Now here’s my Apocalypse review hot off the presses. Again, beware spoilers!
Whatever they say about the decline of video stores, quite a lot of people seemed to be renting Superman/Batman: Apocalypse in the day or two after its release. I went there Wednesday (it came out Tuesday, I think) and there were plenty of shelf cards representing checked-out copies, but the only remaining copy in the store was lost in the piles at the checkout desk. It took some time for the clerk to unearth it.
So was it worth it? Well, more so than its predecessor Public Enemies was. The story had potential, but the execution was superficial. It jumped from set piece to set piece without a lot of analysis or character exploration. For instance, it never explains why, if Kara was launched from Krypton at the same time Kal-El was, she’s younger than he is now. I think I read that in the comic, it was explained as some kind of kryptonite-induced stasis, but the movie skips over the question altogether (not to mention the question of how she could hitch a ride on a kryptonite asteroid and even be alive).
Also, when a large “meteorite” crashes in Gotham Bay and sends a tidal wave into the city, how come the only person who investigates the impact site is Batman? Where are the police and the military?
As with the previous S/B movie, the characters don’t show a lot of intelligence. As Batman was chasing Kara, it was pretty obvious that she was confused and afraid, trying to run away rather than attack, but Batman treated her like a common thug. That’s weak. Batman’s a keen observer of human(oid) behavior. He should’ve recognized that the best way to handle her was to calm her down, not scare her more. But no, Batman’s role in this story was to be the “bad cop,” the one who didn’t trust Kara, and he wasn’t allowed to have any more dimension than that, even if simple common sense had to take a hit.
And then you have the silliness of Wonder Woman and her Amazons trying to take Kara by force for training rather than just talking to her good friends Clark and Bruce and convincing them that some training on Themyscira would be good for the kid. This is the same problem Public Enemies had — all the characters defaulting to brawn over brain at the drop of a hat.
Too many ideas are crammed in and make it feel cluttered; maybe it worked better in the comic, but with a Jeph Loeb story, I can’t be certain. Like, why would Darkseid clone an army of Doomsdays? And why would he clone them so badly that the Inverse Ninja Rule was in full force? The original Doomsday was an unstoppable force, an enemy Superman couldn’t defeat except by sacrificing himself. Here, Superman takes out a whole horde of Doomsday clones with very little effort, and even Batman is able to kill a few (which raises some awkward questions about Batman’s characterization, even allowing for the “they’re not really alive” dodge). If the role of these entities was merely to be a bunch of mooks for the heroes to take down en masse, isn’t it overkill, as well as a non sequitur, to use Doomsday clones? Wouldn’t Parademons have been a better choice?
And I would’ve liked more exploration of how Kara was subverted by Darkseid — and how she was brought back. For a while, it seemed that Kara had switched over willingly, as a perhaps understandable response to how she’d been treated on Earth, an act of teenage rebellion against authority. That would’ve made sense and been interesting. But instead, after her rescue, she wakes up and is instantly back to normal, suggesting that the whole thing was just brainwashing and rendering it all meaningless from a character standpoint (not to mention, how did they deprogram her??).
Moreover, how did Darkseid even know Kara had arrived on Earth, let alone what her name was? And hang on — Darkseid not only knows that Superman is Clark Kent, but knows where his family lives?? If that’s so, why are the Kents even alive? Darkseid’s totally the kind of guy who’d bump them off just to hurt Superman. The illogic here reminds me of the early Power Rangers shows, where the villains are the only people who do know the heroes’ secret identities, yet somehow never try to kill them in their sleep.
(And is it me, or did the Smallville sequence pretty much copy the Smallville TV series’ design for the Kent farm and its main house? It definitely copied the “Creamed Corn Capital” sign from the show.)
The greatest strengths of this movie are the animation and direction. There’s some truly spectacular action here; director Lauren Montgomery has a real flair for that, as well as a real flair for character animation. There was some marvelously imaginative fight choreography. (I particularly liked a move where Wonder Woman caught Lashina’s lash, wrapped her foot around the cord, and stomped down to pull Lashina off-balance.) And the animation, by Moi Animation Studio in Korea (who also did Montgomery’s Wonder Woman movie and worked on Avatar: The Last Airbender), was significantly better than in Public Enemies.
The character designs were based on Michael Turner’s work in the comics, so I didn’t expect to like them much; the way he drew women was creepy to me, with disturbingly pale eyes and anorexic figures. But while the female designs here reflect elements of his style, they come out much better-looking than they do on the comics page. I particularly like Wonder Woman’s and Barda’s designs here. However, the Turner-styled male characters look kind of odd, particularly Superman, whose eyes and lips are oddly effeminate here. And the character design on Darkseid is the worst version of him I’ve ever seen.
As for the voice work, Tim Daly and Kevin Conroy are their usual stalwart selves as Superman and Batman. Susan Eisenberg has really matured into the role of Wonder Woman; her vocal performance here conveyed far more power and majesty than it did in Justice League/Unlimited, though I’m not crazy about versions of WW that stress her martial side to the detriment of her nurturing/diplomatic side. Ed Asner’s Granny Goodness was more hard-edged and toned-down than it was in the DCAU, and thus less interesting.
And the newcomers? My reaction to Summer Glau as Kara was mostly positive, but not completely. In normal conversation, her delivery’s a little flat, which isn’t ideal for a vocal performance. But in Kara’s more emotional moments, I felt Glau did an excellent job, showing a good deal of range. And she’s very, very good at exertion grunts, an important skill for an actor in action animation. Maybe it’s because she’s such a skilled physical performer that the vocalizations associated with physical exertion and strain sound so convincing from her. (I’d be curious to see video of her recording sessions. I wonder if she acted out some of the motions.)
The great disappointment here was Andre Braugher as Darkseid. Braugher’s an impressive actor with a strong voice and presence, so I was surprised that his version of Darkseid came off as kind of a lightweight. He didn’t seem to be putting a lot into it, just generally being Andre Braugher rather than bringing anything specifically Darkseidish to it (like deepening his voice or speaking more slowly). Maybe it’s just that Michael Ironside’s Darkseid is such a hard act to follow, but this just didn’t do it for me.
So overall, it’s worth it for the returning cast members, for Summer Glau, and for Lauren Montgomery’s top-notch action direction. Just don’t expect much plot or character logic.
I wanted to review the new Superman/Batman: Apocalypse DVD movie, but first I want to repost the review I wrote elsewhere for the film it’s a sequel to, Public Enemies, plus my review of the original comic thereof. These films reunite DC Animated Universe cast members including Tim Daly as Superman, Kevin Conroy as Batman, and others, but are in a separate continuity, adapting the Superman/Batman storylines from the comics. Beware spoilers!
Finally saw the movie. The story is just as ridiculous as I’ve heard. Superman is grossly out of character. I don’t care how much he dislikes Luthor, he would obey the law and respect the office of the President of the United States. The idea that you can disregard the authority of an elected president just because of personal dislike is the way Rush Limbaugh thinks, not the way Superman thinks. Okay, granted he was in danger from the kryptonite in Metallo, but still, he resorted to violence way too readily. Superman obeys the law. All Luthor had to do was, say, issue an executive order banning him from using his powers, or get the INS to deport him as an illegal alien, and Superman would’ve followed the law. Sure, he might have hated the idea of Luthor as the president, but he would’ve responded within the system the way a good American citizen would, through political activism and voting, not by beating up the US government’s duly deputized enforcers. At most, I could see him engaging in civil disobedience a la Dr. King or Gandhi, refusing to follow the policies enacted by Luthor but not fighting back when they came to arrest him. I mean, it’s Superman, the living symbol of truth, justice, and the American way. People would rally to him. He could build up a whole massive political movement that would tie Luthor’s hands. He could stir up support for impeachment hearings in Congress.
Pretty much everyone in the story defaults to fighting rather abruptly and with little justification. The characters are way too broad and caricatured. Luthor in particular is pitifully portrayed, becoming a joke as he descends into krypto-steroid-induced madness. Even with Clancy Brown doing the voice, this ranks down with the Luthor in Brainiac Attacks for sheer lameness.
The whole thing’s irritatingly macho, too. Not just the instant resort to fighting, but the fact that virtually all the female characters were marginalized aside from Power Girl, who comes off as rather passive and indecisive and is largely just there to show off her bust, and Amanda Waller, who’s kind of a strong character here but is undermined by the sheer grotesqueness of her character design.
In fact, all the character designs were pretty unappealing. Everything about them was taken to ridiculous excess — excessively huge muscles, excessively huge bosoms, excessive obesity, excessively spiky anime hair, whatever. It didn’t look very good. And the heroes were so encumbered by their preposterously overinflated muscles that their movements were rather stiff (and the morbidly obese Waller was no better off). It’s a bad design style for animation. Maybe a really good animation studio could’ve done more, but the Korean studio (Lotto Animation, apparently) that animated this did only a workmanlike job.
Oh, and it turns out there’s air in space. The kryptonite asteroid’s slipstream was animated as though it was undergoing atmospheric resistance and turbulence, and Superman’s cape was flapping in the breeze while he was in space.
Interestingly, Daly was playing Superman deeper-voiced and tougher than in the DCAU, while Brown was playing this version of Luthor with a lighter delivery — but Conroy’s Batman was the same as it’s been for a dozen years. Well, why mess with what works? I also enjoyed hearing Alan Oppenheimer’s brief turn as Alfred, and earlier as the general appraising Luthor of the asteroid. CCH Pounder as Waller was good to hear again, though she didn’t come across anywhere near as strong and intimidating as the DCAU’s Waller. Otherwise, the parts were mostly too small to say much about the performances.
It was good to hear Conroy, Daly, and Brown together again. But that’s the only really worthwhile thing about this one, and it’s disappointing that the reunion of these three definitive performers is such a bad movie overall.
Well, I just happened to come across a copy of the Public Enemies trade paperback in the bookstore, so I read it out of curiosity. And it gives me a little more respect for the movie.
There are some ways in which the comic is better. I quite liked the opening pages telling Superman’s and Batman’s origin stories in parallel from their own POVs, both visually and in narration. The ongoing dual narration throughout is fairly interesting. And I owe Ed McGuinness a bit of an apology, since his Power Girl isn’t quite as top-heavy as the movie’s version.
In many respects, though, the movie handles things better. It drops the random tangents like the older Superman coming back from the future to kill his past self (huh?) and Luthor trying to distract Batman by planting evidence that Corben killed the Waynes (even though he doesn’t know Batman is Bruce Wayne, so there’s no possible reason why he’d think that would preoccupy Batman unduly). And it makes the Metallo fight more integral to the story rather than just a random incident.
While the movie does a poor job setting up the events that lead to the bounty on Superman, the comic does even worse. Luthor just claims out of nowhere that the meteor is something Superman brought down deliberately to wipe out Earth? As if anyone would possibly believe that? Okay, it’s an obvious pastiche of Bush and the alleged Iraqi WMDs, but it doesn’t wash. Lying that a known dictator has WMDs is at least credible, but claiming that Superman is out to destroy the world? Why would anyone believe that for a second? It made much more sense in the movie — Luthor frames Superman for murder and even explains the change in his behavior by invoking kryptonite-induced insanity. And since it didn’t really make a lot of sense in the movie, that makes the comic’s version look even more arbitrary and absurd.
And while I found the movie’s Power Girl to be a relatively passive character, she’s given a much more substantial and active role in the movie than in the comic. The same with Waller, who in the comic was merely a minor player in Luthor’s administration and ended up under arrest at the end, but who in the movie was a stronger counterbalance to Luthor and ended up turning on him, IIRC. So while I felt the movie was lacking in a strong female presence, the comic was far worse.
The movie also made better use of the gimmick of Superman and Batman disguising themselves as Captain Marvel and Hawkman. In the movie, they actually use those disguises to let them infiltrate Luthor’s base of operations. In the comic, there’s a passing reference that they were going to use the costumes that way, but then they just end up storming the White House by force, so the costume switch is totally without purpose.
Still, there’s plenty of stuff that’s equally stupid in both versions. The rocket, for one thing. And the whole “billion-dollar bounty” thing. Does the President even have the legal authority to issue such a bounty? Even if he does, unless Luthor’s drawing from his own fortune, I doubt he could get Congress to allocate tacking a billion dollars onto the federal budget. And would convicted or escaped criminals be eligible to collect such a bounty?