okay?

After a somewhat clunky (and kind of unnecessary) opening flashback/action scene involving Richard and Mary Parker, the film picks up proper with Peter Parker/Spider-Man (Andrew Garfield) swinging high as his superhero alter-ego, becoming a symbol of hope for the citizens of New York. But his life outside of the costume is filled with hang-ups. He's just graduated from high school and has to work out what path his life will take. His relationship with Gwen Stacy (Emma Stone) is struggling as he is haunted by his promise to her dying father to keep her away and strained by her burgeoning prospects that would force her to move to England. Peter's childhood friend Harry Osborn (Dane DeHaan) comes back into his life when he inherits control of Oscorp, only to find that he suffers from the same deadly disease his father died from, and Spider-Man's blood may be the only cure he has. All the while there's Max Dillon (Jamie Foxx), a lonely Oscorp electrical engineer who no one ever seems to notice. He becomes obsessed with Spider-Man after the wall-crawler saves his life, but a workplace accident turns him into the powerful supervillain Electro, who may prove to be Spider-Man's greatest threat yet...

Electro, doing his best pose for The Amazing Spider-Man 2 Maybelline tie-in

If it seems like there's a lot going on in this movie, that's because there is: even at 140 minutes (the longest ever for a Spider-Man movie), there's a ton of plot being thrown into the film, with not enough connective tissue or time to make proper room for everything. It's much the same problem that Spider-Man 3 had years ago, with too many characters and plotlines to juggle all at once (not to mention all the setup for future sequels and spinoffs). Some of this turns out alright (Paul Giamatti's bookending scenes as the Rhino, for example), but there are many characters just thrown in the movie with not much of anything to do except let us know they exist, and might be important later in future movies, maybe. B.J. Novak appears for a minute tops as Alistair Smythe (aka Spider-Slayer), and Felicity Jones' Felicia (aka Black Cat) is crammed in with two rushed scenes, one of which has her just magically knowing stuff that move the plot along. Meanwhile subplots involving Peter seeing ghostly visions of Gwen's dead father and Aunt May working as a nurse are introduced only to be quickly forgotten about for most of the movie.
When the film focuses on quieter, more character-driven scenes it often proves funny and engaging, adequately establishing character even at its rushed pace. This is especially true of the romantic scenes between Peter and Gwen, with natural, easygoing chemistry between Garfield and Stone that shines brighter than ever before. Early moments between Peter and Harry are also good, despite the first film having written this one into a tight spot by not introducing the character right from the start. The Peter/Harry friendship has long been an important one in the comics, and Amazing Spider-Man 2 does the best it can to dig itself out of this hole left by the first movie's miscalculations. Garfield and DeHaan's scenes juuust pull off selling the "childhood friends who haven't seen each other in years" schtick, even though the film finds itself sprinting to turn Harry into the Green Goblin by the end of the movie.

The scenes between Peter and Gwen are bursting with chemistry and personality, even as other elements of the film struggle.

The soap-opera drama that often is Peter Parker's life is on full display here, which proves to be a double-edged sword for the movie. While it enhances the comic book tone and style of the film, it often feels akin to a Silver Age comic, and not in a particularly good way. Whether it's Electro's cheesy "let me introduce myself with my new villain name I just made up" monologue, the awkward pop-ups of ghost dad Denis Leary, or Harry Osborn's angry growls of "curse you, Spider-Man!", these moments offer silly, guilty-pleasure fun that feels more at home in a 90s comic book movie like Batman Forever than a superhero film from 2014. The real problem is how it tends to take away from the film when it does try to go for genuine drama- it's hard to feel for Aunt May breaking down to Peter when you just watched Electro deal with a stereotypical evil scientist (complete with over-the-top German accent).

"Dammit Jamie, I warned you about doing that Annie remake!"

 Early scenes with Harry Osborn and Max Dillon/Electro show real promise and personality, which makes it more disappointing when the two central villains have to fight each other for screentime. Despite a lot of setup and development early on, Electro is absent for long stretches of the film after his first major setpiece showdown with Spider-Man. Meanwhile Harry is forced to go to the dark side due to his plot contrivance- er, I mean illness, which still can't help but feel hurried when it's crammed in between Peter and Gwen's relationship complications and the (not really much of a) "mystery" plotline carried over from the first film (which these movies thankfully seem to be done with now... I hope). Even once the two baddies ally with each other the film can't seem to strike a good balance: Electro takes over the film again for much of its third act, only for Harry/Green Goblin to swoop in at the last minute and extend the climax even further.



Visually the film is a serious step up from the first Amazing Spider-Man, with Webb showing more confidence and prowess behind the camera. It helps that the director lobbied to have this movie shot on 35mm film, rather than the digital cameras used on the first one. Gone is the clean, drab and bland look of the first film; here to stay is something far more dynamic in look and style, with a real comic book "pop" to the colours and settings. Moments in the film portraying our hero's trademark "spider-sense" are very impressive, slowing down time as Peter is alerted to all the sources of potential danger around him. The web-swinging looks fantastic, with top-down and POV shots that make great use of 3D. Action scenes in general are much better this time around, aided by some great visual effects work. While some have found it a bit cartoony at times, it seems to fit the comic book vibe of the film, aptly displaying Spider-Man's superhuman acrobatics as he swings, leaps and bends around Electro's relentless attacks in the climax. The score is also much better this time, with Hans Zimmer and "The Magnificent Six" (ha ha, I see what you did there) delivering something much more varied, exciting and stirring to accompany the action. The new theme for Spider-Man here instills exactly the kind of triumphant, heroic vibe that such an iconic character deserves.
And of the many things this movie improves on, perhaps the biggest one is Spider-Man himself. With the awkward origin story stuff out of the way, Andrew Garfield can finally stop playing the hero-in-the-making and just start playing Spider-Man as we know him: confident, jokey, playful, and carefree on the outside with a good heart and strong sense of responsibility and self-doubt underneath. Donning the best Spider-Man costume ever put to live-action film, Garfield truly embodies the character, as if he jumped right out of the comics we've been reading for years now. It helps that the character's penchant for quips, a vital element to the character that the prior films never really captured, finally makes it over to this one in full-force. A montage early in the film of Spidey's various actions around New York best showcases Garfield's energy, charm and heart, whether it's standing up for a bullied kid or having to take out a mugger in a convenience store.

And can I just say again how awesome the costume looks now?

The Amazing Spider-Man 2 is a movie that proves both very easy and considerably difficult for me to judge. Is it an improvement over the first Amazing Spider-Man? Unquestionably. Did I enjoy it as a popcorn summer blockbuster, and adaptation of the Spider-Man comics? Definitely. Is it actually a good movie per se? Well, parts of it are. Does it have some major problems, some of which unavoidably stem from missteps made in its predecessor? Absolutely. But was the good stuff in there enough to outweigh those problems? Well I doubt everyone will agree on this, but in my book? Sure, at least enough of the time to keep me interested for things to come from this new reboot series.

Final Score: 7 / 10

Pros:

+ Andrew Garfield and Emma Stone's screen chemistry is even stronger than before, keeping the film swinging even when it trips up

+ The cast is generally great, and the dialogue scenes play better to director Marc Webb's strengths

+ The film really pops visually with a colourful comic book vibe and great visual effects

+ The action scenes are far better than the previous outing, with a lot more creativity and style

+ The film has a good sense of humour, and the series finally seem to have a handle on Spidey's jokiness from the comics
+ The score by Hans Zimmer is a big improvement over the more generic, forgettable music of the first ASM

+ The Spider-Man costume in this movie is perfect. Just putting that out there...

Cons:

- Even at a long 140 minutes the film feels too crowded with plotlines and characters, with the middle section in particular struggling to juggle numerous story threads

- Jamie Foxx's Electro and Dane DeHaan's Harry Osborn fight for screentime as the film's villains, and as a result Electro gets lost in the shuffle

- A somewhat clunky opening sequence involving Peter's parents goes on too long and gets things started on the wrong foot

- The film's often broad, soap opera drama can feel like it's pulled from a Silver Age comic book (but not in a particularly good way)

- One tiny bit of cheese during the film's climax almost completely derails the film's most major emotional moment (you'll definitely know it when you see it)
- That shoehorned, contractually-obligated X-Men advertisement during the end credits (long story how it got there) played out even worse than I thought it might.

Getting to Know Comics: Entry 2- Daredevil

By Andrew Braid

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 Hey everyone, and welcome back to Getting to Know Comics! In each entry I cover a different popular character in the comic book medium, celebrating what’s made them endure in reader’s hearts and offering a selection of reading recommendations to get people started. In other words, this series is for the casual and uninitiated reader just as much as it is for the hardcore fan who just loves comics!

...You didn’t buy that for a second, did you? Well, um... just trust me on this one, okay? Anyway, let’s take a look at The Man Without Fear, Daredevil!

Cover for Daredevil #62, my personal favorite cover for the character. Because brooding's never looked so cool.

 
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Raised by his boxer father “Battlin’ Jack” Murdock in New York (aka where every superhero lives ever), Matt Murdock is blinded by radioactive waste in a road accident when trying to save the life of an old man. While finding that he can no longer see, his other senses have been hugely enhanced by the accident- his hearing , touch, and smell. Through a combination of these senses he also gains a form of “second sight” called a radar sense. When his father is murdered by gangsters after he refuses to throw a match, Matt trains to become both a respected lawyer of the law and the crime-fighting vigilante of Hell’s Kitchen, The Man Without Fear... Daredevil!

Stan Lee created Daredevil in 1964 among his many demands for writing new characters at the time. Lee initially had concerns as to how people would respond to the idea of a blind superhero, worried that he may unintentionally offend anyone. Much to his relief, response from readers and the blind community was very positive, and Daredevil has remained an ongoing title to this day. Initially wearing a mainly yellow costume (akin to an actual stunt daredevil), the costume quickly changed to the all-red suit we know today. In the early days Daredevil fought a more colorful list of rogues akin to other comics at the time, fiends such as the Owl, Stilt-Man and Leap Frog (I really didn’t make up that last one). Around the beginning of the 70s the title had kind of settled into a status of an “also-ran”, one of Marvel’s lower-tier characters who had fans but kind of just stuck around there. Then, around the end of the 70s a young artist making his way through the comics industry was given a shot at Daredevil, initially beginning as just the artist, and soon later the writer as well. His name: Frank Miller.

 

Okay, cut the angelic choirs, let’s get back to reality. I have many (and I mean MANY) beefs with Frank Miller as a writer. But despite how off-the-rocker he may be, he’s had a huge impact on the comics industry and on Daredevil in particular, singlehandedly skyrocketing the character’s popularity and defining his world and stories for decades to come. Miller infused a series that was once lighthearted and colorful like other Marvel series of the time with his signature noir aesthetic, reinventing Daredevil as a tortured vigilante with a seemingly never-ending spiral of personal troubles. A more Eastern influence pervaded the book, with a focus on the dark and mystical ninja group known as The Hand, who trained the newly introduced character Elektra, a skilled assassin and former college girlfriend of Matt Murdock. Blind mentor Stick was created as a former mentor of Matt who trained him in honing his enhanced senses into fighting ability. Bullseye, a lower-tier character whose main attribute was an uncanny sense of aim, became one of Daredevil’s greatest foes and has haunted old hornhead ever since, having killed not one but two of his major love interests in front of him. But most importantly he took former also-ran Spider-Man villain the Kingpin and turned him into Daredevil’s primary nemesis, the very representation of the overreaching power and calculating evil of the corrupt businessman. Here was a villain who played his hand indirectly, but never from the shadows, rather watching openly from his skyscraper window with a cigar and his best suit. He’s dirty and everybody knows it, but nobody dares touch him. While he and Daredevil have fought each other with their fists more than once, it was usually a battle of wills and wits, a never-ending war between crime and justice that often took place outside the ring.

 

 

Now, I’m going to admit: for the longest time, I just didn’t have much interest in Daredevil. In fact, I seemed to keep avoiding it at every opportunity (and no, it wasn’t merely because the 2003 movie with Ben Affleck was a tonally-jumbled, poorly-acted piece of crap). Honestly, I have no good reason why. It could have been I just didn’t think the character was my cup of tea, I hadn’t really developed any taste for the kind of gritty, noir-style crime drama the series was known for and for decades defined by, my instinctual distrust of Frank Miller... many possible reasons*¹. But when I heard about all the heaps of praise that the recent Daredevil series by Mark Waid had been getting, I felt compelled to check it out, especially being a fan of his run on Fantastic Four. Seriously, at this rate if Marvel and DC really want new readers, they should get Waid to write as many titles as possible, or at least follow his methods, since he knows exactly how to make a comic accessible. Anyhow, judging from all those heaps of praise you can tell I regret my prior line of thinking. Daredevil is just a fantastic, cool, fascinating character. He may not have as big a fanbase as Batman or Spider-Man, but those fans know in their hearts that Daredevil often gets the best stories.

But why is that? Well, it all comes down to what Marvel does best- flawed, human characters. Here’s a character whose superpowers were a true double-edged sword, permanently disabling him but also granting him amazing abilities far beyond most human beings. So when we see Daredevil leap through the air, swing across New York, or perform all the death-defying stunts he does, we have to know it’s just a man, a flesh-and-blood vulnerable human being under that mask and red outfit. But we don’t see that. What we see instead is larger-than-life, something so much more, someone who can seemingly do anything, someone who always finds a way even with staggering odds against him. We see a hero, and that’s before we even get into who he really is underneath all that. I know this all sounds cheesy, and you could apply that kind of statement to any major comic book superhero. But it’s that extra twist to the standard formula, a man who truly sees no fear, which makes Daredevil’s heroics all the more gripping.

The psyche of the man under that mask, Matt Murdock, is where things really get interesting, and speak to the character’s true appeal. An attorney of law, Matt Murdock is the kind of character who stands for justice both in and out of costume, often devoting as much time to the common man’s troubles as he does making a stand against the violent and dangerous men as Daredevil. His determination and frequent stubbornness play into both of his lives, for better and for worse, never backing down from a fight, but often letting his words do the sparring over his fists. He is a man frequently wrought by inner turmoil and tragedy, yet manages to find hope in the end, even if it’s just a silver lining. It is still enough to keep him going, no matter how rough things get (and believe me, I’m hard-pressed to think of any comic book heroes who have had more rough times than Daredevil). He is flawed like any of us, if not more so, yet strives harder than anyone to do what’s right regardless. Characters like Batman are driven near the edge at many points, but Daredevil is a man who seems to perpetually live on that edge, as every force in his life seems to try and push him over it. He’s had his entire life dismantled and destroyed more than once, rebuilding only for all the pieces to almost inevitably fall apart again. But Matt Murdock turns his vulnerability into strength, more fire to fuel his crusades for justice in and out of costume. That is the kind of idea we as human beings desire more than anything, the will to endure, to walk forward without fear.

           

Recommended Reads:

-Daredevil by Mark Waid

Issues #1-36 (ending in February 2014, pending relaunch)

It’s official: Mark Waid may very well be the greatest comic book writer alive. Sure, he may not be quite as intellectual and daringly trippy as Grant Morrison or Alan Moore, but as pure unabashed superhero comics go, there’s no one doing them better than Waid. His writing reminds you why we love comics in the first place: the escapism, the action, the heroics, the emotion, the drama, the humor (oh God, this book is hilarious). But most important is the fun. Taking away the never-ending gauntlets of utter soul-crushing hell that writers have been putting the character through for decades now, Waid allows Daredevil to actually enjoy having his powers. Yes, even though those powers also make him blind, Matt Murdock and his hornhead alter ego actually get to have fun, even when faced with crazy-ass situations. Joined by some of the best artists working in comics today (Paolo Rivera, Marcos Martin, and Chris Samnee to name a few), Waid stretches his finely-honed talent of making any and every issue wholly accessible to new readers, even if it’s right in the middle of an ongoing storyline (seriously, how does he do it?). Waid’s still-ongoing run (I hope Marvel's new relaunch doesn't really mean the end for his time on the title) got me to start reading Daredevil, and I have no intentions of stopping now. 

This. This is why I love comics. (From Daredevil #30)

Also, a while back it won the Eisner Award for Best Continuing Series. Not that awards matter, but in case you don’t know, that means you should REALLY be reading Mark Waid’s Daredevil.

-Daredevil by Brian Michael Bendis and Alex Maleev

Issues #26-50, 56-81, Collected among 3 Ultimate Collection TPB

While Mark Waid’s run got me to start reading Daredevil, it’s Brian Michael Bendis’ award-winning tenure on the title that made me a full-blown fan of ol’ hornhead. Teamed with the outstanding artwork by Alex Maleev, lending the series its rough, gritty yet stunning visual style, Bendis took the series in big new directions, taking chances and telling stories that you’d never see in any other superhero comic. In just a few issues, Matt Murdock’s identity as the Man Without Fear gets leaked to the press, leading to a media blitz that pushes Matt over the edge in all new ways, and that’s not even close to the biggest thing that happens in his life during Bendis’ tenure. Let me reiterate: this wasn’t one of many Marvel “What if?” stories, nor was it swiftly ret-conned like it was for Spider-Man after Civil War. This was a real, in-continuity event that is still haunting the character’s life to this day. Bendis writes the title with a pitch-perfect blend of legal drama, crime noir and hints of humor, resulting in an often gripping action-thriller that makes each story a struggle to put down. And when the villains come out to play, you’d better believe they make the kinds of impressions most writers kill for. Just take a look at this moment from issue 49, where Matt’s newfound love Milla is greeted in the night by his greatest tormentor, Bullseye:

From Daredevil #49

Yeah, Daredevil saves her the very next page, but even so that one page alone minus buildup is intense as all hell, and I don’t think any moment has ever made me really hate Bullseye as much as this one. And that includes the moments where he really DID kill Matt’s girlfriends.

There are many reasons why Bendis’ Daredevil is one of my favorite comic book runs of all time (maybe even my #1 choice), but perhaps the biggest reason why is how it makes you reconsider exactly what mainstream superhero comics are capable of. To avoid spoilers I won’t say much more, aside from this: if you want a liberal helping of crime noir mixed with your superheroes, then Bendis does it best.
*As a bonus note, check out the recently released Daredevil: End of Days, written by Bendis along with fellow Daredevil writer/artist David Mack. It basically acts as a gritty, flashforward coda/ending to the character, pulling heavily from the character's long history. Considering that it's particularly heavy on references to Bendis' own run (and Mack's), I'd recommend it for more hardcore fans once they're better caught up on the character's history. Expect a post in full about the book sometime later down the line.

-Daredevil by Ed Brubaker and Michael Lark

Issues #82-119, 500, Collected among 3 Ultimate Collection TPB

Note: I’ve neglected to show any scenes from Brubaker’s run, since it’s pretty much impossible to find any showcase pages that wouldn’t provide major plot spoilers, both for Brubaker’s run and for Bendis’ run which preceded it. Seriously, there’s so much s*** that goes down.

And I mean a LOT of s***. (Cover for Daredevil #87)

After Bendis’ brilliant, redefining run on the title and the way his run ended, the writer who was put in the unfortunate position of having to follow that up undeniably had their work cut out for them. There was literally zero chance of topping that, and honestly it wasn’t topped. But when you’re Ed Brubaker, a writer who lives and breathes crime and conspiracy fiction, you can give it a damn good try, and the result is a gripping, excellent run in its own right. I can’t risk going into details (again, tons of spoilers), but lets’ just leave it at this: if you read Bendis’ run, definitely follow it up with this one.

-Daredevil: Yellow by Jeph Loeb and Tim Sale

This 6-issue miniseries reteams award-winning writer/artist duo Jeph Loeb and Tim Sale (Batman: The Long Halloween, Superman: For All Seasons) in a telling of Daredevil’s origins and early days, namely inspired by the earliest 60s Stan Lee comics, when the character had his original yellow costume. If you’re looking for a telling of Matt Murdock’s origins, Frank Miller’s The Man Without Fear is also a great choice, and probably more relevant to the character in his more recent stories, but I personally find Daredevil: Yellow is a more entertaining, more powerful story. The biggest reason why is, well, it isn’t really an origin story. Instead, it’s a love story remembered, a look into Matt Murdock’s soul as he remembers the good old days with arguably the greatest love of his life, Karen Page. Sure, it isn’t quite the most cohesive story per se (it’s more a series of thinly-connected chapters and vignettes than it is a fully flowing narrative), but in this case it’s not the plot that matters, but the characters and (more importantly) the emotions. We get a real sense of just how important Karen was to Matt, the impact she made on his life, and how painful her eventual death must have been to him. If Daredevil: Yellow were just a series of early Daredevil adventures re-imagined through Tim Sale’s gorgeous artwork, that would be enough to make it worth reading, and if that’s all you really want then you’ll get your money’s worth, as we get to see ol’ hornhead do daring battle with Electro, the Owl and the Purple Man. But it’s the element that ties it all together, the ever-fascinating emotion of love, that makes this take on Daredevil’s origins something truly special.

Tim Sale: An artist so good he even makes the old yellow costume look cool.

-Daredevil: Born Again by Frank Miller and David Mazzuchelli

I know, this is redundant by now, but I just feel like getting it out of my system. I’ve said it before and I’ll say it again: I am not a fan of Frank Miller. Let me be clear: I was a fan of Frank Miller. He has done some works that have redefined the medium and are undeniably great (Batman: Year One, The Dark Knight Returns, Sin City). But anything he’s done since Sin City after the late 1990s has been, how do I say it...

Oh yeah: awful.

And I don’t just mean the usual kind of awful, the one that you can just shrug off and forget about. I mean the kind of awful that continuously ruins a man’s reputation, enough over time to make readers like me reflexively want to upchuck whenever his name is attached to anything. All that amazing goodwill he’d earned and impact he had on the comics industry? Nope, now it’s just “Goddamn Batman”, numbingly repetitive “noir” dialogue, questionable politics, and a now overwhelmingly obvious inability to write female characters who aren’t prostitutes (heck, this trope’s omnipresent even in his good books).

Okay, I think I’m good. Sorry about all that. Moving on.
 

Thankfully, while he has done unforgivably awful things to Batman in recent years, Miller hasn’t been allowed to write on Daredevil again for over 20 years now, meaning he hasn’t gotten a chance to undo all the great, character-defining stuff he did on the book which made him an industry name in the first place. And while not perfect, Daredevil: Born Again is his defining Daredevil tale, the one that set the standard for how to push Daredevil through living hell, and more importantly how he gets back up again. Reintroducing former flame Karen Page as a heroin junkie prostitute (gee, big surprise, Frank), the Kingpin learns that Daredevil is Matt Murdock, and relishes in destroying his nemesis thoroughly and completely. The part that really pushes the book over the top and a big reason why it still holds up is the fantastic artwork of Miller’s Batman: Year One collaborator David Mazzuchelli. His detailed, noir-flavored visual flair synchs perfectly with the material, and features many panels that are just flat-out iconic. This is still seen by several fans as the defining Daredevil story, and while I’ve liked other hornhead stories better, it’s easy to see why Born Again has such a strong reputation.

Also, this page. Just... just this page.

Also Check Out: Frank Miller (#158-161, 163-191), Daredevil: Guardian Devil (by Kevin Smith and Joe Quesada), Daredevil: The Man Without Fear (by Frank Miller and John Romita Jr.)

What to Avoid:

-Daredevil: Shadowland

You don’t even have to have read Shadowland or any of the other titles wrapped up in this recent and best-left forgotten event series to know it’s bad. This series screwed over Daredevil so bad that it necessitated Mark Waid’s current, more lighthearted re-launch if the character were to recover his credibility. It only takes a one-sentence summary of the basic plotline to understand why fans tend to hate this story, and why Marvel gladly did their best to pretend it never happened. Here goes:

Daredevil gets possessed by a demon.
 No, really, Daredevil gets possessed by a demon.

I don't care how many ninjas you add behind him, it's still a dumb idea.

That’s literally the plot of this entire event series. That and he kills a bunch of people, including Bullseye. Because that's what you do when you need to push a purposely street-level hero character "over the edge" for the sake of having him go on murderous rampage (also not a good direction for most hero characters, as Hal Jordan fans can attest)- you involve freakin' demonic possession. I mean, it's not like there are plenty of other non-supernatural ways to drive Daredevil over the edge for the sake of a big story. It's not like he already straddles the whole "over the edge" thing constantly as it is. I dunno, but really, do you even need to bother reading the actual story to know it’s a dumb, ill-conceived idea for a Daredevil story, let alone a major multi-title spanning event series?

-Daredevil: Season One

I know, I know, broken record and all that jazz, but in this case, it’s not just that the Season One line so far is pretty lacking in inspiration or new twists to these old origin stories (though I like what I see of Hulk: Season One and Doctor Strange: S1, and Avengers: S1 is pretty solid). No, in this case the book’s major crime is just not being good. This more than any of the other books in the line so far feels redundant, particularly since the previously featured Daredevil: Yellow is literally the SAME FREAKIN’ STORY. I swear, multiple scenes play out in far too similar fashion, with multiple lines repeated nearly verbatim. They do the scene of Daredevil getting vengeance on his father’s killers, they do the fight with Electro, they even copy the scene where Daredevil saves a kidnapped Karen from the Owl, and the plot beats play out with virtually no difference! This would be forgivable if the book didn’t come off as so boring, joined by competent yet fairly dull artwork that’s completely steamrolled by Tim Sale’s beautiful panels for Yellow. And once again, this Season One book comes with the first issue of the current ongoing run, in this case Mark Waid’s Daredevil. Because nothing makes a weaksauce book worse than having it come packaged with a tease of the far better (and cheaper) book you could have bought instead.

I'm already yawning just looking at this.

Thanks again for tuning into Getting to Know Comics! Next time we take a look at the one, the only, the Dark Knight himself: Batman!

*¹: But mostly that last one.