Month: September 2022

Today’s quick review: Superman/Batman: Apocalypse. Superman (Tim Daly) meets a long-lost member of his family when his cousin Kara Zor-El (Summer Glau), a fellow survivor of the destruction of Krypton, lands on Earth. With the help of Batman (Kevin Conroy) and Wonder Woman (Susan Eisenberg), Superman helps her get accustomed to her new home. But Kara is forced to fight for her life when the tyrant Darkseid (Andre Braugher) tries to abduct her.

Superman/Batman: Apocalypse is an animated superhero movie from DC. A loose sequel to Superman/Batman: Public Enemies, Apocalypse covers the arrival of Supergirl on Earth. The movie manages to tell a cohesive story while still showing off a wide section of the DC Universe, including Gotham, Metropolis, Paradise Island, and Apokalips. Coupled with a full complement of action, this makes Apocalypse a solid pick for anyone looking for a bit of adventure.

Superman/Batman: Apocalypse stitches together a satisfying story from disparate parts. The heart of the story is Kara, a young woman looking for her place in an unfamiliar world. Her personal struggle to control her powers and adapt to life on Earth is complemented nicely by the physical struggle against Darkseid. The setup also leads to some impressive action sequences that show off the powers of Kara, Darkseid, and his Furies.

Superman/Batman: Apocalypse is a well-crafted movie that delivers exactly what it promises. No single facet of the movie stands out, but its balance of plot, character, and action will appeal to anyone who enjoys the more colorful side of the superhero genre. Viewers who dislike the DC style will want to steer clear, as will those hoping for something groundbreaking.

For another DC animated movie done in the same style, try Superman/Batman: Public Enemies. For an alternate take on Supergirl’s origins, try Superman: Unbound. For a Superman story with even more outlandish situations, try All-Star Superman. For more with Wonder Woman and Paradise Island, try either the animated Wonder Woman movie or Wonder Woman: Bloodlines. For a grislier confrontation with Darkseid, check out Justice League Dark: Apokalips War.

7.1 out of 10 on IMDB. I give it a 7.0 for solid craftsmanship.

Today’s quick review: Heavenly Sword. For years, a clan of nomads has protected the Heavenly Sword from those who would use its power for evil. Nariko (Anna Torv), the daughter of Master Shen (Nolan North), was meant to be the Chosen One, destined to use the sword to defeat King Bohan (Alfred Molina). Instead, she escapes Bohan’s army with the help of Kai (Ashleigh Ball) and goes to deliver the sword to Loki (Thomas Jane), Shen’s long-lost son.

Heavenly Sword is an animated fantasy action movie based on the video game of the same name. The story follows a warrior on her quest to save the world from an evil king. Although the premise is generic, Heavenly Sword has the makings of a solid fantasy movie. Its setting, art design, and backstory all show care, and they give the movie useful tools to work with. However, a clumsy script and flawed action put a serious dent in the movie’s appeal.

Heavenly Sword has a hard time with basic storytelling. The movie is fond of plot twists but does a poor job of setting them up, making the story feel arbitrary and rendering character deaths meaningless. The story skips from place to place without a clear sense of progression, and the motivations of the characters are often misaligned with the situations they are in. The script is also saddled with some dubious lines of dialogue.

For all of these faults, Heavenly Sword still brings something to the table. The world isn’t fully developed, but it has interesting character designs and a knack for visual detail. The CGI animation is sprinkled with 2D flashbacks with a more dynamic art style, which do a good job of setting up the conflict. And while the action suffers from a tendency to make up the rules as it goes along, the solid fight choreography makes it a partial success.

Heavenly Sword is a movie that fails to live up to its considerable potential. It should appeal to fans of over-the-top action, imaginative fantasy worlds, and classic battles between good and evil. But Heavenly Sword repeatedly makes mistakes with its action and storytelling, turning what should be an action-packed epic into a confusing slog. Curious viewers may still want to give it a try, but most are better off skipping.

Check out Final Fantasy VII: Advent Children for a CGI-animated movie with sharper action and a more gorgeous world. For a similar flavor of CGI action with a sci-fi setting and a more developed story, check out Appleseed or Appleseed Ex Machina. For flawed animated fantasy action in a similar vein, try Lady Death.

5.3 out of 10 on IMDB. I give it a 5.5 for a decent setting and backstory hurt by a weak script.

Today’s quick review: Lady Death. Hope (Christine Auten), the daughter of Lucifer (Mike Kleinhenz), only wants to live a peaceful life with her beloved Niccolo (Chris Patton). But when her father steals Niccolo’s soul and tricks her into going to Hell, Hope swears revenge. Using the power she inherited from her father, she remakes herself as Lady Death, a powerful warrior, and leads Lucifer’s own armies in an attempt to overthrow him.

Lady Death is an animated fantasy movie based on the comic of the same name. The movie follows its heroine as she turns Lucifer’s power against him in a battle for control of Hell. Lady Death aims to be epic fantasy with a horror flavor to it. But in spite of a suitably over-the-top premise, the movie does not have much to set it apart. Flat characters, stiff animation, and a predictable story keep Lady Death from holding more than passing interest.

Narratively, Lady Death does not have much to offer. The story begins with a generic setup and never develops into anything unique. The plot is linear, with only one or two brief detours on Hope’s journey to confront Lucifer, and there are no twists to keep the audience hooked. The script does a poor job of establishing the specific rules of the universe, although the broad strokes are still enough to tell a cohesive story.

Visually, Lady Death runs into similar problems. Aside from a few racy character designs and a bit of gore, the art style is not very distinctive, with plain demon designs and a relatively safe conception of Hell. The animation suffers from an odd issue where characters tend to move at constant speeds, which causes thier movement to feel static. The action as a whole feels limited, never showing the creativity or the dynamism it needs.

For all of these faults, Lady Death still manages to be a passable watch. There is a fair amount of action, the basics of the plot are sound, and the places where the movie tries to forge its own identity are generally successful. But Lady Death doesn’t go far enough to differentiate itself, instead falling back on generic character types and story beats. The end result is a mediocre movie that even interested viewers will find easy to skip.

For an animated fantasy action movie with a similar premise and more style, try Bayonetta: Bloody Fate. For a better-developed world of horror and demons, check out Constantine or Constantine: City of Demons. For an animated fantasy action movie with a similar premise and more style, try Heavy Metal. For a live-action fantasy movie with a similar plot and shakier execution, try BloodRayne.

5.3 out of 10 on IMDB. I give it a 6.0 for a decent setup with mixed follow-through.

Today’s quick review: Superman/Batman: Public Enemies. When Lex Luthor (Clancy Brown) becomes the President of the United States, Superman (Tim Daly) and Batman (Kevin Conroy) suspect he has ulterior motives. Their supsicions are confirmed when Luthor frames Superman for murder and dispatches a team of government-sanctioned superheroes to arrest him. Meanwhile, the Earth faces destruction from a Kryptonite meteor hurtling toward it.

Superman/Batman: Public Enemies is an animated superhero movie based on the DC comic. Batman and Superman must team up to clear Superman’s name, reveal the truth about Lex Luthor, and save the Earth from impending doom. Public Enemies is a bread-and-butter superhero adventure that draws from DC’s large roster of heroes and villains. The movie has an interesting setup and some decent action, but its story is not as compelling as it could be.

Superman/Batman: Public Enemies gets the basics of the superhero genre right: colorful characters, high stakes, and flashy fights. Having Lex Luthor in a position of authority puts a nice spin on the usual dynamic between him and Superman, while a cavalcade of villains and misguided heroes keeps Superman and Batman on the defensive for most of the film. For fans of the genre who just want something simple, Public Enemies is a fine pick.

Even so, Public Enemies makes some mistakes. The logic of the story doesn’t hold up to close scrutiny, even by the lax standards of the genre. The plot flies by the seat of its pants, with promising hooks like Luthor’s secret plan or the framing of Superman that never go anywhere interesting. And while the action works well enough, it’s not as sharp or as creative as DC’s later animated offerings, and its extended cast leaves less of an impact.

Superman/Batman: Public Enemies gets enough right to be worth a watch for fans of the superhero genre. The movie lives up to its promise of a light adventure centered around Superman and Batman, and viewers who are just want a bit of action will find what they’re looking for. But Public Enemies is missing the vision and the cohesion needed to make the most of its ideas, leaving it a step or two below DC’s best.

Check out Superman/Batman: Apocalypse for another movie in the same vein. For an animated movie focusing on Superman, try Superman: Unbound, The Death of Superman, or Reign of the Supermen. For one centered on Batman, try Son of Batman, Batman vs. Robin, or Batman: Bad Blood. For a more dramatic live-action team-up between Superman and Batman, try Batman v Superman: Dawn of Justice.

7.2 out of 10 on IMDB. I give it a 6.5 to 7.0 for decent story and action.

Today’s quick review: Justice League: Doom. The Justice League faces a series of devastating attacks when their greatest foes unite under the leadership of Vandal Savage (Phil Morris), an immortal mastermind, to form the Legion of Doom. Still reeling from the attack, Batman (Kevin Conroy) must rally the rest of the League (Tim Daly, Susan Eisenberg, Nathan Fillion, Carl Lumbly, and Michael Rosenbaum) to stop Savage’s master plan.

Justice League: Doom is an animated superhero movie that sees the Justice League go up against their fiercest rivals. Doom puts a new spin on a classic heroes-versus-villains setup by having the Legion of Doom target the League directly, laying traps for its members that prey on their psychological and physical weaknesses. What follows is a pure superhero adventure that makes good use of its characters and delivers plenty of high-stakes action.

The premise of Justice League: Doom gives it a sturdy foundation to build on. The concurrent attacks against the League vary up the action and keep the tension high. They also serve as showcases for each member of the League, showing off their powers, personalities, and villains. The story is tied together nicely by the mystery of how the Legion coordinated their attacks, as well as the looming threat of Vandal Savage’s ultimate plan.

Justice League: Doom is a solid superhero movie that is sure to please fans of the genre. Doom uses a relatively simple premise to good effect, with plenty for each character to do and a high degree of craftsmanship throughout. There are a few logical inconsistencies that will irk some viewers, but otherwise Justice League: Doom makes no real mistakes. Give it a shot when you’re in the mood for fun action wrapped around a well-structured plot.

For a Justice League movie of similar caliber that’s set in the same continuity, try Justice League: Crisis on Two Earths. For another well-crafted superhero movie from DC, check out The Death of Superman.

7.5 out of 10 on IMDB. I give it a 7.0 to 7.5 for a superhero adventure done right.

“It doesn’t matter.” —Owlman

Today’s quick review: Justice League: Crisis on Two Earths. Lex Luthor (Chris Noth), the last survivor of the Justice League, travels to an alternate Earth to enlist its heroes to fight the Crime Syndicate, the villains who have conquered his world. Superman (Mark Harmon), Batman (William Baldwin), and Wonder Woman (Vanessa Marshall) set out to stop the Syndicate before they can construct a bomb capable of destroying every possible universe.

Justice League: Crisis on Two Earths is an animated superhero movie that pits the Justice League against their villainous counterparts from an alternate universe. Ultraman (Brian Bloom), Superwoman (Gina Torres), and Owlman (James Woods) lead a brand new team of villains with lofty ambitions and a weapon that threatens all of reality. Crisis on Two Earths takes a simple premise and executes it well, whipping up a fun adventure with plenty of action.

Crisis on Two Earths is the superhero genre at its purest. The premise is a clear-cut conflict between good and evil with a classic sci-fi setup. The script is rock-solid, working in plenty of characterization without slowing down the main plot. The tone hits a sweet spot: mature enough to have real stakes, but light enough to be a breezy watch. The whole thing is topped off with well-choreographed action that shows off each character’s skills.

Justice League: Crisis on Two Earths is an excellent pick for fans of the superhero genre. It is a self-contained adventure that shows off the heroism, the creativity, and the action of the DC Universe. Critics of the genre may find it a little simplistic, but anyone willing to suspend their disbelief will be treated to a well-told story that’s easy to follow and has a good payoff.

For an alternate version of the Justice League in a darker story, try Justice League: Gods and Monsters, Superman: Red Son, or Justice League: The Flashpoint Paradox. For more bread-and-butter superhero action, check out Justice League: War or Justice League: Throne of Atlantis.

7.3 out of 10 on IMDB. I give it a 7.0 to 7.5 for great fundamentals.

Today’s quick review: Heavy Metal. In a surreal future, the Loc-Nar (Percy Rodriguez), a green orb embodying pure evil, shows a girl (Caroline Semple) visions of its influence over many worlds. Its tales include a cab driver (Richard Romanus) caught in a web of intrigue, a teenage boy (John Candy) transported to a barbaric world, and a warrior woman fighting against a mutated warlord (Vlasta Vrana) for the future of humanity.

Heavy Metal is an animated fantasy anthology based on the magazine of the same name. Heavy Metal tells eight tales loosely connected by the corrupting presence of the Loc-Nar. The stories range from absurd sci-fi comedy to epic post-apocalyptic fantasy, but they are all set in outlandish worlds brought to life by intricate animation. The film’s creativity and craftsmanship are enough to make it a cult classic, but its content will alienate some viewers.

Heavy Metal goes all-in on sex and violence. Several of the shorts have explicit nudity, and nearly all of them include gore of one form or another. Unlike other movies that dabble in mature content, Heavy Metal includes these elements for their own sake, rather than for a specific story purpose. The film’s lascivious and bloodthirsty content, its grotesque animation, and the nihilistic bent to several of its stories are all steep barries to entry.

But underneath Heavy Metal’s gritty exterior is a bizarrely compelling movie. Many of the stories seem pointless, but others have real payoff in terms of action, comedy, or speculation. Each world is crafted with care, whether it’s an overcrowded New York, a futuristic space station, or an apocalyptic wasteland. The art style is frequently ugly, but it can also be beautiful, with richly detailed backgrounds and some truly impressive animated sequences.

Heavy Metal will not be for everyone. The grungy tone of the stories and art, the naked escapism of some of its stories, and the disjointed overarching plot will make the movie a non-starter for a large swathe of viewers. But those willing to embrace—or at least look past—its quirks will find that it has something special to offer. Fans of the weird and outrageous side of the sci-fi and fantasy genres should give it a shot.

For a comedic sci-fi adventure with similar plot elements, check out The Fifth Element. For a violent action movie set in a future where life is cheap, try Judge Dredd. For an animated fantasy movie with similar appeal, try Rock & Rule or Wizards. For an animated sci-fi movie with a rough exterior that masks a heartfelt world, check out Redline.

6.7 out of 10 on IMDB. I give it a 6.5 to 7.0 for impressive craftsmanship and polarizing content.

Today’s quick review: Rock & Rule. Mok (Don Francks), a rocker with mystical powers, needs only one more thing to summon a demon from another dimension: a singer with a perfect voice. He finds what he’s looking for in Angel (Susan Roman), an aspiring rock star, and forces her to go along with his plan. But Mok gets more than he bargained for when Angel’s bandmates Omar (Paul Le Mat), Dizzy (Dan Hennessey), and Stretch (Greg Duffell) try to save her.

Rock & Rule is a rock-and-roll-themed animated fantasy movie set in a dystopian future. The movie pits an upstart band against a rock legend who has set his sights on unlilmited power. Rock & Rule features a lavish and original world where music takes center stage, and its story is peppered with songs from Cheap Trick, Debbie Harry, and Lou Reed. But in spite of a promising setup, the film’s idiosyncrasies make it something of a niche pick.

Rock & Rule has the makings of a great rock musical, but some of its choices hold its back. The story is a bare-bones struggle between good and evil, with a minimum of plot and no real reward for investing in the characters. The art style is loose and exaggerated in a way that some viewers will find unappealing. The music works well enough, but it never drives the movie the way it is meant to, and there are no standout hits to act as payoff.

How much you get out of Rock & Rule will depend heavily on taste. For the right viewer, the setting, the art style, and the music will make it a unique experience that blends bread-and-butter fantasy with a rock-centric aesthetic. But most viewers will find that it’s missing something, whether in terms of its visuals, its soundtrack, or its story. Rock & Rule has true potential, but much of it goes untapped.

For an animated fantasy movie done in an even more exaggerated style, try Wizards. For an animated, album-length music video with a similar plot, check out Interstella 5555. For live-action science fiction with a similar setting, try Escape from New York. For a lavishly animated sci-fi movie with a bizarre world and a heavy emphasis on its soundtrack, check out Redline. For a rock-and-roll parody, check out This is Spinal Tap.

6.6 out of 10 on IMDB. I give it a 6.0 to 6.5 for a creative vision with mixed execution.

Today’s quick review: Superman: Red Son. During the Cold War, the appearance of Superman (Jason Isaacs), an alien with incredible abilities, tips the global balance of power in favor of the Soviet Union. The United States turns to Lex Luthor (Diedrich Bader), a brilliant scientist with no scruples, to come up with a weapon capable of defeating him. Meanwhile, Superman wrestles with the moral challenges of turning the USSR into a utopia.

Superman: Red Son is an animated superhero movie that offers an alternate take on Superman, showing what would happen if he had been raised in Soviet Russia rather than the American heartland. Red Son tackles a broader range of ideas than most superhero stories, not only reimagining the DC Universe and tying it to the Cold War, but addressing broader political questions. The movie’s solid writing and creativity make it an interesting watch.

Superman: Red Son sets up a moral battle between two polar opposites: Superman, an idealistic man who becomes a tyrant in the name of prosperity, and Lex Luthor, a pragmatist who nonetheless becomes a champion for individual freedom. The conflict between the men’s ideals and their methods gives the story unusual depth for the genre. At the same time, Red Son packs enough classic Superman action to keep fans of the genre satisfied.

Even with these strengths, Superman: Red Son will not be what everyone is looking for. The alternate world skews dark in places, and there are no moral paragons to root for. The story is paced oddly, taking place over the course of decades as Superman and Lex grow and shift tactics. The emotional arc of the movie is underdeveloped. And while the adaptation is generally accurate to the comic, die-hard fans will find that it makes a few key changes.

None of these issues keep Superman: Red Son from being an interesting thought experiment, but they do cut into its enjoyability as a story. Fans of the genre who are looking for something a little more thoughtful should give it a shot. Those hoping for more all-out action or a richer, more emotional story may want to temper their expectations.

For a more straightforward story featuring some of the same villains, check out Superman Unbound. For another tyrannical, alternate take on Superman, check out Justice League: Gods and Monsters. For a different exploration of Superman’s character, try Superman vs. The Elite. For a live-action superhero movie that deals with the morality of war, check out Wonder Woman.

6.3 out of 10 on IMDB. I give it a 6.5 to 7.0 for a rich story with a few flaws.

Today’s quick review: Justice League Dark: Apokolips War. As Darkseid (Tony Todd) plots the conquest of Earth, Superman (Jerry O’Connell) leads Earth’s heroes on a pre-emptive strike against Apokolips, Darkseid’s nightmarish home. But when the assault fails, the Earth falls to Darkseid and the surviving heroes are left battered and broken. In a last-ditch effort, a depowered Superman turns to John Constantine (Matt Ryan), a cynical sorcerer, for help.

Justice League Dark: Apokolips War is an animated superhero movie that concludes the story arc begun in Justice League: The Flashpoint Paradox. True to its name, Apokolips War is a darker take on the DC Universe, showing the grisly outcome of the League’s last stand against Darkseid. High stakes and an expansive cast make the movie a suitable finale for a long-running story, but its dark tone and erratic plot will not sit well with some fans.

Tonally, Apokolips War takes things farther than almost any other animated movie from DC. Explicit gore, devastating setbacks, and a willingness to burn the status quo to the ground all contribute to a much heavier watch than usual. The movie also plays fast and loose with the rules of its universe, exploring interesting ramifications of its characters and their powers at the expense of the consistency and sense of proportion found in other films.

The upshot of all of this is that Apokolips War has a very large sandbox to play in. The cast numbers in the dozens, and the movie has enormous freedom to wrap up their stories or cut them short as it sees fit. Apokolips War offers up creative, albeit bleak, twists on the usual character dynamics, and the scope of its action is impressive. Even the darker tone is offset by the heroes’ determination and the story’s forward momentum.

Justice League Dark: Apokolips War will be a polarizing movie. Many viewers will find it to be more violent than they want, while others will dislike the way it changes its rules as it goes along. But in spite of these issues, the scale of the movie and the boldness of its ideas will appeal to fans who prefer climactic struggles to safer superhero movies that preserve the status quo. Those interested should approach with caution.

For a similarly climactic live-action superhero movie, check out Avengers: Infinity War and Avengers: Endgame. For the origins of the overarching story arc, see Justice League: The Flashpoint Paradox and Justice League: War.

7.8 out of 10 on IMDB. I give it a 7.0 for bold ideas and action on a large scale; your score will vary.