![]() ![]() His weird and prolonged rants about putting women in their place and how harlotry is the greatest sin also feels a bit too over-the-top for my tastes. There's also no real buildup that makes you go "duh, it makes sense!" and more of a "well, yeah, he's the only character left". and while the twist was well-delivered, once it's done Gordon the Ripper is just a very flat villain. We've got an injection of other familiar Batman supporting characters too, with three Robins (Dick, Jason and Tim) being a bunch of street urchins, Leslie Thompkins as a nun who gets killed halfway through the movie, Poison Ivy as a burlesque dancer who gets killed in the cold open, "Bulldog" Bullock as Gordon's aggressive second-in-command, Solomon Grundy as just some random inmate, and Alfred as Alfred.Īnd Jack the Ripper's identity, of course, is Commissioner Gordon. and, of course, both turn out to be red herrings. We've got a bunch of suspects all around, with the always-devious Hugo Strange who runs an asylum in a none-too-ethical manner we've got Harvey Dent, pissed off at Bruce making off with Selina, the woman he wants to impress. Batman's serious, Selina's serious, and the two don't really have much of a character arc beyond the assurance that the audience is at least somewhat familiar with the iconic DC characters of Batman and Catwoman to know how they'll act. (Spoilers ahead for anyone who's not watched the movie.) The main intrigue about the plot is the whodunnit aspect, since both Batman and Selina end up being pretty generic. I think it ends up being more distracting instead of making the world feel richer. Don't get me wrong - it's entertaining enough to see this Elseworlds story, and I think there's always going to be an appeal of seeing familiar characters thrust into an unfamiliar setting, but the animated feature ends up beefing up a lot of the story by turning the movie's main focus to the ramping up of Selina Kyle as this noblewoman-lion-tamer who's doing her own crusade after Jack, as well as introducing a lot of familiar Batman villains to populate the Victorian-era world as possible suspects. And while the themes of both animated and print version of Gotham By Gaslight has been more about the mystery and the atmosphere, I'd argue that this animated venture ends up missing the mark more than hitting it. And it's a pretty loose adaptation of the actual Gotham By Gaslight comic, borrowing mostly the aesthetics and the themes instead of the main storyline, but that's standard fare nowadays. The animation in these DCAOM movies has always been on point, and the voice acting's pretty decent. Anyone who knows the name Oracle would likely immediately understand the clever way the story riffs on that title.And it's competently done, for sure. If you’re coming from the comic you might notice that a few explanations have been added to the film, though they feel superfluous, like noting that Barbara Gordon (Gideon Adlon) has become a famous oracle. Anyone else might feel a bit like they’ve showed up for a test without doing the homework. The film, like the comic it’s based on, is designed for fans who don’t need introductions to the huge cast of characters, ranging from Dick Grayson to Kirk Langstrom, and can just appreciate the way they’ve been altered to fit the pulp-horror setting. ![]() Set in the 1920s, Doom doesn’t slow its pace from the moment it opens, with Bruce Wayne (David Giuntoli reprising the role from Batman: Soul of the Dragon) and his ragtag crew investigating the failed Cobblepot Antarctic expedition and being attacked by mutated penguins. One such example was Hellboy creator Mike Mignola and Richard Pace when they skillfully mined that connection in their 2001 Elseworlds comic miniseries Batman: The Doom That Came to Gotham, and now its faithful animated movie adaptation offers a genuinely terrifying spin on the Dark Knight and his friends and enemies. Lovecraft dating back to the introduction of Arkham Asylum in 1974. There’s a time-honored tradition of Batman stories paying tribute to the otherworldly horror works of H.
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