SmartRemarks

Grayson, that is. (What, you thought something else…? Dirty mind. Shame on you.)

Dick Grayson, formerly Nightwing, formerly Robin, has had a strong fan following for years, especially since he grew up and stepped out of the red-and-green costume (and his mentor’s shadow) a quarter-century ago. Now the character has done what in one sense always seemed inevitable and yet in another seemed unlikely ever to see print… he’s become Batman. And it’s exciting.

Three years ago DC’s executive editor Dan DiDio wanted to kill off Dick Grayson as a superfluous character; he backed down in the face of an overwhelming reaction from both creators and fans, and now Dick is at the very center of the Bat-universe. 

I’ve written before with (ahem) less than wholehearted approval of Grant Morrison’s writing on Batman and, for that matter, on Final Crisis… but as erratic as the path may have been getting to this point, I have to give DC Comics credit for taking a fairly bold move. If the overall execution hasn’t been as dramatically compelling as Ed Brubaker’s death of Captain America over at Marvel a couple of years back, still… shuffling Bruce Wayne offstage and having his onetime sidekick take over the cape and cowl is certainly a departure from formula, and it creates the potential for some really fresh perspectives on familiar characters.

Still, as the first “relaunched” Bat-books saw print this past week, I couldn’t help approaching them with some trepidation.

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Tags: Batman, Dan DiDio, DC Comics, Dick Grayson, Grant Morrison, Judd Winick, Robin, super-heroes, writers

My reaction to the new Star Trek movie led me to ask myself this unavoidable question. Yes, it’s certainly received a warm response—96% on the Tomatometer (which is phenomenal, even allowing that they inevitably mis-count some reviews like, e.g., the negative J.R. Jones piece I linked the other day) and a $76 million weekend box office—but I trust my critical sensibilities regardless of what the bandwagon says. My reasons for liking and valuing Star Trek have always been its intelligent storytelling and its social conscience—and this movie has neither. As Roger Ebert wrote,

The Gene Roddenberry years, when stories might play with questions of science, ideals or philosophy, have been replaced by stories reduced to loud and colorful action. Like so many franchises, it’s more concerned with repeating a successful formula than going boldly where no “Star Trek” has gone before.

The online discussion thus far among fans seems to have found an emerging consensus that the cast all did at least good and sometimes great jobs living up to their familiar characters, and that the production values admirably reflect the film’s $150 million budget… but also that the story is, to put it charitably, more than little flimsy. The real dividing line is between the majority who say that story problems don’t matter so long as it looks impressive and feels exciting… and the minority who say it doesn’t matter how much of an adrenaline rush it gives if the story insults the audience’s intelligence. I’m definitely in the latter camp. 

When everything is weighed in the balance, and all excuses and apologies set aside, this movie is crap.

What’s more, though—and this is what sparked the self-examination—the last Trek movie (Nemesis) was also crap. And the movie before that (Insurrection) was crap. And the last TV series (Enterprise), and the series before that (Voyager)—all crap. Really, there hasn’t been any reliably decent Trek on screen in at least a dozen years.

So why do I still call myself a fan? How can I still harbor any affection or loyalty for this franchise?

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Tags: Alex Kurtzman, Bob Orci, books, J.J. Abrams, movies, Star Trek, writers

Short version of my previous post:  I really didn’t like the movie. To me, it not only doesn’t work as Star Trek, it just doesn’t work as a movie, period. It has Big Stupid Summer Action Blockbuster in its very cinematic DNA. 

Lots of fans seem to be embracing it, though. Ironically, I could do worse to underscore my points than merely to quote a few bits from this review, which strains far too hard to be positive by way of excusing its myriad flaws:

“It’s clear there was something about Shatner’s Kirk, the very human but sometimes high-flown soldier-philosopher, which the filmmakers either couldn’t relate to or felt no longer spoke to modern audiences.”

“McCoy is in there pitching throughout the movie, often seeming to reprise every trademark line the Doctor ever uttered in the series—but he doesn’t get the kind of intimate, key scene with Kirk where he can truly function as the film’s conscience.”

“The one unfortunate artifact from the success of 1982’s The Wrath of Khan is the need to have a madman out for vengeance in every other Star Trek movie.”

“Nitpickers will have a field day with some of the movie’s science, tech and logic issues…. [and] may also wince at the amount of coincidence that drives the plot.”

Really, after making all those apologetic exceptions, what’s left? I’m particularly amused by the dismissal of “nitpickers”—as if plausible science were too much to ask for in a science fiction film, or coherent plot logic in any kind of film at all.

—

Meanwhile, while reflecting back on the movie and surfing the tide of opinions about it, yet another continuity snafu occurred to me:  has it struck anyone that Nero’s revenge plan actually guaranteed the destruction of Romulus in the new timeline just as in the old? It was the Vulcans who created the “red matter” that defused the supernova, but with Vulcan destroyed, there’s nobody left to do that. However, an altered timeline does nothing to change the internal processes of the star itself. It will presumably still explode on schedule, except this time with no way to stop it at all. 25 years cooling his heels, and yet it didn’t occur to Nero that he could save his race; instead, he doomed it.

And another, almost too obvious to mention (at least among Trekkers):  somehow Nero’s single initial time-change must have greatly increased the Federation’s contact with and knowledge of the Romulans. (In “Balance of Terror,” one of the best TOS episodes, Starfleet hadn’t encountered them in a century, had no idea what they looked like, and didn’t know they shared a heritage with Vulcans.)

And another, just a bit of sheer idiocy:  Spock’s claim that it’s “logical” for him to go aboard Nero’s ship because that “shared heritage” would help him decipher the Romulan computer systems. What, even though the cultures split two thousand years earlier? Really?

And another scientific whopper: the villain’s final defeat is achieved by opening yet another massive black hole, in Earth’s solar system. Possibly just a wee bit of danger in that?

There were so many of these little jarring moments in the film that it just wasn’t possible to keep them all at the top of my mind. But they keep bubbling to the surface again…

Tags: Alex Kurtzman, Bob Orci, continuity, J.J. Abrams, movies, Star Trek

Tonight was the opening of the new Star Trek movie. With IMAX tickets booked well in advance, my girlfriend and I and some friends went out for dinner and conversation, then joined an enthusiastic audience for the long-awaited and much-publicized film. It was a lovely spring evening, and overall we had a good time.

I just wish we’d seen a good movie.

I approached Star Trek (no number or subtitle) with cautious optimism. I’d had some cause for apprehension, as I’ve written about, based on the design aesthetic of the new Enterprise and the tone and style of the early trailers. A more recent TV spot tag-lined “Forget Everything You Know” wasn’t encouraging, either:  I’m a Trek fan from way back, and I’m showing up to see a new story set in the Kirk/Spock era because of everything I know, because of my affection for those characters and concepts, not despite it. 

But hey, most of those things could just be chalked up to marketing choices and visual sensibilities. They didn’t necessarily bode ill for the movie as a whole. Certainly the last few years of the Trek franchise under former producers Rick Berman and Brannon Braga had been fairly disappointing, on both the small and the large screen, so some new creative blood was called for. Screenwriters Roberto Orci and Alex Kurtzman were reportedly sincere Trek fans:  the L.A. Times went  so far as to ask them about their favorite prose Trek novels, and they actually named four—and good ones, at that. So even if director J.J. Abrams admitted to not being a Trek fan, professing more of a Star Wars sensibility instead (anathema!), perhaps the story itself was in good hands. Leonard Nimoy’s willingness to be involved, reprising his role as Spock for the first time in 18 years, also seemed promising. Yes, as details leaked out it became clear that the film would not be a prequel to the original television series (as I would have preferred, all else being equal) but a reboot instead… but even so, it could be good on its own terms. It just needed to be handled thoughtfully and respectfully, with an understanding of the concepts and themes that had made Trek a success all along, and in numerous interviews the filmmakers assured us they were doing exactly that. So I was hoping for a movie I could like, maybe even love.

But Abrams and company didn’t hit the mark. What they delivered wound up meeting almost all of my fears and almost none of my hopes.

This was a big, stupid summer blockbuster, in the worst sense. It was a bad movie, plain and simple. 

[Ample SPOILERS below the fold.]

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Tags: Alex Kurtzman, Bob Orci, continuity, J.J. Abrams, movies, Star Trek

While it’s not a film that was really crying out to be made, X-Men Origins: Wolverine is at least a better picture than was 2006’s muddled and disappointing X-Men 3: The Last Stand. Hugh Jackman returns to his breakout role with evident sincerity, bringing every bit of actorly dedication the story and the character can support (given the somewhat tiresome human-vs-beast personality cycle Wolverine’s always been trapped in). Jackman was reportedly also instrumental in bringing Oscar-winning director Gavin Hood (Tsotsi) to the film, and he brought his dark and cynical sensibility with him. C0-screenwriter David Benioff, best known for writing the superbly unsettling 25th Hour, surely didn’t hurt either.

If Wolverine is not quite as ringing a success in terms of tone and dramatic impact as last year’s Dark Knight or Iron Man, neither is it as disappointing as one might have feared from its status as a prequel, burdened by the audience’s foreknowledge of where everyone ends up (I’ll just mention the name “George Lucas” in passing and leave the subject at that). It’s not as deliberately subversive and game-changing as Bryan Singer’s first two X-movies, but it’s entertaining in its own right.

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Tags: Hugh Jackman, Liev Schrieber, movies, super-heroes, Wolverine, X-Men

A few months ago, Barry Allen, the original Silver Age Flash, returned from the dead in the pages of Final Crisis. The “how” and “why” of it weren’t really explained. But DC Comics’ editorial poobah Dan DiDio has written that it was his plan since he came to the company to bring Barry back, and seeing as how FC wasn’t really big on explaining the how or why of much of anything, it didn’t stand out much.

Earlier this month the first issue of The Flash: Rebirth finally saw print, attempting to redress those omissions. I didn’t write about it at the time, although I was more than a little disappointed in the book. Whilst awaiting the second issue, though (due next week), I’ve had the opportunity to collect my thoughts.

I’m still disappointed. Dejected, even.

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Tags: Barry Allen, Dan DiDio, DC Comics, Final Crisis, Geoff Johns, Legion, super-heroes, The Flash

Joss Whedon’s new TV series Dollhouse got off to an uneven start, as I wrote shortly after the premiere. The show’s quixotic concept seemed promising but underdeveloped, and the Fox network had reportedly interfered with the show creatively. The first few episodes seemed like a very slow build, focusing on the kind of “engagement of the week” stories the network wanted rather than more sophisticated, long-term storytelling. Whether the show would surmount those obstacles seemed uncertain.

But Whedon promised from the start that the back half of the 13-episode season would turn toward more provocative, less predictable storytelling, along the lines he and his writing team had originally envisioned… and he wasn’t wrong. Over the last few weeks, the show has delivered in spades, stepping up to a much higher level.

The sixth episode, “Man on the Street,” was a strong harbinger of the shift in direction, fleshing out the concept and the character ensemble, and answering some nagging questions. But the really dramatic turning point was the ninth episode, “Spy in the House of Love,” which aired on April 10. 

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Tags: Dollhouse, Joss Whedon, television

Reviews of the movie Watchmen have been mixed: 65% positive on Rotten Tomatoes, for instance, and 56% positive on Metacritic. That’s not as uniformly negative as the secondhand buzz might indicate, but this is perhaps because the most prominent “establishment media” reviews have leaned toward the negative side:  e.g., Anthony Lane’s in The New Yorker, wherein he demonstrates his usual sarcastic derision for anything pop-culture-related, or A.O. Scott’s disdainful take in the New York Times. Many quite simply seem not to “get it”; they betray preconceived expectations of what a “super-hero movie” ought to be that obstruct appreciation of what this one actually is.

Reactions in”new media” seem generally more positive—e.g., Andre O’Hehir’s piece at Salon (“Dense, intense, tragic and visionary, this is the kind of movie that keeps setting off bombs in your brain hours after you’ve seen it”), or Keith Phipps’ in The Onion (“[it] keeps moving so assuredly, it’s nearly impossible not to get swept along… the film’s ambitious drive to create a dread-soaked alternate America and people it with flawed, recognizable heroes carries it along”).

However, by far the most interesting and informative opportunity to study the reactions to this film, both pro and con, inverts that pattern. Read the rest of this entry »

Tags: conservatism, movies, super-heroes, Watchmen

I followed Watchmen when it was first released, one issue at a time, back in 1986-’87, well before the collected edition appeared. It was must-read material at the time, and the month-to-month suspense was tremendous. In fact, I routinely ordered an extra copy or two just to pass around the dorm, as several friends of mine (not all comics readers beforehand) quickly got hooked on it.

It was groundbreaking then, and it still holds up today:  a formally innovative, intricately structured story, with a visual design that was painstakingly detailed and a backstory even more so. Self-referential, ironic, dark, and multifaceted, all its elements working together, both de- and re-constructing super-hero tropes in the context of real-world politics, psychological realism, and complicated moral themes. Alan Moore and Dave Gibbons set a high-water mark for what comics can accomplish.

And now, after a long and circuitous process of development stretching over 22 years, Watchmen has finally made it to the screen. I saw it last night.

Where are my socks? I think they got knocked off somewhere…

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Tags: DC Comics, movies, super-heroes, Watchmen, Zack Snyder

Joss Whedon has a loyal and richly deserved fan following. There aren’t really a lot of “household name” television writers (Aaron Sorkin? Joe Straczynski? Maybe Gene Roddenberry, back in the day?), but he’s one. His following, built up over years of memorable work on Buffy, Angel, and Firefly, guarantees that any new project he does will attract attention. And right now (unlike any other big-name writer who springs to mind) he has a new project on the air.

What a fan following doesn’t guarantee is renatings high enough to make a show a hit, as Fox’s ignominious treatment of Firefly demonstrated. And as Fox is also the network that’s broadcasting Whedon’s new show Dollhouse—and that decided to bury it in a Friday night timeslot, among other questionable decisions—the fate of this new series is no sure thing.

To be sure, the show is built around a concept that can’t easily be summed up in a ten-second spot. The idea is that a very secretive organization exists, the “Dollhouse,” that maintains a roster of peopleensam (“dolls”) who have been wiped of their own memories and personalities. Any of these people can be rendered “Active” by being programmed with a different set of memories and abilities, customized to meet the needs or desires of the organization’s super-rich clients. For the duration of an engagement, the doll literally becomes an expert hostage negotiatior, or dream date, or whatever the case may be… anyone or anything… but in the aftermath retains no memory of the engagement, supposedly resulting in perfect confidentiality. The dolls have all voluntarily contracted to let their bodies be used like this for five years, after which they will (allegedly) be restored and released. There’s a full staff (technical, medical, etc.) managing the Dollhouse’s central facility, including “Handlers” who serve as remote bodyguards for each Active doll. Meanwhile, off on the fringes, there’s an FBI agent who has been spending more than a year investigating elusive leads about the Dollhouse, seeking to expose it and bring it down. Oh, and as it happens the programming technique isn’t quite flawless… some dolls retain fragmentary memories, and at least one has escaped the Dollhouse under violent circumstances and gone rogue.

Got all that?  Read the rest of this entry »

Tags: Dollhouse, genre, Joss Whedon, television