TV Review: "Batman: Caped Crusader" Season 2 - Upping the Ante

The Dark Knight returns to Prime Video with another season of the golden age inspired "Batman: Caped Crusader." In following the escalation theory prevalent in the Batman mythos, this season ramped things up as our hero's war on crime reaches levels beyond common mobsters and murderers that test him physically and psychologically.

Much of what made the first season work carries over here, particularly the "Villain of the Week" format. Though I will point out there's more serialization involving two main villains. The first is the Riddler, who takes over Rupert Thorne's operations after the mob boss disappears. Riddler's way of running things leads to more chaos and death, especially when he goes full "Bonnie and Clyde" with who I would consider this show's version of Poison Ivy. But Riddler can be seen as a bridge between the traditional crime boss in Thorne and the super criminal best personified in the biggest enemy any Batman would face.
The Joker was teased in a post-credits scene at the end of last season and is seen throughout season two preparing his ultimate plan in the shadows before making a hell of a public debut at the start the two-part season finale. This has to be one of one the creepiest versions of the Joker put to screen. While carrying the character's anarchistic and nihilist traits, this is a much more subdued version in line with his first comic appearance. He hardly smiles and when he does it's more of a slight grin, which makes the moment we get a full-on laugh more significant. The way the Joker Venom is depicted is also unsettling as it draws out the victim's death and you can see the pain in their eyes and voice.

But there are plenty more bat-villains to enjoy this season. Much like last season, there's a mix of golden age villains, like Hugo Strange and the Mad Monk, and villains who came later like Roxy Rocket reinterpreted to fit that era (along with some other modern comic plot elements). I would say they even go further by taking villains who technically debuted in the golden age like Scarecrow and Mr. Freeze but redone in a more pulp style of the first year of Batman comics.
Along with the Scarecrow episode where Batman has to team up with Harley Quinn to stop him, another highlight episode for me was Jim Corrigan's transformation into the Spectre. Unlike the supernatural route that led to the misstep of the Gentleman Ghost last season, the Spectre comes out of a science experiment to extend one's life expectancy gone wrong. Targeting those the law failed to put away, he's essentially a ghost taking care of unfinished business; add in that the episode takes place on Christsmas Eve and it's a BTAS caliber twist on Dickens' classic.
While not a villain per se, this season introduces the character of Hattie Tetch, a gender bent version of the Mad Hatter. Unlike how they depicted the Penguin last season, Hattie shows real effort from the creators in differentiating her from her male counterpart. Instead of using hats or playing cards to control people though, she's a news personality who has some warped views on who the good guys and bad guys are. You can make your own cable news connotations there.

As you can probably guess, the villains kind of overshadowed our protagonist this season. Bruce does still get some development though as he slowly accepts he doesn't have to work alone. This mostly involves forming a partnership with the Gordons, but we also get a follow-up appearance by Carrie Kelley that highlights the benefits and pitfalls of the kid sidekick.

Those who enjoyed the first season of "Batman: Caped Crusader" should have no worries going into its second and most likely last season. "Caped Crusader" was always a holdover from a previous WB regime that we were lucky still got to see the light of day. But with the announcement of the Absolute Batman animated series, the writing's on the wall. "Caped Crusader" was nonetheless a great adaptation of one of the premiere superheroes. If there's one takeaway I got particularly from this season, it's a similar feeling I had rewatching the Nolan trilogy recently, that Batman's fight against corruption and chaos is a timeless one that we should feel inspired by.

Movie Review: "Spider-Man: Brand New Day" - Welcome Back Parker

After the events of "No Way Home", Peter Parker finds himself in new territory within the Marvel Cinematic Universe. In many ways, "Brand New Day" delivers the MCU Spider-Man movie fans have been wanting to see while still carrying a divisive trope from the previous trilogy.

From beginning to end, this may be the most emotional Spider-Man film yet. With six total films (three ensembles and three solo), we're fully invested in Tom Holland's Spider-Man and his well-established spot in the MCU. After having to erase the world's memory of Peter Parker and deciding to seclude himself from those closest to him, he's been through a lot to say the least. Even Michael Giacchino's iconic Spider-Man score highlights the struggle, having a more somber tone rather than the triumphant one we're used to. This makes for some pretty heartbreaking moments, especially in his scenes with Zendaya's MJ; their chemistry remains on point, and I love how they're married in real life now. It leads to an existential crisis in the same vein as Raimi's "Spider-Man 2" (there's actually quite a few homages to that film) but inversed with Peter's powers evolving rather than disappearing. Besides the external threats, Peter's main conflict is finding the balance between the spider and the man. And if you pay attention to how much he wears the Spidey mask and when, it's a good indication of where his mind is at in the moment.

Style wise, it's for the most part a street level MCU Spidey film and there was clear influence from the PlayStation/Insomniac games. Peter's been operating for years, has a firm partnership with NYPD, and a rogue's gallery he's put behind bars (including Michael Mando finally suited up as Scorpion). The action scenes or just Spidey swinging look like they're ripped right from the games. But I think what most people will enjoy is seeing Peter left to his own devices. No longer backed up by Stark tech and mostly acting as a solo hero, Peter's had to rebuild himself from the ground up but it's still clear he's come a long way from the high school kid in baggy sweat clothes.

Of course, it's still the MCU which means we have wider connections to explore.
Filling the kind-of mentor role for Peter this time around, Jon Bernthal is back once again as Frank Castle/Punisher. It just makes sense to have the New York vigilantes cross paths and a history between the two is clearly established (and it's my headcanon Pete's had to have teamed up with Matt too at some point). If Happy was the annoyed big brother, Frank's more of an antagonistic big brother to Peter, setting him apart from past mentors. What really sells their partnership is Bernthal and Holland's own personal history, having worked together in the past and helping each other prepare to take on their Marvel roles.
Mark Ruffalo is also back as Bruce Banner, who Peter goes incognito to for advice on how to get his mutating powers under control. Unfortunately for Bruce, this puts him in the crosshairs of the film's villain, triggering a full savage Hulk transformation for the first time since "Infinity War". People who have been wanting that Hulk back will be happy to see it, and the fight between him and Spidey is an entertaining moment we can check off the Marvel movie bucket list, but I know few will absorb the tragedy of the moment. Pre and post transformation, Bruce comes across like an addict who fell off the wagon and in anguish over "his" actions. Ruffalo sells it so well, especially with how he keeps asking if he hurt anybody.

Sadie Sink plays our main villain, though I won't be spoiling who it is here. All I'll say is that her character continues to expand the mutant presence in the Sacred Timeline of the MCU and Damage Control's antagonizing nature toward it as seen in "Ms. Marvel" and "Wonder Man". That, and Sink's performance totally steals the show in the film's third act.
All that said, some of these wider connections do kind of hinder the street level aspect during the second half of the film. It's still all well put together, but it may lose viewers going in excited about the former as it plays into the belief that Sony overly relies on the MCU connections in the Spider-Man films.

"No Way Home" was always going to be a tough act to follow, but "Spider-Man: Brand New Day" proves there's still life in the web-head's film franchise. Full of action and emotion while setting up promising future developments for Peter and others within the MCU, we're given a must-see film as this year's Summer Blockbuster season starts to wind down.

Movie Review: Supergirl - Turbulence in Paradise

 

So far, James Gunn has spearheaded every project in the DCU, whether it be as writer or director. This year will be the true test of this burgeoning interconnected universe with three projects where Gunn is strictly in the producer seat. "Supergirl" is the first and unfortunately shows why Gunn may need to be a little more hands on.

We got our first look at Milly Alcock as Supergirl in a cameo at the end of "Superman" last year and it was pretty clear the direction they were going for the character, i.e. Rick Sanchez "Wubba lubba dub dub!" vibes. To be clearer though, we're seeing a Kara who has some unresolved trauma she buries in liquor and partying. Couple that with the trailers showcasing the film to be a gritty "John Wick in space" (with a touch of "True Grit"), Supergirl was definitely going to differentiate from her cousin in terms of both character and tone.

While I understand they were going for a darker story, they may have taken it too literally. One of the main problems with the movie is the lighting, specifically that they need to turn on a light! I'm not asking for Schumacher style neon, but it's hard to enjoy some of the action when I'm straining to make out what's happening half the time. Even with the climax of the film where it's set outside with natural sunlight, the shadows still seem to be overpowering, save for the final slow motion action scene set to a song in true Gunn fashion. Going off that though, while there's plenty of music in the film, it doesn't have the same impact as an actual Gunn film; even the action scene I mentioned left a little to be desired in my opinion.

So those are the technical issues. Story wise, it's kind of cliche with a hypocritical resolution. It also feels like there were some moments left on the cutting room floor, which makes character development moments feel unearned. This hurts the emotional moments as well since certain choices characters make leading up to it are, for lack of a better word, stupid.
And then there's our main villain, Krem of the Yellow Hills. Just mix the scene chewing of Ronan or Dar-Benn, give him a composite design of Yellow Bastard from "Sin City" (with a hint toward some of that character's certain proclivities) and Xerxes from "300" and you have Krem.

Now there are some silver linings to the film. Milly Alcock sells this version of Kara very well, showcasing a good person dealing with the bad hand she's been given in life. The flashbacks of her growing up are a real highlight as well and works to show the differences between her and Clark in terms of nature vs. nurture. We also have the return of our favorite chaotic good boy Krypto, but our main show stealer this time around is Jason Momoa as the DC character many say he was meant to play, Lobo. While I enjoyed his time as Aquaman, Momoa IS Lobo; the downside to that though is that you'll be wishing he was in more of the film than he is.

Overall, "Supergirl" is a surprise misstep that shows the film side of DC still has some work to do in finding steady ground.

Hush 2: Pointless and Frustrating

 

I had intended this to be a regular review of the storyline, but as the title of the post indicates, it's not worth the effort.
"Hush 2" (stupidly stylized as "H2SH") saw the creative team of writer Jeph Loeb and artist Jim Lee reunite for the sequel to their original 2002-03 Batman story. This is despite the fact the character of Hush had been a recurring villain as recent as the end of Peter Tomasi's last run on Detective Comics in 2020. And if any story was worth being a true follow-up, it would be Paul Dini's "Heart of Hush" from 2008. Regardless, the "Hush 2" we did get has been poorly received and met with numerous delays. It's basically "All Star Batman and Robin" all over again, which Lee also worked on with another acclaimed Batman writer past his prime, Frank Miller.

"Hush 2" was meant to run from March 2025 to August 2025 to conclude that current volume of the main Batman book before it was relaunched in September with Matt Fraction taking over as the writer. Yes, ending and immediately restarting a book with a new issue one is still a frustrating practice of the big two, but I give DC credit that they're more restrained compared to Marvel in recent years. To mark the occasion, we would see Bruce don an updated batsuit (with Tim and Damian getting new Robin suits too) which would also appear in the rest of the Bat-books and the broader DC universe. Couple that with the fact that variant covers of the final and first issues of their respective volumes were meant to connect, this implied "Hush 2" would have major ramifications.

As I mentioned though, delays started to occur with the release schedule of "Hush 2". Now normally, if a book was behind schedule, particularly one with line-wide implications, it would in turn delay what's meant to come in the aftermath. I don't know if reviews had played a factor, but when September came around, DC went as scheduled with Matt Fraction's new Batman #1 despite the fact "Hush 2" only reached part four of its six issue run. By the time part six finally arrived this May, Fraction's run had reached issue nine.

Fraction's run and the other Batbooks by September were meant to take place after "Hush 2". Throw in the fact that none of those books have made any reference to that story and it begs the question of what the point of it even is. DC obviously didn't even care enough to make sure it was finished before moving on to what came after. If it weren't for completionists like myself, especially since it was part of the main Batman book, many more would have dropped this story without a second thought.

But here's the real kicker. After fourteen months to get these six issues out, the story STILL isn't over! Part six not only has no plot resolutions but ends on a cliffhanger with a tease for "H2SH 2", which read out loud would be "Hush 2 2" (do you see what I mean now with that stylization?). Despite the plan to lead into Fraction's run, this was apparently always meant to be a twelve-issue story like the original. Artist Jim Lee has said the second half will be its own miniseries and will have a consistent release schedule once everything's completed. But again, what is the point? Considering the time it took for the first half to come out, who knows how long it will take for the second and how far ahead the Batman books will be when its finished? And I don't see many readers eagerly waiting for it considering how the story's gone so far. This is why I'm not giving "Hush 2" a full review. I can't take waiting on a story that so far has been nonsensical and ultimately doesn't matter. Though if it's anything like "All Star", I would be surprised if a promised continuation to wrap up the story actually materializes.

However, there is one plot point of "Hush 2" that warrants discussion. A plot point I've been boiling over for about a year that I am not letting off the hook just because I'm not giving the story full attention.
In one of the many inversions of the original "Hush", Hush leaves the Joker for dead with Batman being the only one who can save him, as opposed to nearly killing him like before. And apparently, this pisses off the entire Bat-family who act like this is the worst thing Bruce has ever done. By the way, all the Bat-books post "Hush 2" show everyone on good terms so again, no point. So what is the reason Batman would save the Joker? Simple: because he's Batman.
Despite not being part of his inception and the movies playing fast and loose with it, Batman's no-kill rule is a fundamental part of the character. Now people point out he'll do everything to criminals just short of killing, the exaggerated takedowns from the Arkham games being a prime example. That's not to say Bruce won't lose his composure if pushed too far; it's part of the humanity that makes the character relatable. But as much as he was born from violence, Batman was also born from compassion. Bruce's crusade is about preventing anyone from suffering a loss like him due to crime and that those who would commit those crimes have justice served against them. That's part of why he deals with the revolving doors of Blackgate and Arkham; despite all evidence to the contrary, he hopes to all hell that his enemies, even someone like the Joker, can find repentance. As for letting someone die from something you weren't responsible for, that doesn't matter to Bruce. In his mind, the blood would be just as much on his hands.
There's a flashback scene from the first issue of Tom Taylor's current Detective Comics run where Bruce's father Thomas performed surgery on a man (who we learn would turn out to be Joe Chill) after a car accident despite seeing evidence he was physically abusive to his pregnant girlfriend. Some of Thomas' colleagues and his wife question his decision to save him. A young Bruce overhears the conversation between his parents and is also curious about his father's actions. Thomas responds "We don't know how a life will be lived. We don't know it's value. And if we can save a life, and we don't, what would that make us? You save the life, Bruce. No matter what." As a doctor, Thomas took the Hippocratic oath. Bruce lives by that in his own way. It's something he's also passed down to Dick. In another flashback scene from Taylor in his prior run on Nightwing, a young Dick gets heated during a training session with Bruce, who needs to bring him back down. He tells his ward that they don't know the circumstances that brought someone to crime and that their job is to stop criminals, not punish them; "We can't hurt people because our parents died."

Above everything else wrong with it, I think that's the main reason I reject "Hush 2". In any other story, Bruce's friends and family would understand without question why he would save the Joker's life. He's even done it before like in 2001's "Last Laugh" event where Bruce had to resuscitate the Joker after Dick beat him to death believing he had Tim killed (though if anything it was about keeping blood off Dick's hands). Or even in the original "Hush" where Bruce nearly took it himself, Gordon appeared to talk him down. Considering the Joker crippled his daughter in "The Killing Joke" and killed his wife at the end of "No Man's Land", Gordon would have every right to want the Joker dead but didn't want to see Batman cross the line. Like many superheroes, Batman is supposed to represent the best of humanity and stir that goodness in others, fictional or otherwise. In these days where it's a fight to keep that belief alive, we need stories and symbols that remind us of that.

TV Review: Spider-Noir - Uncaged

If you're familiar with my blog, you'd know I'm a big fan of Spider-Man Noir, having covered the character's original story and its sequel. So you can imagine my level excitement when a live-action series was announced. But given Sony's recent track record of live-action Spider-Man properties outside the MCU, there was also legitimate concern. But it was getting a touch from the "Spider-Verse" films with Phil Lord and Christopher Miller producing and Nicolas Cage jumping mediums to play the character (albeit a different version using the Ben Reilly name and his alias simply "The Spider") so there was hope to be had. I thought if anything, Cage's involvement guaranteed some entertainment either way. Thankfully the final product swung (pun intended) in the right direction.

Since the character's appearance in "Into the Spider-Verse", creators in the comics have leaned somewhat into that private investigator depiction though not as exaggerated. "Spider-Noir" continues that trend while trying to keep it as gritty and grounded as the original comics. That being said, the show isn't shy about having superpowered villains for the Spider to face, including Sandman (Jack Huston), Tombstone (Abraham Popoola), and lesser-known villain Megawatt; I guess they couldn't use Electro, but in any case, Andrew Lewis Caldwell steals the show whenever he's on screen. The interesting part though is that superpowers can be seen as a metaphor for PTSD for soldiers (in this case post-World War I), just one of many themes explored in the series in addition to political corruption and gatekeeping.

Since the series does its own thing compared to the comics, the best way to describe it is that we take the Spider-Man mythos and filter it through the lens of classic film noir. The experience is greatly enhanced in the black and white setting (especially with the classic horror aspects of episode 6); I may still watch the colorized version since it's supposed to be as vibrant as the films of the time, but it felt right to lean into the noir of Spider-Noir. Many of the characters represent the tropes one would see in a noir film. You have the grizzled detective with a tortured past in Ben, the femme fatale in Cat Hardy (Li Jun Li), the sassy secretary in Janet (Karen Rodriguez), the crime boss with an iron grip on the city in Silvermane (Brendan Gleeson), the reporter best friend in Robbie Robertston (Lamorne Morris), and the streetwise kid in Frankie (Cary Christopher, another show stealer).

While much of the cast is entertaining, this is of course Nicolas Cage's show. As the Spider, he brings his own style of quippage one would expect from the web-slinger. Mix that with the personal flair Cage is known to bring to his performances and there's no shortage of fun to be had. I also enjoyed his chemistry with Li Jun Li's Cat Hardy. Along with the "will they/won't they" plotline, their banter is right at home in the film noir setting.

The suit is absolutely perfect. Though if I had to nitpick, I feel they could have gotten a better stuntman to match Cage's body. Like, I don't expect Cage to do the big action scenes (though lord knows he could try), my suspension of disbelief is hard to maintain when it feels like someone other than Ben is in the suit, entertaining as they are.

Overall, "Spider-Noir" is a bet that paid off. Cage leads a well-rounded cast in a series meant to throw back to a classic era of cinema mixed with the modern aspects of the superhero genre.

TV Review: "Daredevil: Born Again" Season 2

 

As good as the first season was, "Daredevil: Born Again" kicks things into higher gear with its second season. While most of last season was about establishing characters old and new and sounding the drums of war, Murdock and Fisk escalate their feud into a battle for the soul of New York City with a constant back and forth. Along with "Superman", I believe "Born Again" is the most relevant superhero project from the big two of the last couple of years as the revival series continues to hold up a mirror to society in terms of the power of the government and of the people.

If there's a theme to this season, it's anger. With Matt, his fighting style has reached new heights of brutality akin to Batfleck (which is fitting given Frank Miller's influence on both characters). Daredevil has become a symbol of resistance and embodies the growing anger of the people of New York toward Fisk, who himself becomes more dangerous than ever in the second half of the season. The struggle against a blatantly corrupt politician and a system building around it continues to reflect our world. But while last season could relate to people's fears about how bad things would get, season two's release comes at a time where we're indeed seeing how bad things are getting and are just as pissed as the people in the show. But the important thing Matt and the show conveys is not to let that anger poison you as well. While it's hard not to root for Bullseye as he's dealing with AVTF troops in his own deadly fashion, there's still a need to believe the world can change for the better because of the best that people have to offer. And isn't that the idea of superheroes like Daredevil? Despite being fictional, they offer hope in people during the darkest of times.

I'd consider episode five, "The Grand Design", to be the best of the season. Part of it involves flashbacks to just before the original Netflix series and they do a good job recapturing the gritty feel of it, even down to the framerate. It also allows Elden Henson to return as Foggy and I swear the man doesn't age. The episode is also a highlight for Vincent D'Onofrio as he portrays Fisk at his most emotional, even dropping the gruff voice the character's known for.

Matthew Lillard joins the cast as the mysterious Mr. Charles from the CIA. Not much is known about him other than he works with Fisk as a middleman for Valentina Allegra De Fontain and another of her shady operations. Charles has a similar charisma as Val and it makes me think that if Val is the Fury to the Thunderbolts*, then Charles could be seen as her Coulson (and by extension, Mel is her Hill). It'll be interesting to see where Charles may appear next in the MCU.

After seven years, Krysten Ritter makes her grand return as Jessica Jones, aiding Matt in the war against Fisk during the second half of the season. Without spoiling much, there's a new maturity present in Jess compared to when we last saw her, but she still has that edginess that made fans fall in love with her character. There's more to dig into what's happened since the end of not just her series but the other two Netflix heroes yet to be touched upon, but this season just gives us a taste before we get the full Defenders reunion next year.

Between eleven years and now five total seasons, Daredevil fans should continue to expect to be eating good as "Born Again" wraps its initial story and sets up a new status quo for the next season.

Dragon Ball Super Movie Retrospective

While "Battle of Gods" and "Resurrection F" revived the Dragon Ball franchise, they would ultimately be cast aside despite the heavy lifting they did. When the Dragon Ball Super anime began in 2015, the two films were retold over the first 27 episodes, with some details changed to differentiate and expand the story. The versions told in the anime would become the canon version of events and used as reference in video games like 2024's "Sparking! Zero". So despite my preference for those films and their original standing, they technically continued the trend of Dragon Ball feature films being non-canon. No, the first official canon Dragon Ball film would come after the conclusion of Super's initial run in 2018 and takes place after the fact. And canon would be the magic word as this film would reintroduce the most polarizing figure from the original Dragon Ball Z films...

BROLY

SYNOPSIS: One fateful day, a mysterious new Saiyan appears before Goku and Vegeta: Broly.
MY THOUGHTS: In the lead-up to the dub of "Broly" in North American theaters, there were also theatrical rereleases of the original Broly movie, "Fusion Reborn", as well as the TV special focused on Goku's father, Bardock. It would become clear that releasing the older films was sort of a last hurrah for them before elements of them were reworked into the new one.
Between Z and Super, Broly's initial origin remains the same. A Saiyan baby with latent power that scared King Vegeta and underwent trauma that fueled his abilities. Where the versions differ is their characterizations. I'll preface this by saying I feel both versions have merit. "Z" Broly was a seemingly unstoppable sadist with no redeeming qualities who fit the mold of the movie villains at the time. "Super" Broly has a more sympathetic backstory and is undeniably the more interesting version of the character; the scars present on his body are a nice touch as it indicates some vulnerability. "Super" Broly has a good nature to him that his father Paragus constantly tries to snuff out of him, focused on making him a weapon against the Saiyan royal bloodline for their slight against his own. Despite that though, this Broly is a dutiful son and is fearful of disappointing his father. Coupling this with his powerset creates the monster we see in this film. Paragus believes that despite removing his tail, Broly is able to channel the power of a Great Ape without transforming, similar to Super Saiyan 4. I would go further by saying Broly seems to have an enhanced form of a Zenkai Boost, where a Saiyan's power increases after a near-death experience. In Broly's case though, it's more of an adaptive ability as his power continues to increase during a fight to match his opponent's strength; as his power rises though, the less self-control he has. He's able to hold his own against Goku and Vegeta in his base form all the way up to when they go Super Saiyan Blue. He doesn't even become a Super Saiyan himself until Frieza kills Paragus and through an Oscar worthy performance convinces Broly he was killed by a stray energy blast. Frieza would get some karma though when Goku and Vegeta divert Broly's attention to him as they retreat to regroup. I think if this Broly has a physical weakness, it's his body's ability to adapt to his opponent before they get the upper hand and win.
In order to defeat Broly, Goku convinces Vegeta to perform the Fusion Dance and become Gogeta. In this film, it's treated as the first time they've fused together this way, officially bringing Gogeta into the main canon after appearing in "Fusion Reborn" and GT. I've mentioned before that I prefer Gogeta over their Potara Fusion of Vegito. In terms of getting the job done, Gogeta already had a higher win ratio over Vegito, and it technically only increased after this film.
What's interesting about the character of Bardock is that he first appeared in his TV special and aside from some design input, series creator Akira Toriyama was not involved in the story. However, Toriyama enjoyed the special so much that he would reference Bardock in the main story with Frieza recalling him in a flashback upon realizing Goku's resemblance to him. The special would be considered canon in the same vein as "History of Trunks" until like Broly, Toriyama would put his own spin on the character. In the original special, the only connection between Bardock and Goku was that the latter was just born and sent to Earth while the former would be having visions of his son's time on Earth and that he will one day face Frieza and avenge their race. In "Broly" though, Bardock just has a bad feeling that Frieza plans to destroy Planet Vegeta and along with his wife Gine send their son to Earth to survive. So they basically gave Goku the Superman origin story. In my opinion, it not only doesn't really add anything to the film's main narrative but also felt like an unnecessary change. What set Goku apart from the rest of the Saiyan race was that he fought to improve himself and protect others as opposed to a society built around a lust for destruction and lack of emotional connection, which Bardock was a part of. Turning him into Jor-El takes away a unique backstory for the series' main protagonist. The only constant between the two versions is that Bardock does attempt to face down Frieza before perishing along with the rest of his world, which is probably the most important part of his story anyway.
In terms of the modern Dragon Ball films, "Broly" probably has the best animation style as it's reminiscent of the original DBZ days. It was so well received that the "Sparking! Zero" game would emulate it. It's more fluid which makes for some great transitions during Super Saiyan transformations and wild battles where you can feel the impact of every hit. On the latter, it can sometimes be a little hard to follow the action even by Dragon Ball standards and get downright chaotic. So much so that reality seems to break momentarily during the final battle between Gogeta and Broly similar to that one episode of "Ed, Edd, n Eddy".
So is "Broly" good? Objectively, yes. I personally had mixed feelings the first time I watched it, but it's come to grow on me, especially going into it this time with more of an analytical eye. The most I got out of this rewatch was understanding Broly's character. It was a big gamble to reintroduce Broly despite how split the fanbase had become on him, but I believe the results show it paid off.

SUPER HERO

SYNOPSIS: Descendants of the Red Ribbon Army's sinister leaders have renewed their quest for world domination. As their two ultrapowerful Androids seek their own brand of justice against Earth's heroes, Piccolo and Gohan must push their powers to new limits.
MY THOUGHTS: We've reached my favorite Dragon Ball movie of the modern era. The big reason is because it drops the overreliance on Goku and Vegeta and gives my boy Gohan some time to shine again, but I'm getting ahead of myself.
"Super Hero" marks the first Dragon Ball project to use CGI animation, taking Toriyama's designs and putting them in a 3D environment and looking like a more polished version of the video games. I know there are fans who prefer traditional 2D animation for the series, but it still works here in my opinion. I found it to retain the same fluidity from "Broly" in terms of transformations and action, with the latter being easier to follow by comparison.
There are some complaints in how "Super Hero" retreads the Android saga and relies on nostalgia. That's fair, though I feel it's all about the execution. Some of the original Dragon Ball Z movies can be seen as copies of stories from the anime, but the way they were presented and characters introduced like Cooler and Janemba are memorable to the fandom for a reason. Compared to "Super Android 13", "Super Hero" has an emotional plotline rather than just fighting more Androids. And to be fair, the only modern Dragon Ball film from Toriyama with an original premise was "Battle of Gods".
On that note, the final boss of the film is Cell Max, a new version of the bio-android. Now before you think it's like Frieza's return or a copy like Cooler, this Cell is kaiju-sized (and I could see some inspiration from "Shin Godzilla") but is released before being perfected and is nothing but a chaotic beast. The battle against him evoked the most tension I've felt watching Dragon Ball since GT. While there are elements of Super that are enjoyable, I've never felt there were stakes. Since it takes place during the ten-year time skip before the last three episodes of Z, we know everyone makes it to the end. "Super Hero" may still be in that timeframe, but I think Goku and Vegeta not being present ups the desperation of the situation Cell Max posed.
Piccolo and Gohan are the main focus of the film and receive their own long-awaited power-ups. While Piccolo got a new Orange form, the big highlight of the film is Gohan attaining a new "Beast" form. This leads to his biggest moment of the series since his Super Saiyan 2 victories over classic Cell and Bojack, and Gohan being my favorite character made it extra special for me. I know people like to bring up his arrival in his Ultimate form and giving Super Buu a beatdown as a big moment, but he doesn't finish the job. Buu absorbed Gotenks and Piccolo and gets the upper hand with Gohan himself getting absorbed later on. The cherry on top in his defeat of Cell Max is using his own Special Beam Cannon, which I feel was a reference to it being the finisher for Future Gohan in video games going back to "Raging Blast 2". So what is this Beast power-up? Despite some considering it an asspull for victory to be assured and a new form for marketing's sake, I feel it's similar to how Super Saiyan Blue is Super Saiyan applied to Super Saiyan God. If Gohan's Ultimate form is like Super Saiyan, then we can see Beast as the Super Saiyan 2 power-up for Ultimate. In the case of both Gohan and Piccolo, I hope these new forms aren't one-offs and we'll see them again in a future story.
Near the climax, Bulma arrives with reinforcements in the form of Krillin, 18, Goten, and Trunks (the latter two finally aged up to teenagers) who all help in the battle against Cell Max. Goten and Trunks fuse into Gotenks, but their lack of practice leads to the overweight version. But what's funny is that even though they messed up, Gotenks actually made a bigger contribution than he ever did in the Buu saga by cracking Cell Max's dome and creating the weak spot for the finishing blow (since Cell Max lacks the original's regenerative ability). There's also a subtle touch with 18 showing to still have some Cell-based trauma from the Android saga.
So where were Goku and Vegeta during all this? They were training on Beerus' planet, specifically having a sparring match with no transformations or energy blasts to show Broly what it means to control one's power. Everyone present are so distracted watching the match that they miss Bulma's attempts to call Whis about the situation on Earth. The match apparently lasts hours as we see its conclusion in a post-credits scene where Goku collapses from exhaustion before Vegeta, giving the Saiyan prince his first clean victory over Goku. Now I may get a lot of heat for this, but I think Goku let him win. Just the way it was presented felt that way to me. Now I could be wrong and Goku may have just been happy for his buddy. The finish could be left to interpretation, but it's just how I saw it.
One last thing to bring up. Apparently, Bulma constantly uses the Dragon Balls for cosmetic reasons. Now I know GT is its own continuity from Super, but I can't help but yell "This is how we get Shadow Dragons, Bulma!" whenever I watch this movie.
Overall, "Super Hero" reaffirms that Dragon Ball can be more than just Goku and Vegeta and I hope this is a lesson the franchise creators remember going forward.