Wonder Woman Beach Workout

Saw this on Google Pl;us and Had to Share!!!

JLA Trapped in Time review and more

Just watched this online. Great story. The animation and voices were a bit of a throw back to the 1970s/80s Super Friends.

In case you did not get this the animators had Wendy & Marvin walking Super Dog - or at least their clones as extras. And the entire Time trapper character seems like one of the old Super Friends villain of the week. DC has never been a great story teller when it came to Fantasy - at least not on TV or Film.

The lighter story telling clearly designed for younger audience is focused around some young super heroes in training - Karate Kid and Dawn Star (on the cover art to the right - that is not Hawk Girl). No Mr. Miyagi present...

In the prologue, Lex Luthor and the Gang - all looking more cartoonish than the past 20 years of animated DC TV and video - are trying to Dry up the world's oceans by creating massive glaciers in the North Pole via five satellites in orbit with giant freeze rays Ala Captain Cold. As the JLA defeats the Legion of Doom, Lex Luthor is trapped in ice.

In the year 3100ish Lex Luthor is on display in a Museum of Heroes and Villians. Karate Kid and Dawn Star are making the rounds. An overly eager Karate Kid - wanting desperately to join Lightning Lad and Legion of Super Heroes - frees Luthor. Lex grabs Captain Cold's freeze gun, stops the two young heroes and Releases the Time Trapper.

With the Time trapper, Lex seeks out to stop the creation of the JLA by stopping Superman's early arrival to earth. He succeeds, but as in typical time travel stories, one paradox deserves another.

The entire JLA disappear as Time Trapper erases the paradox. But the two heroes from the future are no discovered. They seek out the frozen Luthor. Freeing Lex allows the Time Trapper to banish the time traveling Luthor and frees himself.

Time Trapper no seeks to turn the world into darkness. Apparently the power of time control makes everything float up into a vortex. Only the Light of Dawn Star saves the day to separate Time Trapper - a being of pure dark matter - from his magical hour glass.



LINKS
http://www.imdb.com/title/tt3468260/
http://en.wikipedia.org/wiki/JLA_Adventures:_Trapped_in_Time

CAST
Peter Jessop as Superman
Diedrich Bader as Batman
Laura Bailey as Dawnstar
Dante Basco as Karate Kid
Corey Burton as Time Trapper, Captain Cold
Grey DeLisle-Griffin as Wonder Woman, Superbaby
Jack DeSena as Robin
Michael David Donovan as Bizarro
Tom Gibis as Toyman, Jonathan Kent
Erica Luttrell as Cheetah, Martha Kent
Liam O'Brien as Aquaman, Batwing Computer
Kevin Michael Richardson as Black Manta, Solomon Grundy
Jason Spisak as The Flash, Taxi Driver
Fred Tatasciore as Lex Luthor
Avery Kidd Waddell as Cyborg
Travis Willingham as Gorilla Grodd

Bruce Wayne Role Cast in Fox’s Batman Series - Kid from Touch

I am big time excited about this show. My only fear, like so many Batman spin offs (BIRDS OF PREY ring a bell) does the back story and minor characters TV producers can afford going to hold the attention of non-die hard fans?

FROM VARIETY...
There’s a new budding millionaire bachelor in Gotham City. Warner Bros. TV has tapped “Touch” alum David Mazouz for the role of a pre-teen Bruce Wayne in “Gotham,” the studio’s Batman origins drama for Fox. Mazouz will play boy who leans on his butler Alfred and Commissioner James Gordon for guidance after his wealthy parents are murdered. Bruce Wayne has traditionally been the alter ego of the Caped Crusader — but Mazouz will not at any point become Batman in the show, something Warner Bros. took pains to point that out in announcing the casting. Mazouz played Kiefer Sutherland’s son in the Fox drama “Touch.” Also cast in “Gotham,” which has a series order from Fox, is Camren Bicondova, who will play Selina Kyle, a teenage orphan and street thief who is suspicious and wholly unpredictable. Deals for Mazouz and Bicondova mark the last two regular roles to be cast in “Gotham, » - Variety Staff

More about show from WIKI

Gotham is an upcoming American television series created by Bruno Heller and based on characters appearing in and published by DC Comics, specifically those of James Gordon and Bruce Wayne, who were created by Bob Kane. The series will star Ben McKenzie as the young Gordon.[1] Heller serves as executive producer on the project along with Danny Cannon, who will also direct the pilot. The series is scheduled to premiere in the 2014-15 television season.[2] As originally conceived, the series would have served as a straightforward story of Gordon's early days on the Gotham City Police force. The idea evolved not only to include the Bruce Wayne character, but will also tell the origin stories of several famed villains, including the Penguin, the Riddler and Catwoman.[3]


Ben McKenzie
     as James Gordon: an idealistic rookie detective for Gotham City Open Police Department’s Homicide Squad, a former college football star and a war hero.

Sean Pertwee
     as Alfred Pennyworth: a tough-as-nails ex-marine from East London, Pennyworth has loyally served the Wayne family. Now, in the wake of their tragic deaths, he’s fiercely protective of the young Bruce Wayne — the boy who will eventually become Batman.

Robin Lord Taylor
     as Oswald Cobblepot: the brains of a chess grandmaster and the morals of a jackal, Cobblepot is a low-level psychopath for gangster Fish Mooney, and hides his sadistic lust for power behind an exquisitely polite demeanor.

Zabryna Guevara
     as Captain Essen: Detective Gordon’s boss at the Gotham City Police Department Homicide Squad, she balances the two worlds of police and politics with a Machiavellian skill that’s as much corporate litigator as cop.

Erin Richards
     as Barbara Kean: a sophisticated emergency doctor, Kean stands by her husband amid the corrupt world of Gotham.

Donal Logue
     as Detective Harvey Bullock: Gordon's rough-around-the-edges partner and mentor.

Jada Pinkett Smith
     as Fish Mooney: an imposing, hotheaded and notoriously sadistic gangster boss and nightclub owner with street smarts and almost extra-sensory abilities.

David Mazouz
     as Bruce Wayne: who has been sentenced to a solitary life after the tragic murder of his wealthy parents. Serious and soulful, young Bruce relies on the guidance and protection of Alfred Pennyworth and Det. James Gordon.

Camren Bicondova
     as Selina Kyle: a teenage orphan, street thief and skilled pickpocket who is suspicious and wholly unpredictable.

Drew Powell
     as Butch Gilzean, the second-in-command to Fish Mooney. Powell has been cast in a recurring role.

How Hollywood almost destoyed Superman - AND STILL MIGHT...

Superman is indestructible - virtually. Well the the character is. The franchise is seemingly always under attack by the tug and pull between purists and radical "visionaries" that want to change everything we love about the character. As an actor and producer of theater, sketch and now film as well... I am always amazed at the crapped produced when morons with too much money put their faith in the wrong "Visionary"  - Best recent example of this is Spiderman on Broadway...

Reading some articles on WIKI, I discovered the answer why we had to wait so long for Superman Returns 2006.  The people that brought us Superman THE MOVIE are most likely the cause of its years of crappy movies and ideas. Making one great movie does not make you the expert.

Superman THE MOVIE was great. Superman 2 was pretty awesome, but clearly producers decided to reinvent what Kryptonians can do way too much. The movie survived a director change and was pretty good.

Superman 3 was not bad but critically panned. Superman 4 was produced by Cannon Films. Cannon bought the rights from Salkind but ran out of money and the movie clearly suffer from 2nd rate producing and Cannon's Bankruptcy.

But that is just the beginning of the disaster to be aimed at the Super Boy Scout...

Well as far as I am concerned they started with Superboy. I recently watched the pilot and was totally disgusted. I hear it get better with recastings and writing changes in later season. But what I saw was terrible.

SUPERMAN V was in the works. With writers from Superboy Series and Salkind Producing (Also writing premise for the story) this was bound to fail after Warner Brothers sued to regain control of the property. After the later works form Salkind I think this was a great thing to happen, even though it killed more movies. Instead we get Lois & Clark Which I have liked but never loved. After THE MOVIE TV budget could never really satisfy special effects needs... I preferred Greatest American Hero in the 1980s.

The Success of "THE DEATH OF SUPERMAN" Comics brought us one abandoned project after the next. At this point Salkind is replaced by Jon Peters as the horrible years to come for the character behind the scenes...

"In any good Superman movie, the fate of the whole planet should be at stake. You've got to have villains whose powers and abilities demand that Superman (and only Superman) can be the one who stops them. That's the only way to make the movie exciting and a dramatic challenge." —Writer Jonathan Lemkin on writing Superman Reborn FROM WIKI

SUPERMAN REBORN / SUPERMAN LIVES
If the "Death of Superman" was so perfect, why is every on screen version so different - Including the animated feature DOOMSDAY that was made. When the wheel is perfect, don't reinvent. Various versions of this script had Superman having relationship issues with Lois, fighting Doomsday and and passing on his life force resulting in VIRGIN BIRTH after his death - with the new Superman, a 3-week old child appearing 21 to save the day .

In a rewrite by Gregory Poirier (Creator of a show I wish lasted - ABC's MISSING with Ashley Judd), Superman's version of Jesus is replaced by his own life being resurrected by Cadmus - now an alien victim of Brainiac (The creator of Doomsday in this version) not a government project to stop meta-humans. JLA purists would have had a field day with that one. Kevin Smith was hired to rewrite the script but did not like the number of changes form the Superman Comic

"We got the Kevin Smith script, but we were told not to read it, because they knew he wasn't going to stay on the movie. So we used Kevin Smith's script as a guide to the sets we might be doing, and we waited and waited for the new script to come in, but it never did." —Art designer Sylvain Despretz on designing Superman Lives^[ FROM WIKI

So in researching all of the failed Superman projects, it sounds like Kevin Smith is the only one that actually ever read the comics. BUT, thanks to the meddling of Jon Peters, his ideas would never be realized. Peters wanted Superman to wear all black, never fly and fight a giant spider. At some point Brainiac was to fight Polar Bears in the Fortress of Solitude, Lex Luthor would have a space dog  and a Brianiac sidekick, LRon  "A gay R2D2 with attitude. I guess Peters was a big fan of B Movies of the 1950s with ZERO vision and less knowledge of the character. READ MORE ABOUT KEVIN SMITH's Superman Tenure HERE Puts all of this into perspective... 'Eventually,' he explains, I met with [Warner's] Lorenzo DeBoniventura, a great guy, a smart guy. And Jon Peters, who isn't a really great guy or smart guy. I was fascinated by meeting Jon Peters, though, because this was the guy who produced BATMAN, and to hear him tell the story, you wouldn't think that Tim Burton meant anything to BATMAN. He says stuff like, 'You know the reason that BATMAN worked? You know that alleyway scene where he's fighting those sword-bearing guys and they're attacking him? Those guys were real swordsmen; that's why that movie made like $300 million.' I was like, 'Oh, really? All you need is real swordsmen to make a film such a hit?' But both of them dug on me, I guess. Jon's take was more from the gut than anything elseand way off base, too. He said, 'You know why you and me are going to get this project right and make a great movie? Because you and me understand Superman; we're from the streets.' I was like, 'You were a hairdresser once; I'm from the suburbs. Neither of us are from the streets.'' 

I think the following passage from the article some is all up.... 'They said to me, 'Kevin, what you don't understand about this is that this is a corporate movie,' he continues. 'It doesn't matter how good the dialogue is between Lois and Superman; it's about how many toys we can sell.' That was real soul-killing, man. Sell all the toys you want, but tell a good story in the process. Tell a good story, and you may sell more. And the fact of the matter is, even if the movies doesn't do well, like in the case of BATMAN & ROBIN, the toys will still sell. And you can make toys that have nothing to do with the movie. Very often you look at these Batman action figures, and it's like, 'I don't remember him in that suit.' You can make toys that aren't in the flick, but are just tied to it. Look at the amount of Batman outfits out there; you never see him in half these outfits. So that really bothered me. My attitude was that if I was going to work within these parameters, I'm going to at least do it where I can sleep at night and it's not flat-out stupid.'

Good movies sell merchandise - period. Selling toys makes bad movies - EVERYTIME!!!

All that being said, SUPERMAN LIVES was green lit, but in pre-production, Tim Burton, signed to direct, started to re-write with Wesley Strick. Warner Brothers decided another rewrite was needed to bring down the budget nearly in half  -after sets and locations we being built/scouted and Nick Cage showing up for costume fittings - Yes as Andy Sandberg says on SNL, Nick Cage is in every movie... Or almost was....

Burton, citing various differences with Peters and the studio, said, "I basically wasted a year. A year is a long time to be working with somebody that you don't really want to be working with." FROM WIKI

By now $30 million had been spent without a single frame filmed. A new writer Alex Ford came and went with his 7-movie arc "MAN OF STEEL" Ford said, "I can tell you they don't know much about comics. Their audience isn't you and me who pay $7.00. It's for the parents who spend $60 on toys and lunchboxes. It is a business, and what's more important, the $150 million at the box office or the $600 million in merchandising?

A list director and actors cam and went - including Will Smith to play Superman. CLEARLY Jon Peters is a big dummy when it comes to Superman.

Batman vs Superman
Bruce Wayne is in morning after the death of everyone form his life. trying to gather himself, he remarries, with Clark Kent as his Best Man - now divorced from Lois. Joker, kills the new wife at the honeymoon, Batman blames Superman (who is trying to rekindle Lana Lang romance), the two battle... After it is learned that Lex Luthor was pulling the strings to turn hero against hero, the two team up to take down the villain. We almost saw Christian Bale as batman fighting Josh Hartnett as Superman. The project was abandoned in favor of solo movie franchise options.

Superman Fly By / THE MAN OF STEEL
J. J. Abram had his turn with Superman. JJ has gone on to reboot Star Trek and slated to reboot Star Wars. This missed opportunity rebooted the origin story with far more Krypton Poliltics in the form a civil war, Kal is sent to Earth to fulfill a prophecy (Alluded to by Marlon Brandon in Richard Donner cut of Superman II) as Jor - El is locked in mortal combat with his corrupt brother Kata-El (Kara's father maybe should a sequel happened). Lex Luthor is a UFO obsessed government agent. When Superman exposes himself to the world, Kata-El's son, TY-EL, shows up with three other Kryptonians,. Clark is killed and meets his father in Kryptonian Heaven. Superman is resurrected, defeats the bad guys and we were to be left with a cliff hanger....

YADA YADA YADA We got Superman Returns LOL

SUPERMAN RETURNS SEQUEL
Sounds like this could have been cool. The same cast coming back form Superman Returns with a far more action packed script that may have finally seen Brainiac on the big screen.... BUT
Warner Bros. President Alan F. Horn explained that Superman Returns was a very successful film, but that it "should have done $500 million worldwide. We should have had perhaps a little more action to satisfy the young male crowd."^[74] Singer reacted incredulously to the studio complaints, saying, "That movie made $400 million! I don't know what constitutes under-performing these days ..."^[75] $175 million was the maximum budget Warner Bros. was projecting for the sequel, as Superman Returns cost $209 million

AND NOW.... MAN OF STEEL SEQUEL
I hope I am wrong. MAN OF STEEL was awesome. THAT IS HOW YOU REBOOT BYATCH!!!
Sequel is now starring Jesse Eisenberg as Lex Luthor. I loved The Social Network but pretty much hate every other Jesse Eisenberg movie. I am hoping they prove me wrong...  This would be a great Adult Swim parody series though....

FURTHER READING
http://www.impossiblefunky.com/archives/issue_15/15_superman.asp?IshNum=15

SUPERMAN REBORN (Jonathan Lemkin, circa 1994)

Superman battles Doomsday, only to die by the end of the first act. Lois has been mysteriously impregnated with Superman’s spirit. Their hastily gestated heir grows at an incredible rate to adulthood (think STARMAN). Of course, he saves the world from destruction in this campy, stillborn first effort.

SUPERMAN REBORN (Gregory Poirer, December 20, 1995)

Brainiac, credited here as the creator of Doomsday, has infused his creature with Kryptonite blood. Meanwhile, on Earth, Superman tries to deal with being an alien in love with a human woman via psychiatric help.

Dead by page 23, Superman’s corpse is stolen by an alien, Cadmus. A Brainiac victim, Cadmus becomes Superman’s sifu after resurrecting him on page 32. His own body deteriorating, Brainiac seeks Superman’s body as the perfect corporeal vessel. The baddie threatens the people of Metropolis to aid in the search (along with lame criminals Parasite and Silver Banshee).

Powerless, Superman wears a robotic suit that mimics his old powers until he can learn to use his powers again on his own (according to the script, they’re a mental discipline called “Phin-yar”–not to be confused with “The Force”). Bad guys are defeated and Superman feels at home by the end of Poirer’s script.

SUPERMAN LIVES (Kevin Smith, March 27, 1997)

It was a fanboy’s dream that quickly became a nightmare. Smith’s cornball script suffers from Peters-imposed ideas (polar bears guarding the Fortress of Solitude) and cheesy Smith dialogue.

CLARK
I know it sounds silly—where do I get off complaining? He—the guy who’s faster than a speeding bullet, more powerful than a locomotive... what’s the last one?

LOIS
Something about tall buildings.

This time Superman stays alive until page 38, where he’s again defeated by Doomsday. Superman’s defeat is aided by the lack of sunlight; the result of a merger between Lex Luthor and Brainiac. Their sun blockage isn’t as creative as the way Mr. Burns did it on “The Simpsons,” but it’s evil nevertheless. Superman is resurrected by Kryptonian robot, The Eradicator, which has lain dormant at the Fortress of Solitude. (The Eradicator made an appearance in the “Superman: Exile” story arc as an ancient mystical Kryptonian relic).

Rather than Superman’s lifeless body, Brainiac wishes to possess The Eradicator and its technology. Powerless (again), the resurrected Superman (back by page 50) is sheathed in armor (The Eradicator becomes his protective suit) until his powers return, courtesy of some sunbeams. Evil is vanquished and Brainiac’s annoying robot lackey, L-Ron, has a pithy closing remark.

Around the time that Smith’s script reached completion, Peters continued to act as the architect in Superman’s destruction by hiring Tim Burton to direct the new Superman film. For a hot second it seemed like a Smith/Burton/Cage Superman would really happen. Warner Brothers even had a poster made up for the February 1997 Toy Fair with a silver Superman logo on a field of black with the simple statement “Coming 1998” emblazoned across the bottom.

Had Burton’s Superman been made, it’s certain that the “stranger in a strange land” aspect of Kal-el on Earth would have been played to the hilt. Burton scrapped Smith’s script and brought in Wesley Strick to rework the puzzle pieces (Brainiac, Luthor, Doomsday, et cetera). Meanwhile, Burton was trying to cast his film:

Superman	....	Nicolas Cage (or Ralph Fiennes)
Lois Lane	....	Cameron Diaz
Jimmy Olsen	....	Chris Rock
Lex Luthor	....	Kevin Spacey
Doomsday	....	Hulk Hogan
Brainia	....	Tim Allen (or Jim Carrey)
Batman	....	Michael Keaton (cameo)
K (formerly The Eradicator)	....	Jack Nicholson (voice)

During this period of time, there was a flurry of activity. Smith’s script was out and Strick’s was in, until Warner Brothers nixed it. A string of new writers followed:

SUPERMAN REBORN (Wesley Strick, circa 1997/1998)

Going back to some of Poirer’s ideas, Strick’s script is said to have included Silver Banshee and Parasite as lesser villains again. Strick’s version of Superman was “darker,” much to Burton’s delight.

SUPERMAN: THE MAN OF STEEL (Alex Ford, 9/4/98)

While Hollywood tried to get Superman to straighten up and fly right, fans weren’t taking this silver screen hiatus lying down. The better known fan scripts floating around the internet included T.J. Grech’s SUPERMAN: LAST MAN OF KRYPTON, SUPERMAN 5 by Matt Fisher, SUPERMAN FIRESTORM by David B. Samuels, and SUPERMAN: THE MAN OF STEEL by Alex Ford. The story of Ford and his script is almost a Hollywood tale in itself. Alex Ford wrote this alternative Superman script and, after being encouraged by his wife, he connected with the right people to get it read. He even managed a meeting with Peters and additional Superman producer Lorenzo DiBonaventura. Feeling like a work of fan fiction, Ford’s script sets up a longer series of films which will include more villains than just Luthor, Brainiac, and Doomsday. Like too many Hollywood stories, Ford’s work was rejected and he was given a “don’t call us, we’ll call you” farewell.

SUPERMAN LIVES (Dan Gilroy, 9/20/98)

A pastiche of the previous scripts’ lesser elements, Gilroy’s draft has Brainiac on the hunt for Kal-el after having destroyed Krypton. Like Smith’s draft, we don’t see Superman fly—merely hearing a “whoosh” and a blur of color as would be done a few years later in “Smallville.” When Brainiac reaches Earth, he “merges” with Lex Luthor to form “Lexiac” (a la Alan Moore’s Superman story, “Whatever Happened to the Man of Tomorrow?”). He dispatches with Superman by page 61 via the Kryptonite-blooded Doomsday (shades of Poirer).

Typical of the other drafts, it’s only a matter of ten to twelve minutes (page 72) before the Man of Steel is resurrected. The Kryptonian device The Eradicator goes by “K” in this script. Again, K sheaths Superman and provides him with power as he heals. The majority of the script seems to be Lexiac chatting with Luthor’s slimy lawyer, Morris. Meanwhile, Superman goes on a bit of a spiritual journey as he learns to accept his role on Earth in order to regain his powers (page 101). Superman has some horrible lines as he fights Brainiac (“You’ve been recalled!”) and if Smith’s painfully self-reflexive “more powerful than a locomotive” line was bad, Gilroy surpasses this with the old “It’s a bird! It’s a plane! It’s Superman!” on the final page.

It wasn’t long after this that Tim Burton was reluctantly fired by Warner Brothers. The reluctance came, no doubt, from Burton’s “play or pay” contract which netted him a significant amount of cash for doing nothing more than wasting time.

After Burton sought greener pastures in SLEEPY HOLLOW, Peters approached a number of directors such as Michael Bay, Shekhar Kapur, and Martin Campbell. They all turned him down, apparently because of Gilroy’s lame script. This draft was finally canned and William Wisher was brought in to start anew.

SUPERMAN LIVES (William Wisher, 8/23/2000)

In the myriad articles documenting the winding road that Superman followed to reach the big screen in 2006, Wisher’s script is often described as being influenced by THE MATRIX. Allow me to put that notion to bed. Apart from some Lex Luthor-created wireless internet technology a person can wear on their necks, there’s no hint of anything remotely similar to THE MATRIX in Wisher’s work. The “Lexmen” are a cadre of drones that act like MATRIX “agents” and manage to slow down the Man of Steel for a hot second.

If anything, Wisher’s script was a return to the roots of the Superman project, resembling the aforementioned Lemkin, Poirer, and Gilroy works. Kal-el, one of the scant few survivors of Krypton, is pursued by his father’s creation, Brainiac. He’s discovered on Earth just after he’s had a fight with Lois Lane about how uncomfortable he feels being an alien among humans. Lex Luthor allies himself with Brainiac in exchange for technology that gives life to his ill-fated “Lexlink” program.

Again, Brainiac employs Doomsday to kill Kal-el by page 60. His body is taken by Mal-ar, last Knight of Krypton, who swore to protect the infant prince before Krypton’s King Jor-el was murdered by Brainiac previous to the destruction of Krypton. Like Jesus, Superman is resurrected after “about three days” (page 79). Waking up a weakling, Kal-el wears a suit of “Krypton Armor;” a sleek black suit that gives him enhanced abilities. Doomsday doesn’t have a second shot at Superman: he disappears from the script after he’s served his purpose. Rather, Superman easily cuts his way through the Braniac-controlled “Lexmen” with a crystal sword looking like “a samurai from outer space” (page 98). While Lex Luthor tries to redeem himself as a human being before Earth explodes (Brainiac has a habit of destroying planets), Superman battles Brainiac in a rather anticlimactic scene wherein he regains his powers and, very un-Superman-like, kills the baddie while destroying his talking “skull ship.”

Again, wearing black and attacking the Luthor Building doesn’t really make Wisher’s SUPERMAN LIVES anything like THE MATRIX either. Oliver Stone was approached at this point to direct Wisher’s script but didn’t take the bait. It was time, too, for Nicholas Cage to cash in his chips. The new choice for Superman went to Russell Crowe. With Wisher’s moody Superman, Crowe may have been a good choice. The Aussie actor wasn’t interested. No director, no stars, and a script that took the project back six years. The wind had gone out of Superman’s cape. 

SUPERMAN DESTRUCTION (Paul Attanasio, 6/27/2001)

There’s little known about Attanasio’s work on the Superman project. Some reports have him utilizing a treatment by DC comics writer Keith Giffen with Superman battling the stellar bad guy Lobo (Wizard Magazine #118), while others have him turning in a 50-page treatment of his own that rehashes the death/resurrection plot line yet again.

While the Peters-plagued Superman project labored on for years, the Batman franchise sputtered under the direction of Joel Schumacher. Batman wasn’t being killed off in the comics. Instead, he was being recast in “Batman: Year One” in Frank Miller’s seminal tome. Miller reinvigorated Batman. A movie was said to be quick to follow. By 2002, Wolfgang Peterson was on track to bring BATMAN VS. SUPERMAN to the screen. This was to be followed by the long-delayed Peters project, which was set to be directed by McG. ASYLUM (Andrew Kevin Walker, Revised by Akiva Goldsmith 6/21/02) When you’re a kid, you pit people against each other in imaginary fights: “Who would win: Johnny Socko’s Giant Robot or Ultraman?” One of the classic match-ups has to be Batman versus Superman. Now that may sound like a one-sided fight; the man of steel versus the man in a bat suit. How could a mere mortal best Krypton’s favorite son? Read Frank Miller’s “The Dark Night Returns” to witness this superior throw down. But why would these two beacons of justice ever face off?

In Andrew Kevin Walker’s ASYLUM (also known as BATMAN VS SUPERMAN), Lex Luthor drives a wedge between the champions of Gotham and Metropolis via an elaborate plot that involves cloning The Joker and giving Bruce Wayne the perfect mate, only to take her away. Through his machinations, Batman’s motivation of revenge comes in direct opposition of Superman’s dogmatic protection of his human charges. Simply, Batman wants to murder The Joker and Superman won’t let him. The two come to blows in an epic battle that involves a lot of Kryptonite and millions of dollars in damage.

While the showdown between the caped crusaders wears out its welcome after twenty pages, the rest of the script is incredibly engaging and typical of Andrew Kevin Walker’s style. Yet, as is the case with Walker, his best work is often rewritten (SLEEPY HOLLOW, 8MM, etc).

SUPERMAN: THE MAN OF STEEL (J.J. Abrams, 7/26/02)

If fan boys were excited about Kevin Smith, they were beside themselves with J.J. Abrams. He was on top of the world with TV’s “Alias,” and the fervor over his involvement with Superman might have been topped only if Joss Whedon has volunteered to pen a script. The height of expectations were only equaled by the depths of disappointment when Abrams script was trashed by the hacks at the Ain’t It Cool News website.

Also known as “SUPERMAN: FLYBY,” the Abrams story was a revisionist tale with Krypton besieged by civil war between its King, Jor-El, and his upstart brother, Kata-Zor. The baby Kal-el is sent to Earth partly as a safety measure when Kata-Zor’s forces trash the Krypton capital, and also in hopes that he’ll fulfill a prophecy to return to Krypton as its savior. When Kal-el arrives on Earth, he’s adopted by Martha and Jonathan Kent. When they discover his powers, they try their best to have Kal-el/Clark suppress his abilities. In the process, they make him neurotic.

Isolated, persecuted, and thinking he’s the devil’s spawn, Clark meets a spitfire young lady named Lois Lane in college. An undeclared senior, he’s impressed by her pre-Freshman ambition to major in journalism and work in Metropolis at “The Daily Planet.” Creepily, he decides to do the same thing and, when he meets up with her years later, she remembers him only as the guy who had his zipper down.

Lois doesn’t give Clark the time of day. She’s more concerned with exposing and humiliating the government agency that’s wasting untold time and resources trying to prove the presence of alien beings on Earth. The hard-as-nails agent in charge of this alien-hunting squad is none other than Agent Lex Luthor. Sporting a brush cut and a massive attitude, Luthor has quite an axe to grind about aliens, so much so that he blows his top at a Congressman and gets canned.

Apart from the framing device of the script that starts out with Superman down and nearly out, battling super-powered aliens (a similar frame would be employed in the Abrams-penned MISSION: IMPOSSIBLE 3), we don’t see Superman until nearly an hour into the film. This scene of Superman, saving Lois Lane as she’s aboard Air Force One interviewing the President, is something of a nod to SUPERMAN: THE MOVIE where Superman saves Lois as she’s on her way to interview the President. The scene and its aftermath— Superman setting down the saved airplane in a very public place (here Boston Commons)—also finds its roots in the John Byrne-penned “Superman: The Man of Steel” comic series. An amalgamation of these scenes would be found later in SUPERMAN RETURNS.

(I’m glad that the President’s plane didn’t crash. Otherwise, we might find Lois Lane on a mysterious island pursued by an unexplained smoke monster for a few years.)

This first appearance of Superman isn’t followed up by the montage of him going on a crime-fighting spree. Rather, Clark Kent is so pent-up about his role as Superman that he swears to never wear the costume again. This changes when he learns that Jonathan Kent (who up and died upon hearing the news of his son saving the President) would have wanted him to take the mantle of power and embrace his role as Superman.

News travels pretty fast. Really fast, apparently, as the radio and television waves from Earth reach Krypton in record time. This brings Kata-Zor’s son, Ty-Zor, and three other badass Kryptonians to Earth. To say that this brings about a lot of scenes reminiscent of SUPERMAN II is an understatement.

Again, Superman is defeated and killed. There’s a funeral but the Man of Steel isn’t down and out for long. He’s visited in death by Jor-El (who’s committed hara-kiri back on Krypton) and resurrected. With the help of some Kryptonite-fueled weapons, Superman defeats the four known Kryptonians as well as the secret-lurking Kryptonian, Lex Luthor, before this first chapter of a proposed series is over. There are mentions of characters either slightly seen or unseen in the screenplay, and Superman’s messianic return to Krypton is set to happen in the next film.

The changes to the Superman mythos-infuriated fanboys who forget that Kryptonite didn’t exist until the Siegel & Schuster story was translated to radio. This kind of re-imagining happens all the time in the superhero world; sometimes successfully (BATMAN: BEGINS), and sometimes not (CAT WOMAN). For all of the problems I had with the script, it was something new and not simply a recycling of the old, good ideas from the original SUPERMAN series.

Peterson stepped out and let BATMAN VS. SUPERMAN die in favor of TROY. Before the dust could settle, J.J. Abrams delivered his take on the Superman tale to Warner Brothers and everyone was elated with the possible exception of McG and apoplectic Superman fans. McG left to direct the sequel to CHARLIE’S ANGELS, and the ever-obnoxious Brett Ratner had his turn in the director’s chair.

Ratner hadn’t even had time to warm up his seat when the backlash against the Abrams script swelled into a shitstorm. When the opportunity presented itself, the RUSH HOUR auteur fled the sinking Peters ship. Oddly enough, Ratner would go on to direct the third film in the X-Men series while its former helmer, Bryan Singer, would defect to the Superman camp.

SUPERMAN RETURNS (Michael Dougherty & Dan Harris, 9/27/2005)

With his super heroic clout, director Bryan Singer managed to break away from most of the tenets laid down by producer Jon Peters. Gone were Brainiac, Doomsday, and the black suit. Still present was Superman’s pathos, a near death, and the red and blue “whooshing” suit (albeit a fairly dingy one).

Singer’s X2 screenwriters Michael Dougherty and Dan Harris made SUPERMAN RETURNS a continuation of the Superman story line from the Richard Donner films or, at least, SUPERMAN: THE MOVIE. There may be no mention of General Zod, Non, or Ursa but it’s apparent that Lois Lane bedded the Man of Steel. The product of their Fortress of Solitude union, Jason, spends the majority of the story as an asthmatic, bespectacled weakling except for one head-scratching, contrived moment.

The victim of an elaborate ruse, Superman returns to where Krypton ought to be only to find a deadly meteor field of Kryptonite. He manages to escape and get back to his adopted planet Earth five years after he departed. Instead of finding out how he got tricked and/or looking up his long-time nemesis, Lex Luthor, Superman hangs out in Smallville. Then he goes looking for Lex Luthor, right? Wrong. He goes back to Metropolis to learn that Lois Lane has moved on from Superman, even winning a Pulitzer for her piece “Why the World Doesn’t Need Superman.” Ouch! Then he doggedly pursues the only man who’s come close to defeating Krypton’s favorite son... wait, no. He doesn’t.

Even after Jimmy Olsen, in his infinite wisdom, suggests, “Why don’t you guys track down Lex Luthor?,” on page 73, the greatest criminal mind of our time is swept to the wayside. This leaves a lot more time for Superman to mope around and retread dialogue from SUPERMAN: THE MOVIE. Meanwhile, Lex Luthor seems to be in his own film and pursuing a plot with earmarks of his ideas from SUPERMAN: THE MOVIE and SUPERMAN II only in reverse order. Luthor makes his way to The Fortress of Solitude before revealing his elaborate real estate scheme, paraphrasing his lines from the earlier films along the way as well. Who came up with this idea—the same guy who thought it’d be smart to build a second Death Star?

Superman finally catches up with Luthor on page 118 and they share all of three pages together in an anticlimactic showdown. Rather than squaring off like Kirk (William Shatner) and Khan (Ricardo Montalban) in STAR TREK II, Luthor and Superman are more like Hanna (Al Pacino) and McCauley (Robert De Niro) in HEAT.

SUPERMAN RETURNS (Bryan Singer, 2006)

Little stands out as being starkly different from the screenplay of SUPERMAN RETURNS to the final film version, except for the lack of explanation for Superman’s disappearance and the scenes of Superman flying (in a spaceship) amongst the ruined crags of Kryptonite asteroids.

The cuts between the Superman (Brandon Routh) story line and the Lex Luthor (Kevin Spacey) story line are jarring. The film moves from the moody introspective Kryptonian, who’s been dumped by Lois Lane (Kate Bosworth) in favor of the boss’s son, Richard White (James Marsden) to the hammy criminal mastermind and his Miss Teschmacher stand-in, Kitty Kowalski (Parker Posey). The worst character in the film has to be Superman’s bastard son, Jason (Tristan Lake Leabu) and his awful Adam Rich haircut.

While I can respect the decision to emulate Donner’s SUPERMAN films, aping these superior movies just made me long to see the originals. The John Williams score combined with the unnecessary cameo appearance by Marlon Brando only reinforced this desire. Overall, I would have rather have seen J.J. Abrams’s version of the story, as it strayed the farthest from the Jon Peters directives, divorced itself from Donner, and actually managed to feel like an original take on the Superman story.

Even if it hadn’t taken over a dozen years and millions of dollars to bring the next chapter of Superman saga to the big screen, SUPERMAN RETURNS would epitomize anticlimactic. Rather than breaking new ground or taking the Superman story in a different direction (see “Red Son” by Mark Millar), the film was just a rehash of a better film that predated it by nearly three decades.

Superman: Doomsday LIVE ACTION Fan Film

This is ridiculous snips of various movies and video games and maybe a little original footage to creat illusion of new movie... Decent Editing though. A die hard fan might like....

1943 Batman Serial

IMDB

Batman is a 15-chapter serial, released in 1943 by Columbia Pictures. The serial starred Lewis Wilson as Batman and Douglas Croft as Robin. J. Carrol Naish played the villain, an original character named Dr. Daka. Rounding out the cast were Shirley Patterson as Linda Page (Bruce Wayne's love interest), and William Austin as Alfred the butler. The plot involved Batman—as a U.S. government agent—attempting to defeat the Japanese agent Dr. Daka, at the height of World War II.

The film is notable for being the first filmed appearance of Batman, and for debuting story details that became permanent parts of the Batmanmythos. It introduced "The Bat's Cave", and its secret entrance through agrandfather clock inside Wayne Manor. Both departures subsequently appeared in the comics. The serial also changed the course of how Alfred Pennyworth's physical appearance would be depicted in later Batmanworks. At the time it was released in theaters, Alfred was overweight in Batman comics. After William Austin's portrayal in these chapter plays, subsequent issues of the comics portrayed him as Austin had: trim, and sporting a thin mustache. The serial was commercially successful, and spawned another, Batman and Robin, in 1949. It was re-released in 1965. The re-released version, called An Evening with Batman and Robin, proved very popular, and its success inspired the intentionally campy Batmantelevision series (and its 1966 theatrical feature film spin-off) starring Adam West and Burt Ward.

Plot

Batman and Robin struggle against Dr. Daka, a Japanese scientist and agent of Hirohito who has invented a device that turns people into pseudo-zombies, and has a base in a Funhouse of horrors, in a Japanese area of the city. Daka makes several attempts to defeat the Dynamic Duo before finally falling to his death when Robin hits the wrong switch, opening a trapdoor to a pit of crocodiles.

Cast

• Lewis Wilson as Batman/Bruce Wayne
• Douglas Croft as Robin/Richard 'Dick' Grayson
• J. Carrol Naish as Dr. Tito Daka/Prince Daka
• Shirley Patterson as Linda Page
• William Austin as Alfred Pennyworth
• Robert Fiske as Foster

Superman Vs The Elite Review and Video Preview

                                                      Superman vs. The Elite

Superman vs. The Elite

I am not too sure about this one. It may be my least favorite of the DC Universe Animated offerings. The Elite is a band of young - yet very powerful - superheroes that are a little reckless for Superman's style. Maybe because they're British?

I think this would have been a great 22-minute episode for a TV series. OR The arc for a season. I think many times a feature length movie based on a literary source, even a graphic novel or comic book, often lacks from trying to adopt numerous sub plots into a 80-120 minute feature. A 22-minute short can focus on the main points, removing sub plots in favor of a primary set up and ultimate battle sequence. A mini series, or even better the new 6-12 episode arc of Cable TV shows (And a few networks falling in line) can deal with each of the minor characters.

I feel like the feature introduced a lot. International Politics, Role of Superheroes today, Blurred Lines of Justice, and so much more... Perhaps too much.  

Give this subject s 6 60-minute arc on cable TV OR a Full season on Cartoon Network etc and you could flesh out the characters. Otherwise, it almost feels like one of those movies that ran out of money, and had to wrap up big ideas to quickly. 

The other problem, I think it becomes very hard to like Manchester Black. We love anti heroes and villains like Walter White and Tony Soprano. I think if you make Black more likable - OR Love to hate - this would have worked better. There is a quick moment where you get why he is so hard around the edges, but the character voice acting and animation does not draw you in like so many have done so much better before...

KIDS SIZE - NOT FOR ME

FROM WIKI

Superman vs. The Elite is an animated superhero film based on "What's So Funny About Truth, Justice & the American Way?," the story published in thecomic book Action Comics #775 (March 2001). The movie was adapted and written by Joe Kelly, who wrote the comic it was based on, and is directed by Michael Chang. It was released on June 12, 2012.^[1] The film also featured the return of George Newbern as Superman, and David Kaufman as Jimmy Olsen, reprising their roles from the DC animated universe.^[2] It is the 14th film in the DC Universe Animated Original Movies line.

Additional video fan put together to show off Superman's power. But maybe you can see why I don't like this one... The whole Superman Character is just a little off... 

Superman / Batman Public Enemies DC Universe Feature Animate Film

Superman/Batman: Public Enemies

Released Direct to Video 2009 Superman/Batman: Public Enemies

This movie is like an episode of JLU (Justice League Unlimited TV Series) on steroids. Although it is a stand alone movie, it once again brings in much of the DC Universe characters, now aiding President Lex Luthor against the outlawed Superman & Batman.

I love the whole Superheroes / Mercenaries being recruited by the government to have an equal footing with Vigilanties when ever it occurs. I assume I am not the only one that perks up every time Amanda Waller shows up expecting this to happen - as they keep bringing back that concept in various series and movies. Most recently in ARROW on CW.

Luthor's exoarmor suit is bigger and badder than ever. Amanda Waller has a redeeming moment. Many of the best villains form 1990s Batman / Superman series and JLA/JLU make a cameo.

Movie bring us to an Anime/Manga world - which I think is genius from a marketing standpoint - by making TOYMAN a Japanese Kid that has yet to turn bad. On that note, I think toyman has to be the most interpreted villian of DC history. I mean every incarnation seems completely different. Boy Genius, Fat Computer Geek, Sore Loser / former Luthor employee, Robot Offspring of latter, etc etc etc

Can I take this moment to say WAY too much is made of the need to "JUSTIFY" DC universe realities... The beauty of fiction is that the writers had free reign. The whole GOLDEN AGE, SILVER AGE, POST CRISIS etc is taking this crap way too serious if you ask me. New decade, new world, new needs for superheroes, etc. Simpson have been around 25 years without ever aging.

Reinventing origins is great. Not sure why every writer seems to want to reinvent the wheel so often but i am cool with a revamp every once in a while. Superman 2 (Christopher Reeves) went crazy with redefining Superman's and fellow Krypton's powers. We all went "WHAT THE... (Even at age 10 at the time)" but we said, OK good movie, we will let that one ride...

And to my main point, if you deliver and entertaining product, have fun. I think any project that takes to many liberties will be rejected. A project that just recraps out what we have already seen will be rejected. Projects that are just original enough that are writeen, directed and voice/animated well (Acted for Live Action of COurse) will be loved and make a fortune... Make a superhero for just the money and you get Fantastic Four (Pick a version, they all miss the point for me) or Superman Returns.

Popcorm Movie Central Rating MEDIUM SIZE BUCKET



SUPERMAN / BATMAN at IMDB  WIKI AMAZON

Batman: The Dark Knight Returns Parts 1 & 2 Review and Video Clips Animated Features

Batman: The Dark Knight Returns Part 1    Batman: The Dark Knight Returns Part 2

CLICK LINKS TO WATCH ON AMAZON INSTANT VIDEO

So those of us that love the 1990s TV work from Bruce Timm's team will recognize the older Bruce Wayne, just a few years younger than in Batman Beyond. Bruce Timm's world of DC was always just dark enough but still showing a glimmer of light allowing hope for a happy ending.

I am one who is a fan of the last three Live Action Batman movies, but felt they tried way too hard with the third film.  This animated double feature is a far superior way to end the saga and more loyal to Frank Miller's style.

PART ONE
Ever take a break from the gym or other activity but failed to alter diet. Well that is what happened to Gotham. Batman quit and the bad guys started getting fatter with power. Gangs rule the streets - called the Mutants.  A reportedly reformed Harvey Dent reminds us eerily of real world suicide killers from schools and malls. A ressurected Batman inspires a new Robin as well. Carrie Kelley dons the colorful sidekick costume. Big battle ensues with massive battank. etc etc etc

The new Batman activity wakes up a catatonic Joker at Arkham....




PART TWO
So this is one of the coolest movies I have seen. Batman practically becomes a gang leader, converting former mutant gang members into Batman wannabe vigilantes. Joker goes on a killing spree. Superman is working for the Government and asked to deal with the Batmna Problem. Nuclear war is on the brink. And we get a showdown between Batman & Superman we have all been waiting for since Nick Cage movie was tabled over a decade ago...

I really want to see PART THREE
So here is my only problem with feature films. While we get to see our heroes and villains on epic scale, I for am used to watching the TV series where you get to see these character far more often. The movies often raise more questions. Or you see the characters in such a way they really leave you wanting more. I loved the Justice League, JLA Unlimited and Young Justice Series as the DC Universe was brought to you weekly and you really got to know these characters. Maybe I should just become a Comic Book guy. But the end of PART TWO demands a TV series... Maybe a Batman Beyond Prequel?

Justice League Flashpoint Paradox: Review and Video Clips

This may be the best from DC Universe Feature Animated Films. 

DCU: Justice League: The Flashpoint Paradox
(CLICK LINK to watch now at Amazon)

Maybe the best animated work of this genre period.

Intense. A bit darker. A lot darker. Full of action. Great story. 

This is Butterfly effect to the Nth Degree.

Like so many Time Travel Stories, Flash is upset about events. His power allows for time travel. Hence, why not go back and fix things, right. 

Just because we can doesn't mean we should, right? Time Travel 101!!! And all hell breaks loose. Literally Earth looks like hell.  This is World War on Epic Scale. So often in a Team Movie (JLA, Avengers) you see a single city being effected. In an 80-minute movie it is easy to create too many story lines, but they make it work. 

The other thing I like, in these films I getting to love a lot of the anti hero and lesser known villains. Especially Slade Wilson / Death Stroke. In the past 5 years I fell the animation is finally catching up to the graphic novels attempt to make all the characters real. The good guys are imperfect. The bad guys are not evil. 

In the new time line, these lines are even further blurred as the bad guys are now the heroes. Heroes are battling each other - Epic Amazon v Atlantis Battle.  Both heroes and villians are now running underground resistance. There are a lot of similarities to Injustice's Parallel Universe. Every character is affected. To go into more detail would give away too much. But if you have seen the movie, can we talk about Batman Sr, Skinny Supes, etc

This movie gets a serious EXTRA LARGE BUCKET OF POPCORN!!!

Justice League: War Animated Feature Direct to Video from DC Comics

Just watched this on Amazon.com

There is a lot of controversy. Mostly from the Comic Book types, which I am not. I am an avid DC movie/TV/animation fan. LOVE the Bruce Timm years mostly like most of us do. This one is different. It does seem a little disappointing after the awesome FLASHPOINT PARADOX....

So I feel like I am on a role. I recently reviewed a series of films that have turned old material into grown up fair. And I keep coming back to the same theme. The film world - in this case the animated feature world - has finally caught up to the comic book world changed by Frank Miller and others that turned the old BLACK & WHITE world of good & bad and playing the various levels of grey. 

This also seems to try and turn JLA into the Avengers. While I did not love this at first, I figure if you are going to do the origin story AGAIN lets do something fresh. Rather than a team brought together for the common good (Originally by Martian Man Hunter), this team is more reluctantly forced into co-operating by the situation. Ego and insecurity get in the way of great team work. In the end the fact that they win is almost by happen chance. This feature does not get quite as dark as other new world Superhero Offerings, but I think it has a nice mix of the new and old styles. Imagine if Frank Miller directed 1970s Superfriends - the one with the Scooby Doo knock offs, not the Wonder Twins...

This is far from being my favorite of the DC animated feature series. But I was thoroughly entertained.

I really like Shazam - so we are no longer calling him Captain Marvel right LOL Voiced by RUDY - I mean Sean Astin, the character really came alive. This character always seems so dumb. But was always one of my favorite. Back in the 4th grade I had a dream about stumbling into a scientist's lab and become a superhero. I think in many ways this is most of our dreams' until we discover girls, right? 

Also I loved the CYBORG (Shemar Moore - Criminal Minds) origin story, which I had not seen before.  

Dark Seid has obviously been juicing. Never seen him so big before LOL. The previous appearance Superman/Batman: Apocalypse was far better. 

I think you have to judge each of the DC presentations based on the target audience. Arguably this offering was geared towards a younger audience, minus a few choice words that totally otherwise ruin this argument. The animation and voice direction is definitely better for younger crowds. 

There are a lot of DC Movies head to video this year. - maybe making up for keep us waiting so long for another Superman / Batman installment. Looking forward to Son of Batman and