SUPERMAN/BATMAN: APOCALYPSE DVD Review
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.