Friday, August 7, 2020

TV Review: Doom Patrol Season Two - Weird Lite

The inaugural season of Doom Patrol was a surprise hit last year, putting the relatively obscure superhero team in the spotlight and bringing one of the weirdest live action comic book adaptations to date. When it comes to the second season, I don't really have too much new to say. It's still a really great show, retaining much of what made the first season so loved.
The characters are well acted with their best moments shining in their most vulnerable moments. Said moments really make you feel for them and work well with the themes of trauma and mental health the show is about.
The rogues gallery grows further with more villains each bringing their own brand of strangeness. You have the more silly threats in Dr. Tyme and the Scants, the latter of which are microscopic creatures who feed on stupidity. There's also the disturbing and terrifying in Red Jack and our main villain of the season Candlemaker. Candlemaker doesn't have the same charisma Alan Tudyk had as Mr. Nobody last season and is really just a CGI monster, but he still has a scary look coupled with Lex Lang's voice acting.

If there are any new themes this season brings to the show, it's that of legacy, family, and connections, with each of the main characters trying to better themselves.
* The most obvious has to do with Niles Caulder, not just in trying to be there for his daughter, but also hoping to make amends with the rest of the group for what he did to each of them.
* Cliff/Robot Man, trying to prove himself a better father than Niles as well as his own dad, tries to reconnect with his grown up daughter. This plotline is a bit hard to watch, being a bit cringey as well as sympathetic. Though this does bring me to my biggest problem, or rather nit-pick, with the season: Cliff's Flanderization (look it up). He's constantly dropping f-bombs, and while it was a lot more funny in the previous season, it's now like an explosion in a Michael Bay movie. It happens so much that it's lost much of its impact.
* Larry/Negative Man returns to his family after the death of one of his sons, reconnecting with his other son as well as meeting his grandson and great grandson. This was my favorite plotline in regards to the legacy theme, as it brings as much emotion as his arc last season. I think of all the characters, Larry has the most baggage from the life he left behind.
* Rita/Elastiwoman recovers a repressed memory of her mother while Vic/Cyborg kindles a relationship with a woman he met in a support group.
* Jane has a more inner conflict with her other personalities who are growing unconfident in her role as "primary." This leads to another seemingly normal and more well adjusted personality named Miranda to eventually take over. The legacy aspect isn't as prominent here, having more to do with learning more of the traumas that lead the character to who she is today.

Unfortunately, these plotlines and more will remain unresolved until next season, as with the other current DC shows, production had to be shut down due to the pandemic. Only nine of the ten ordered episodes were able to be completed. Part of me wishes this season had been longer like the last season, as then we were able to explore more of the characters' backstories and personalities and connect more with them. But since production had to be shut down, it's probably good we were at least able to get 90% of what was planned.
That said, the finale we did get was probably my favorite of the season, even if it does end on a cliffhanger. With the characters having to face their old imaginary friends, it felt like the episode that embraced weirdness the most. Just a heads up though, without spoiling anything, the more religious will probably be as angry at this as an episode of Family Guy.

Overall, Doom Patrol continues to be one of the best and weirdest DC shows out there, even if we don't get as much this time around.

Sunday, June 28, 2020

Analysis: "Spider-Man: Maximum Venom" Part One


When it comes to the third season of 2017's Spider-Man animated series, sporting the tagline of "Maximum Venom", there's a lot of significance to its production. For one thing, it will not only be the final season of this Spider-Man series, but also marks the end of what could be considered the Disney XD era of Marvel animation. As both "Avengers Assemble" and "Guardians of the Galaxy" wrapped up their runs in 2019, Spider-Man's third season is also meant to bring closure to the somewhat shared universe that the shows encompassed, which means there are a lot of superhero guest stars teaming up with Spidey this season.
There's also a lower episode count and odd release schedule. As opposed to over twenty episodes from the last two seasons, "Maximum Venom" will compose of six hour long episodes, or twelve normal episodes made up into six two-parters, however you look at it. While it would have been nice to watch the whole season over the course of six weeks, they apparently decided to space it out to one new episode a month; while that is kind of ridiculous, it's nothing compared to the wait between new episodes Gravity Falls and Steven Universe fans had to endure.
Given the lower episode count, I considered waiting to talk about the whole season in one post. But compared to the past seasons, "Maximum Venom" is more serialized with significant moments to talk about and includes much less filler. So to keep with the pattern I've done when talking about the series, I'll talk about the first half of the season and give the second half its own post once the final episodes have aired.
With that out of the way, let's dig into "Spider-Man: Maximum Venom".

The season begins with the first hour, "Web of Venom." In the first half, Peter discovers Max Modell in a secret lab where he has created a synthetic symbiote, a non-living clone of the Venom symbiote based on a sample Max still had in his possession. While Max is hopeful for the synthetic symbiote's medical applications, Peter is obviously wary. Things change though when a Technovore, a machine that can eat and incorporate any technology into its being, mysteriously appears in Horizon High. With Spidey's webshooters eaten and any other tech vulnerable to consumption, Max believes the only solution to stop the Technovore is for Spidey to use the synthetic symbiote, in the process revealing to Peter he figured out his identity. They're successful and Peter decides to work with Max on the synthetic symbiote to make sure it's ready to reveal to the public. However, we learn that Dr. Curt Connors, who had just joined the Horizon staff, is the one responsible for the Technovore's rampage, and is acting on orders from an as of yet unnamed employer.
While this is the first time I've talked about Connors over the course of these posts, I should mention that Connors had appeared as the Lizard back in season one in part two of "The Rise of Doc Ock". Since he wasn't the main focus of the story, it didn't seem necessary to bring him up.

In the second half, Connors finds Max's lab and the Venom symbiote sample. Connors confronts Max, using the excuse that he's endangering the students by performing dangerous experiments. While holding the symbiote in its container, it lunges at Connors, scaring him into dropping it and setting it free. The symbiote takes hold of Connors, though since it's only a partial sample, it doesn't cover Connors all over. However, Venom is able to make himself whole again by absorbing the synthetic symbiote off of Peter. Venom then expels Connors, since the symbiote evolved to no longer need a host last season. After Venom makes its escape, Spidey is able to track the symbiote back to the meteor crash site where it first landed on Earth. Venom retrieves a seed and morphs around it, creating a red beam to shoot up into the air (yes, even in cartoons, there has to be a freaking sky beam). With the darkened sky and seismic activity, Spidey and Max believe it's terraforming the planet. Spidey is able to disrupt the process though with a strong enough electrical current from equipment left behind by the crash investigators. All that's left of the Venom symbiote are flakes floating in the air while Spidey retrieves the seed and brings it back to Horizon. However, after his actions are brought up to the school board, Max is suspended while Connors is placed in charge. Meanwhile, in the depths of space, the red beam from Earth goes by large asteroid where we see multiple symbiotes awakening, ending "Web of Venom".

Hour two, "Amazing Friends", sees Peter returning home through his bedroom window as Spider-Man for lunch plans with Aunt May and the Watsons. As he's changing, he discovers Baby Groot (who is just as adorable here) in his closet. It's worth noting that Peter had met Groot and the rest of the Guardians over in their show in a two-parter that involved Thanos and the Venom and Carnage symbiotes. Groot has Star-Lord's Walkman that contains a message from the outlaw for Peter, but the cassette becomes unraveled before the important parts can be disclosed. Groot wraps Peter's webshooter around himself and swings downstairs. Peter rushes down to catch him when he almost runs right into Mary Jane (voiced by the brilliant casting choice of Felicia Day). Ignoring that he referenced her back in season one, this is being treated as the first meeting of the two. There's a brilliant touch when he almost crashes into her as his Spider-Sense triggers and he blushes red. While the Spider-Sense could be seen as warning him about running into her, combining that with the blush implies what I believe is him experiencing feelings he didn't expect; to simplify, it's love at first sight. Since Groot's downstairs, Peter has to keep May and MJ from seeing him and his hijinks, and that results in Peter appearing really strange to the two (yeah, that old bit). Despite this, MJ finds Peter funny and seems to roll with Peter's weirdness, which appears to make Peter infatuated with her even more. Man, after nothing romantic developed with Gwen, I really hope they don't waste any potential with Peter and Mary Jane with what remains of the series.
But back to the plot, Peter is able to catch Groot and takes him to Horizon so he and Miles can try to translate his language since the tape was unsalvageable. When that doesn't work, the two suit up and head to Avengers Tower hoping they'd have something to translate Groot. They encounter Riri Williams, a young superheroine named Ironheart and part of the Avengers intern program, who reveals that the Avengers are off in space on a mission. Unfortunately, their meeting is interrupted by AIM, who want to capture Groot for themselves. While the heroes are able to subdue the AIM soldiers, Groot goes missing. Peter and Riri search for Groot as Miles goes to recruit Doctor Strange to help translate Groot's message. As it turns out though, Strange isn't the only sorcerer involved as Baron Mordo is working with AIM. The first half ends with Groot being captured by AIM while Mordo casts Miles and Strange into a slowly vanishing pocket dimension, leaving Peter and Riri to figure out what to do.

Going into the second half, Peter and Riri are able to trace Mordo's magic to a secret AIM island base, where they are now joined by another Avenger intern, Amadaues Cho, the (ugh) "Totally Awesome Hulk." Admittedly, I haven't read much comics involving the Cho Hulk, but I really hope he isn't as annoying as he is in this show where he keeps bragging about how smart and strong he is. The three infiltrate the base and we learn Mordo and AIM are combining magic and science to use Groot's essence to create and army of Wood Golems (which look like if Groot became a Ghost Rider) to, of course, take over the world. During the battle, Miles and Strange are able to open a portal to get back home, which they then use to lure the Wood Golems into thanks to them inheriting Groot's love of ice cream and the surprising abundance of ice cream vending machines AIM has on location (which makes me wonder if they have a regular vendor to keep those things stocked). Anyway, the day is saved.
With the immediate danger gone, Strange uses a spell to show Groot's memory of Star-Lord's message: a symbiote invasion is on its way to Earth. At that time, the Milano was already being infiltrated by symbiotes, but Star-Lord was able to shoot Groot off in an escape pod before being taken over himself.

This leads into hour three, the aptly name "Vengeance of Venom" (which I will explain soon). The heroes begin to prepare for the invasion, tracking down and informing other New York heroes they can find, including Cloak and Dagger and the rest of the Spider-Team (Spider-Girl, Ghost Spider, and Hobgoblin). Peter himself is informing Aunt May about the impending situation; while she doesn't take him seriously at first, she accepts a case Peter had acquired from the space administration that we find out later contains a sonic weapon for her to protect herself. Afterwards, Peter regroups with the heroes at Avengers Tower to think of solutions to the threat when the Avengers' ship arrives back from space. As you might have guessed, the Avengers onboard (made up of Iron Man, Captain America, Captain Marvel, and Thor) have all been possessed by symbiotes. While they initiate the tower's containment defenses, the symbiote controlling Tony is able to disable it. This is a nice touch that isn't used often with these symbiote invasion stories. Usually in those situations a symbiote takes over a person and basically they become a monster, including heroes. I always found it weird that Spider-Man's symbiote (that would become Venom) seems to be the only one to exploit its host's memories. A symbiote making use of Tony Stark's genius brain is a good change of pace.
Anyway, while Miles is thrown off the tower and Doctor Strange is knocked into a portal to a dimension he intended to banish the symbiotes to, the rest of the heroes are slowly but surely soon infected by symbiotes (with Symbiote Tony also able to track down those in the Avengers database), save for Ironheart and Spider-Man. Riri discovers an even larger ship containing symbiotes on its way to Earth while Peter realizes that the seed from "Web of Venom" was acting as a homing beacon, with the Venomized Avengers being a hunting party to take out the other heroes before the full invasion began. Riri draws the symbiotes away while Peter heads to Horizon to get the seed. Riri herself is soon enough infected though, though she's able to transfer access to the Stark network over to Peter. Peter gets to Horizon but is surrounded by the Venomized heroes. But help arrives in the form of Miles and the rest of the Spider-Team. They hold off the symbiotes as Spidey gets to the seed and successfully destroys it, forcing the larger symbiote ship to reverse course. But while this is a shorter season, it isn't that short. A Venomized Doctor Strange reappears (now going by the title of Symbiote Supreme) and uses the Time Stone to rebuild the symbiote seed and bring the ship back on course. As the rest of the Spider-Team soon become infected as well, Peter finds himself truly alone. He's able to escape though when he falls into the river after taking the blast of one of Harry's pumpkin bombs, hiding and clinging on to a passing ship. Soon enough, Peter watches the symbiote ship appear above New York as it explodes and rains down symbiotes all over the city, taking over any citizens caught in the downpour.

As the second half begins, Peter's first priority is to head home and check on Aunt May. While he is unable to find her, Peter is soon confronted by the Symbiote Supreme and some other symbiote soldiers. When Peter says he won't let a symbiote bond with him again, Symbiote Supreme reveals that they have no intention of bringing him into the fold as they want to destroy him for what he did to Venom. And that's why "Vengeance of Venom" is a perfect name for this story; it not only shows a level of comradery among the symbiote race but also puts a lot of responsibility of these events on Peter's head, making what would have been a routine invasion for the symbiote race a more personal matter.
As Spidey fights off the symbiotes, he is soon saved by a man with energy based weapons that are able to hold back the symbiotes, escaping down to his lair within the sewers. The man's name is Marc Spector, and he was once the vigilante Moon Knight, who had not been seen in months. To keep with the character's reputation of being mentally unhinged, the version on this series is very standoff-ish and given a bit of a doomsday prepper makeover; it works pretty well if you ask me. It also turns out that he only saved Spidey so can use the Avengers Encryption codes to raid a Stark warehouse for supplies. I'm guessing he just assumed Spider-Man would have those since he is a well known hero, even though he's not technically an Avenger; both Marc and Spidey are lucky they had access to that at the moment or this may gone way differently.
Down in the lair, Spidey gets a call from Max, who says he may have a solution before being cut off by unknown means. Spidey convinces Spector to escort him to Max's residence through the sewer system in exchange for the codes he wants. When they get to Max's residence, they find Max has been able to capture the Venomized Groot (and he's still kind of adorable). While analyzing Groot, Max discovered that Groot's anti-bodies have a stronger resistance to the symbiote and that if they were to amplify them, it could create an Anti-Venom they could use to fight back. They need to get to the space administration for materials to do so, but Marc refuses to escort them, claiming he did his part. Spidey tries to convince Marc to help since he was once a hero. Marc then laments that after he lost someone close to him, there was no point in being a hero. Spidey rightfully calls Marc out on that, saying that he uses the loss and memory of his Uncle Ben as motivation and that "with great power comes great responsibility." With no time to waste arguing, Spidey gives Marc the codes he wants and leaves with Max and the captive Groot before guilt-tripping Marc one more time that they could use Moon Knight's help.
Later, Marc is trying to get into a Stark warehouse when he is swarmed by symbiotes. He is saved though by a small group of people fighting off the symbiotes, lead by Aunt May with the sonic weapon Peter left her. May tells him she's looking for her nephew, but brushes off Marc's cynical thought that the symbiotes probably already got him, choosing to remain hopeful. She also talks about the weapon she has has the power to help and that "with great power comes great responsibility". Marc is surprised by the line (putting two and two together when it comes to Spider-Man) as May explains it's what her husband Ben used to say and how she chose to remain strong after his death.
Spidey and Max arrive at the space administration to find it ransacked, but still attempt to find what they need to help Groot. They're soon attacked by the Venomized heroes, but back-up arrives in the form of Marc, now suited back up as Moon Knight after May's pep talk, along with May and her resistance. Max recognizes May's sonic weapon as the object they need for Groot. Max uses the sonic device on Groot and not only are Groot's anti-bodies increased to where the symbiote possessing him becomes an Anti-Venom, but Groot is also able to release a large amount of spores that cover the city, expelling and eradicating the symbiotes from the heroes and civilians.
In the aftermath, Strange takes the Anti-Venom Groot to the Guardians to clear them up (also planning to get the Anti-Venom symbiote off the little tree after thatl) as Spidey is given his props by the heroes while Moon Knight thanks him and his family for the inspiration he needed to be a hero again. Max walks off without saying a word though, as he's been feeling dejected and partially responsible with everything regarding the symbiotes. Back at Horizon though, we see someone retrieving the symbiote seed (I'm going to guess Connors given what we know so far) as we end the first half of the season on a cliffhanger.

The first half of "Maximum Venom" is pretty decent. While I was a little wary since the symbiote invasion has been done to death, I thought it was handled pretty well in this series. Aside from that, I also enjoy the team-ups featured and thought Peter played well off of both Riri (relating to each other for being teen heroes and geniuses) and Marc (both how they process loss differently and how Peter's hopeful nature compares to Marc's cynicism). There are some silly moments like the symbiotes incorporating motorcycles into their being, but it's not that bad. I'm also a little iffy on May seemingly not figuring out Peter is Spider-Man. It might be too early in the season to tell if she's just being coy about it, but having knowledge and means of defense in regards to an alien invasion should probably be clues.
There's quite a bit I didn't mention here and even though I have a feeling some things will pay off more during the second half, I'll bring up any details that turned out important next time. There is quite a bit to look forward to in the second half though. Who is Connors working for? Will we see more of MJ? And are we really done with symbiotes in a season named after Venom? We'll just have to wait and see (though that last question is probably a "no").

Friday, May 22, 2020

Movie Review: "Justice League Dark: Apokolips War" - DC's Endgame


All good things must come to an end. When it comes to the DC Animated Movie Universe, it just seems surprisingly soon. Since I started my blog in 2013, I've been able to give my thoughts on every movie in the series since it started with "Justice League: War" in 2014. While it took awhile for the universe to find its groove, it's certainly had its high points, low points, and everything in between. But it seems the creators are ready to move on, and with "Justice League Dark: Apokolips War" (inspired by comics like Darkseid War and, for some reason, Futures End), we are given a final chapter that puts the emphasis on final.

While this is technically a sequel to 2017's "Justice League Dark" film and has John Constantine as the central character, "Apokolips War" features every prominent character from every movie in the universe, from the Justice League, Teen Titans, and even the Suicide Squad (who are more entertaining here than in their own previous film). It's a star studded line up, and while not every character featured has a speaking role, we still have so many prominent voice actors like Rosario Dawson (Wonder Woman), Jason O'Mara (Batman), Stuart Allen (Robin), Tony Todd (Darkseid), Jerry O'Connell (Superman), Matt Ryan (Constantine), Rebecca Romijn (Lois Lane) and so on and so forth. Such a line-up is just one of the things that shows they went all out for this one. For one, this is the longest film in the series at 90 minutes (trust me, that's pretty long for these films).

More important than that though, with the R rating given, "Apokolips War" holds nothing back with everything that's at stake. The film is the payoff to the post-credits scene of "Reign of the Supermen" with the Justice League taking the fight straight to Darkseid on Apokolips. In any other movie, the good guys win with very little repercussions; this ain't that movie. Things go horribly wrong with our heroes either killed, enslaved by Darkseid, or left to survive on a desolated Earth. Basically, no one is safe and the deaths can get pretty brutal. The violence and action is comparable to "Flashpoint Paradox", but "Apokolips War" gives you more of a sinking feeling. In "Flashpoint", whether you knew the story before or not, it was obvious that the alternate timeline was going to be done away with in the end. "Apokolips War" features the main universe, characters and relationships that we've been following for over six years. While most of the deaths involve characters going down in battle, there are a few that deliver a real emotional gut punch. In either case, there's weight to every death in the cause of saving the world.

Despite the darkness of the film, there are surprisingly some humorous moments to enjoy. Like I said back in my "Infinity War" review, humor is needed to have some levity so it's not doom and gloom through the whole story. Most of the funny moments come from character interaction, but the VIPs in this department are Etrigan and Harley Quinn. Etrigan is in such a drunken stupor for most of the movie that when he does contribute to a scene, it's hilarious. As for Harley, even in the face of Armageddon, she's singing, laughing, and having the time of her life while fighting with her giant mallet.

In all honesty, I don't think everyone will be satisfied with how the DCAMU wraps up. Lots of story potential is now gone and some people's favorite characters won't get a satisfying conclusion. To me though, "Apokolips War" is brilliantly executed and ties in all the previous films in some way. While superhero universes seem never-ending, be it comics, movies, or TV, "Apokolips War" is unique in bringing finality. Without spoiling anything, the ending is somewhat meta in that while this universe is ending, a new one might takes its place. When it comes to the future of the DC animated movie line, I'm kind of hoping they return to stand-alone films at least for a little while. Starting a new interconnected universe so soon after the last would cheapens the ida; the DCAMU at least started eight years after the end of Justice League Unlimited and the original DCAU.
In conclusion, if you've followed these films at one point or another, "Justice League Dark: Apokolips War" is a must-watch to see how the journeys of these characters ends.

And with that, here are my final rankings for the DC Animated Movie Universe (with links to my reviews attached):
1. Justice League Dark: Apokolips War
2/3. Death of Superman/Reign of the Supermen
4. Teen Titans: The Judas Contract
5. Justice League vs. Teen Titans
6. Batman vs. Robin
7. Justice League: War
8. Batman: Hush
9. Wonder Woman: Bloodlines
10. Batman: Bad Blood
11. Justice League: Throne of Atlantis
12. Justice League Dark
13. Son of Batman
14. Suicide Squad: Hell to Pay

Friday, April 10, 2020

Retro Review: DCeased - Final Crisis meets Blackest Night (SPOILERS)


I was going to wait until October to do this review to tie in with Halloween, but with the announcement of its sequel series coming this summer (hopefully), I figured why not get this out ahead of that?
A six issue miniseries released in 2019, "DCeased" is essentially the DC Universe's take on a zombie apocalypse. For awhile, DC wasn't very clear about whether or not this series took place within the main DCU, with its non-canonicity only becoming evident just before the first issue's release. Given I had already added the series to my pullist and the concept did interest me, I decided to stay on board. And considering "Heroes in Crisis" was wrapping up and leaving such a bad taste in my mouth, I desperately needed a good DC event story in some form.
The writer of the series is Tom Taylor, who is most well known for his work on the Injustice video game tie-in comics, so the guy has experience with DC Universes that have gone off the rails. Other works of his that I've enjoyed include a fun Justice League/Power Rangers crossover and two single issue Batman stories that were so good that I think he deserves his own run on the character. Over on the Marvel side, he wrote a decent fourteen issue run on "Friendly Neighborhood Spider-Man", including a touching issue where Spidey helped a Make-A-Wish child fulfill his dream of being his sidekick for a day.
Many have compared this to the "Marvel Zombies" series from DC's main competitor. Personally, I never really had interest in those comics and feel they've been overdone. I did look into it a little to see how it compared to "DCeased", and it doesn't change my opinion much. While "Marvel Zombies" was basically just "all the heroes are zombies", the heart of "DCeased" is that it's a story of survival.
And with that intro out of the way, let's dig into what makes "DCeased" to die for.

It's worth noting that there is narration through the series provided in the form of Lois Lane writing a story to report the events that will transpire, allowing to exposit important information as well as set the tone. So early spoiler, Lois lives through this.
Issue one begins with the Justice League defeating Darkseid after a week long invasion by him and his forces of Apokolips. The team stand over Darkseid, with his jaw broken by Superman and Wonder Woman's lasso around his neck. Superman and Batman tell him to leave Earth and never return as Wonder Woman tries to use the lasso to force him to. Green Arrow chimes in saying it might be easier for Darkseid to say it if Superman hadn't broke his mouth. This is the first instance of both Tom Taylor's excellent dialogue in the series, showing natural conversation and good banter between characters, and Green Arrow being one of the best characters of the story.
Darkseid, however, is still able to speak and removes the lasso before escaping through a boom tube, claiming he has what he came for. Green Arrow worries about how ominous that sounded as Batman gets an alert that Cyborg is missing, not showing up anywhere in the solar system. Other Leaguers question how he would know that, to which Batman replies that given the Apokoliptian technology in Cyborg's body, it would be irresponsible not to keep tabs on him. Superman and Flash follow up asking if Vic knew Batman was doing that and that if he's tracking anyone else as Batman dodges the questions. The morality of Batman being Batman aside, the League have a bigger question of where Cyborg actually is.
We then cut to Apokolips, where Darkseid's minion Desaad has Cybrog bolted to a table through his limbs as Desaad explains about the Anti-Life Equation and Darkseid's desire to use it to enslave all sentient life. Darkseid, arriving on the scene with a Mother Box, already has half of the equation and believes the other half to reside in Cyborg's system. While Cyborg had been using humor to cope with his situation, Darkseid then orders Desaad to remove the hero's tongue, a move that is only a taste of the brutality that's to come in this series. As Darkseid places his Mother Box to Cyborg's chest, Desaad warns his master that by combining his physical half of the equation with the digital half in Cyborg that the process could kill Cyborg and the equation will be lost. Darkseid takes this into account and states that he will "control Victor Stone's end" and "summon death." Cyborg's agony brings about the Black Racer, the New Gods' personification of Death. Darkseid immediately catches the Racer by his neck, saying he has need of him as Desaad sticks a device in his arm that is essentially a blood transfusion going into Cyborg. With this final piece, an Anti-Life Equation appears to Darkseid, but not the one he sought. This is a corrupted version that drives Darkseid so mad that he tries to claw it out of his own head. Desaad teleports Cyborg back to Earth hoping to sever the equation, but it's too late. Darkseid has lost his mind, leading to him punching through the Black Racer and jumping into one of the fire pits of Apokolips, causing a chain reaction that destroys the whole planet. Considering how much of a threat Darkseid and Apokolips are, you know this is serious when an entire planet is done away with in an instant.
But the terror is only beginning as a boom tube drops Cyborg in the middle of Metropolis surrounded by people who immediately take out their phones. Lois' narration states that Cyborg's system automatically connected to the internet and the corrupted Anti-Life Equation in him made its leap to the world wide web. Cyborg's attempt to firewall himself was too late, as the Equation spread through all forms of social media as a techno-organic virus into anyone using it. With all the people around Cyborg on their phones, they all become infected and enslaved, attacking one another as Cyborg watches in horror.
Elsewhere, Superman is meeting with Mr. Miracle and Big Barda to form a plan to rescue Cyborg from Apokolips when Superman's super-hearing picks up screaming. "The world is screaming," he states as he watches chaos unfold on the streets of Metropolis. His thoughts immediately turn to Lois and their son Jon. At the Kents' apartment, Lois is looking for her phone as Jon and Damian Wayne are playing video games. Jon asks Damian to find it with his detective skills, who then points out Jon could just use his x-ray vision. Jon sees it behind a bowl of oranges and is about to pick it up when his father flies in and uses his x-ray vision to destroy both the phone and the TV, telling everyone to not look at the screens (in another context, this could be used to promote limited screentime). Superman says he needs to assemble the League but Lois points out how there may not be a League left. These worries are well founded as Damian is unable to contact his father. The Kents try to reassure him that if anyone could survive this, it's Batman.
Speaking of Batman, down in the Batcave, Bruce has already firewalled his system from the virus and surveying the situation. Gotham is just as bad as Metropolis and the batcomputer calculates 600 million people are already infected worldwide, and with the virus spreading both through the internet and blood to blood transfer, the number will skyrocket to billions. Unfortunately, the internet wasn't disconnected up in Wayne Manor (which is probably a big oversight on Bruce's part) and he initiates an emergency EMP to knock out the power. Bruce races up to the manor to find Alfred with a knife trying to hold off an infected Nightwing and Red Robin. Issue one ends with Bruce trying to fight them, screaming at Alfred to run as Bruce is bitten and scratched by his young wards.

Issue two begins with Aquaman investigating a cargo ship that has veered off course and many of its shipping containers going overboard. He opens a door to discover a horde of infected people inside, with many of them instantly pouncing on Aquaman, sending the hero and his attackers overboard. Meanwhile in Gotham, Poison Ivy is giving encouragement to Harley Quinn to go inside Joker's lair to finally end their relationship. Ivy tells Harley that she's strong enough to do it on her own and that she'll meet her at the botanical gardens afterward. Harley goes in and finds Joker staring at multiple TV screens. As she states that it's over between them, she's unaware that Joker is already infected.
Meanwhile meanwhile, outside Metropolis, Green Lantern, Green Arrow, and Black Canary in their civilian identities of Hal Jordan, Oliver Queen, and Dinah Lance, have decided to go camping to take a break after defeating Darkseid. Hal is complaining that he hates camping as Dinah and especially Ollie give him a hard time for it. After Ollie jokingly inducts Hal into the "Killjoy Corps" (again, I love the character banter in this series), Hal decides to retire for the night and heads to his tent. While they notice Hal's phone light through the tent, Oliver and Dinah decide to make music together, with Ollie using the string on his bow to make a tune as Dinah begins to sing. The performance is cut short when they hear Hal scream and his tent explodes with green energy. An infected Hal has suited up in his Lantern uniform and begins using lethal constructs against his friends, slicing Dinah's back. Oliver shoots a boxing glove arrow at Hal and threatens to use a real one next. Hal is about to attack Oliver with a monster mouth of a construct with sharp teeth when Dinah props up and uses her Canary Cry to stop Hal, the act of which puts the hero down for good.
Back in Metropolis, Jon and Damian have suited up as Superboy and Robin as they go with Superman and Lois to the roof of the Daily Planet as a means to communicate with anyone they can. They can't go inside though, as Superman uses his X-ray vision to see that everyone inside is already infected, including his and Lois' co-workers. Superman's super-hearing picks up on Dinah's scream and heads toward the campsite. Dinah and Oliver are in shock over what happened as Hal's power ring scans for a replacement, instantly going to Dinah and inducting her as a new Green Lantern. This is a good moment that was perfectly set up before with Dinah fighting through her own injury to save someone she loves. Plus, her design is pretty cool as it mixes her own Black Canary costume with the Lantern uniform, including the leather jacket. Dinah says she doesn't want this as Superman arrives and tells them they're going to need it.
Ollie suits up as Green Arrow as he, Dinah and Superman arrive back at the Planet's roof and are informed that contact was made with Batman. Batman explains to them what we already know about how the infection is spreading, but clarifies that they're not zombies. "They're not consumed by hunger. They're not feeding. They're spreading death. They're stealing life. These are the Anti-Living."
At this point, I'd like to point out what I mean with tagline of this review, as I feel this story is a good combination of two past DC events, 2008's "Final Crisis", and 2009's "Blackest Night". "Final Crisis" involved Darkseid succeeding in using the (proper) Anti-Life Equation and is able to spread it through TV, computer, and phone screens. "Blackest Night" is the more similar event to "DCeased" involving the rise of Nekron and the Black Lantern Corps with power rings reanimating the corpses of fallen heroes and villains to spread death to the entire universe. Both events had a real 'end of the world' feel to them and "DCeased" is able to mix the ideas greatly. While I already see "Blackest Night" as one of DC's best events, I feel "DCeased" does a better job with the Anti-Life Equation than "Final Crisis" did, much like how "Forever Evil" better captured "The Day Evil Won" tagline of the event. My point is this makes two stories where concepts from "Final Crisis" were better executed in other stories; I think that shows how mishandled that event was.
Back to "DCeased" though, Batman also reveals that he's been infected himself and in a move of genius is wearing one of Mr. Freeze's suits to help slow the virus down. Alfred is standing behind him with shotgun in hand and a look of worry of what will need to be done. Despite everyone's objections that Batman will find a way out of this, Bruce says there's nothing they can do for him or anyone, and that the only way to save the world is to destroy the human carriers and take down the internet. Bruce then tells Damian that Alfred will give him something, contained in a suitcase with the bat-symbol on it, that Bruce had always wanted to give his son. As Bruce's begins to express regret he won't be able to do it himself, the infection takes hold of Bruce, who smashes the Freeze helmet around his head and turns his attention to Alfred. Alfred cuts the transmission and points his shotgun toward Bruce. Issue two ends with Alfred stating "It shouldn't have ended this way. Not for you. I'm sorry, son", with the last panel of the issue just having the word "BANG". While this was already an alternate universe story, with an emotional ending like that, I think the fact that not even Batman would make it to the end was a sign that no hero was safe and subverts any expectations one would have going in.

Issue three opens with Alfred laying the bodies of Bruce, Dick and Tim side by side in the Batcave, expressing regret that he was unable to save "[his] boys" as he takes the suitcase for Damian and leaves in the Batwing. The scene adds some extra overtones with Lois' narration about how there was no time to process or grieve over all the loss. All anyone could do at the moment was act, which is shown with Alfred flying over Gotham using the Batwing's missiles to take out any of the Anti-Living as he can. Down on the streets, Harley is running away from the infected Joker. Harley picks up a shotgun dropped by a civilian trying to defend himself from other Anti-Living, deciding to stop running and "face [her] monster." In a moment that's been a long time coming no matter what continuity, Harley blasts Joker point-blank in the stomach, putting down the clown for good. Harley feels on top of the world right now, but as she's making her way to meet with Ivy, she's blocked by, as Harley puts it, "Zombie Birds of Prey", made up of infected Batgirl, Batwoman, Huntress, and Catwoman. Harley's not running anymore and decides it's "bird hunting".
Meanwhile in Atlantis, Mera is helping Tempest train when they notice it getting darker, but it's not night. The water is becoming drenched in blood due to the infected Aquaman and his seemingly infected sharks attacking multiple Atlanteans. As the blood spreads, Tempest breathes some of it in and becomes infected as well. The Anti-Living Atlanteans circle around Mera, who uses her powers to push back her would be attackers and the tainted blood. As Mera swims away from the scene, we see Atlantis covered in red, signifying the loss of the nation.
Back in Metropolis, Jon is comforting Damian over the loss of his father as Superman decides he needs to get to his parents in Smallville, only after securing the building to make sure none of the Anti-Living can get to his friends and family in the meantime. Despite his intended mission, Superman stops to help as many people as he can along the way, emphasizing the selfless nature of the character. This includes saving Black Lightning and his daugthers, Thunder and Lightning, from an infected Clayface, telling them afterwards to head to the Daily Planet in the helicopter they're on.
As Superman reaches his family farm, he finds his mother with shovel in hand outside the barn. Martha tells Clark that Jonathan's inside and Superman enters. In a scene with mostly no dialogue outside of an infected Jonathan's grunts, he tries to attack his adopted son. While Superman is able to hold him off easily, the Man of Steel has a solemn look on his face throughout it all, signifying the hurt and regret he's experiencing. After locking Jonathan back in the barn's tornado shelter, Clark returns to his mother and tells her it's time to go. Issue three ends with Martha telling Clark that they can't leave Jonathan, as Superman carries her off and replies with "He isn't here, Ma. He isn't here." Another emotional scene that can be best summed up by Spider-Ham: "the hardest thing about this job is you can't always save everybody."

Issue four begins in the underground lab of CADMUS in Washington DC, where we see Captain Atom and Amanda Waller discussing a plan of action. Ray Palmer/"The" Atom (no relation) has shrunk down into an infected corpse to analyze the virus and how to destabilize it. While the Captain wants to wait until Ray returns, Waller says the order has been given and that they need "to start excising the infection"; by that she means Captain Atom needs to start wiping out all the Anti-Living he can. As the Captain begins taking down the Anti-Living in the streets of Washington, he feels something happening inside of him. It turns out Ray Palmer had become infected himself, hopped over to Captain Atom and began infecting him from the inside. To be clear, Captain Atom is basically a living weapon with atomic energy powers. Him succumbing to the virus has made things go from bad to worse.
Back in Metropolis, Superman and Martha regroup with everyone on the roof of the Daily Planet, as the Kent family immediately embrace each other to mourn the loss of Jonathan. In the first bit of good news, they've managed to set the antennae to broadcast a message to every TV and radio they can reach. Superman plans to go back out and keep saving people, but Oliver and Dinah try to point out that it's too much of a risk for him being infected, even if he just glanced at a screen. Superman reassures them by saying that he's been using his X-Ray vision since the start of the mayhem (smart thinking). Even so, Dinah decides to join him.
Lois begins broadcasting her message, reassuring the people that the Justice League is combating the situation and putting out the call to any heroes to come to the Daily Planet roof if they're able. We see glances of people hearing her, from civilians hold up in their homes, to heroes including Beast Boy, Wonder Girl (Cassie Sandsmark), and Hawkgirl, and even Lex Luthor and Mercy. The message even reaches Themyscira (they have an old time radio), prompting Wonder Woman into action as well; it's also worth noting that Mera has made her way to the island and is granted sanctuary by Queen Hippolyta.
We then cut to Keystone City where Superman and Dinah have found Flash and Kid Flash (New 52 Wally West). The speedsters have been hold up, realizing that either of them being infected would only make things worse, but they agree to be moved safely by air.
Back in Gotham, Harley is trying to hold off the zombie Birds of Prey with her shotgun, only to run out of ammo. Luckily, she's saved by Poison Ivy, who crushes the heroines with vines. Ivy walks off with Harley, stating that "the green will protect [them]."
Back in Metropolis, Lois is still broadcasting when a big threat arrives, and I mean huge: an infected Giganta, tall enough to look over the Daily Planet. Black Lightning and Green Arrow try to hold her back with their powers and arsenal as Superboy blasts her with heat vision. Help arrives in the form of the Batwing, firing missiles at Giganta, only for her to take out a wing. Thankfully, the Batwing is caught by the construct of a hand courtesy of Dinah, as Superman flies a double punch into Giganta that knocks her down to the ground. Wonder Woman arrives and plans to finish Giganta with her sword, only for Superman to stop her, his reasoning being that if they're infected, they could still be saved. Their argument is cut short though as Cyborg arrives and blows a huge hole from ear to ear through Giganta's head. The first time I read this, I thought for sure Cyborg was lost back in issue one, so seeing him alive (and his tongue regrown too) was a nice surprise. While Superman is shocked at what Cyborg had done, Cyborg clarifies that none of the infected are alive.
Damian rushes to the Batwing, expecting to see his father, but as we know, it was Alfred piloting it. Alfred gives Damian the case, revealing a batsuit for the young man. "He said you were worthy of it. That he was proud of you...", Alfred says to Damian. "...and that he should have told you that every day." This is followed up with a crying and trembling Damian being embraced by Alfred.
As the heroes regroup, Thunder gives Barry and Wally her contact lenses; while it'll make their vision blurry, it'll protect them from any screens. Cyborg then explains a bit of what we already know about the Anti-Living, but adds on that they can sense life and have a drive to find it and end it. Things are cut short though when they see Hawkgirl, her wings on fire, falling from the sky. Wonder Woman catches her, who's still lucid enough to tell them about Captain Atom, and he's about to blow.
As Captain Atom is tearing up Washington even worse than how it was already, Superman and Wonder Woman arrive and attempt to remove him from the area before he explodes. But it didn't matter. Captain Atom explodes and doesn't just eradicate Washington. According to Lois' narration, the blast radius is large enough to take out Baltimore, and as issue four ends, Metropolis begins to be engulfed by the blinding light.

So how do our heroes get out of this mess? Well, issue five shows Superman and Wonder Woman, who survived thanks to their physiologies, in the wasteland that was once Washington DC. They head to the ruins of Metropolis and see that Dinah was able to use her ring to place their group in a protective bubble construct, keeping them safe from the fallout as well. As it turns out though, Lex and Mercy also survived thanks to their Lexosuits. Lex calls out to Superman, who thinks Lex is there for a fight. But all Lex can do now is fall to his knees, look up to his enemy and say "Look what happened to our city." Normally you'd expect Lex to blame this all on Superman, but even he isn't that blinded by hate.
With the worst seemingly over, the heroes attempt do what they can to help others. First things first, the League take down all of the internet, from servers, satellites, and undersea cables, leaving the only way to spread the virus is by blood. Two sanctuaries are set up. Wonder Woman is able to convince her mother to allow outsiders on Themyscira, as she, Superman, and Mera lift sections of the seafloor to add more landmass to the island.
The other sanctuary is one they hope to set up in Gotham. A jungle had grown in a week, including an impenetrable thorn filled wall. With Poison Ivy being the obvious architect behind this, Oliver, Dinah, and Damian, now suited up as the new Batman, hope to convince her to help. As they approach the wall, they're attacked by an infected Killer Croc. While they attack with batarangs and arrows, Croc is ultimately taken down via vine impalement. Damian and Oliver are also tied up by vines, and while Oliver tells Dinah to cut them down, Damian has enough forethought to stop her from harming the plants. Harley and Ivy emerge through an opening she made the wall, first wondering why a Robin is dressed as Batman. Damian tells them his father's dead, and even the villains feel sorry for the boy. The heroes are let loose as Damian asks Ivy to allow survivors into her shelter. It turns out Harley had already been "nagging" Ivy into letting others in. Harley tells Ivy that she wants her to be a benevolent queen and have some empathy. Ivy finally relents and lays down her terms, to which the heroes agree: fruit will be given as necessary and anyone who hurts any plants will be thrown outside to the monsters.
So obviously, Damian is still a young man and quite shorter than Bruce. Even so, he's able to wear the Batman suit well. I'm guessing Damian may be a bit older here than in the main continuity though, so any Batboy jokes don't come off so blatant. In any case, he still looks more intimidating than David Mazouz's suit in the Gotham TV series finale.
The Fortress of Solitude has now become a new hub for the heroes, and it's here that Cyborg and Lex are designing arks, each able to fit seven million people, to leave the planet. Superman still wants to fight for the planet, though the consensus is escape is the only means to survive. And if you think Lex is totally playing nice now, he has to get a jab in to Superman with "Losing two homeworlds in one lifetime. How careless." This immediately gets him decked by Lois, possibly breaking his nose. As she notices Jon and Damian were watching, she feels the need to say "Violence is never the answer" to her son. Jon then looks to Damian and says "It looked like a pretty good answer just then." Agreed. Badass mom moment right there.
As the weeks go by, survivors are brought to the sanctuaries in Gotham and Themyscira as work begins on the arks. But just when things seem to be going well, the horror returns. At the Fortress, an infected Martian Manhunter, initially cloaking himself, appears and slices Lex Luthor in half, as well as slash Flash's back. Honestly, this is my one problem with the story. All this time goes by and an infected Martian Manhunter just shows up out of nowhere? Where was he and how long had he been infected? I don't know, it just seems a little contrived.
Anyway, Black Lightning and Firestorm use their powers to put down J'onn, but Barry's gone. The infection has already taken hold and he's running and infecting everyone he can at top speeds. Wally wants to go after him, but Superman stops him, not wanting him to turn too. Superman takes flight, but doesn't plan to catch him. He first makes sure with Cyborg that Flash is really dead, showing that after everything they know and been through, Superman still wants to hold on to hope. Superman's plan is to build up enough speed and meet Barry head on, causing a collision that splits Barry into pieces. But the situation is only made worse, as Barry was able to dig his fingers (literally) into Superman's side. Lois' narration adds to the dread: "That day, we found out what happens when the unstoppable force meets an immovable object...they merge." That is hauntingly poetic.
Superman's Kryptonian physiology helps him fight the infection longer than others, and he uses the time to head back to the Fortress. First he informs Wally that Barry is gone and he's not far behind. Superman asks Wally to connect him and his family to the Speed Force, using Flash Time to allow him to say what he needs to. To Martha, he thanks her and Jonathan for taking him in and instilling their values into him. To Lois, he feels lucky for having loved her and thanks her for choosing him, sharing one last kiss. To Jon, he tells him to have hope, that he'll always be proud of him and that being his father was the best experience he had in the universe.
Issue five ends with Superman attempting to fly out of Earth's atmosphere, hoping to cut himself off from oxygen before the virus took hold. As Lois' narration points out that there may have been a chance had he not stopped to talk to them, it's too late. Just above the Earth, Superman succumbs to the infection. While many powerful heroes and villains had already been infected and caused horrific damage, the Anti-Life Equation taking hold of Superman and being able to use his unlimited feats truly feels like the loss of hope.

Issue six shows Superman's reign of terror beginning, by flying full speed through 432 Park Avenue in New York City, the caption also noting it as the largest residential building in the world. The force of the impact implodes the building and who knows what other kind of devastation on the ground level. At the Fortress, Cyborg says to get the arks ready to leave Earth. Since Superman could take the arks down instantly, it means the heroes need to keep him busy. Damian reveals that Bruce had also left him his plans to take down every major hero, including Superman. Green Arrow brings up that even in death, Bruce had to scheme against them all. Damian points out that there wasn't one for Green Arrow, which causes Oliver to be slightly hurt. Damian has some kryptonite on hand as well, but Wonder Woman points out that Bruce's plans were never lethal and they can't hold back in this situation. To this end, Diana forges the kryptonite into her sword, fusing with Superman's other weakness of magic, and heads off to face Superman with Cyborg and Dinah.
They were only able to build two arks, which they take to the sanctuaries in Gotham and Themyscira, with very limited space and time to save who they can. Damian and Wally gather everyone in Gotham, save for Ivy and Harley. Ivy won't abandon the plants and Harley won't abandon Ivy, so at least they'll all have each other. It's also worth noting that Wally is wearing a new mostly yellow suit, lacking the red pants of his Kid Flash costume. While it could be chalked up to a coloring mistake, a big part of this story is seeing the younger heroes stepping into the roles of their mentors, so a new suit for Wally could be seen as his way of becoming the new Flash.
Anyway, things don't go as easy on Themyscira, as the infected Aquaman arrives to the shores with an army of Anti-Living Atlanteans, and a freaking kraken. Aquaman is quickly taken out with an arrow through the eye, thanks to Green Arrow. "And Batman didn't think I could be dangerous", the archer remarks. "Just fired an arrow half-a-mile through raging winds into the brain of the undead king of the sea while he was controlling the damn kraken. @#&% you, Batman." Great, people already complained about the character stealing from Batman on the Arrow TV series, now he's stealing Robin's infamous line from Titans.


Seriously though, while I already said in the intro Tom Taylor would be great on Batman, rereading this convinces me he needs to take over for Green Arrow too. Anyway, to buy time to load people onto the ark, the Amazons go to war with the Atlanteans. Unfortunately, the longer the fight lasts, the more Amazons become infected as well. Queen Hippolyta, knowing the sacrifice her and her people are making, orders Wonder Girl to the ark as the ship escapes from the war zone. In another poetic line, Lois' narration states that "Paradise held off oblivion."
Meanwhile, Superman continues causing destruction (presumably still in New York), as Diana, Vic, and Dinah arrive. With no signs of life around them, the heroes don't hold back. Dinah beings with a ring construction of a megaphone to amplify her Canary Cry. This only works for so long until Superman is able to power his way through. He tries to get through her shield until Diana swoops in and cuts off Superman's right arm and impaling him with her sword. But Superman still has power to spare, punching through Wonder Woman's stomach. She falls and as Cyborg and Dinah attend to her, Superman flies off to the arks. Cyborg tells Dinah to go stop Superman, revealing that he was always planning to stay on Earth since the virus was still within him.
On one of the arks, Jon sees his father coming with his super-vision. He looks to Damian and asks him to look after his mom, hugging his best friend and saying he'll be a great Batman. Lois tries to stop Jon, but the young man says he knows what he has to do. In similar fashion to his father that symbolizes the passing of the mantle, Jon takes off his jacket revealing his Superboy uniform. Superboy flies out of the arc and heads on a collision course with his father, causing a major boom that knocks them both unconscious, though Superman recovers quickly. Lois' narration points out that Jon wouldn't have been able to stop Superman, but he was able to buy time as the entirety of the Green Lantern Corps arrive, led by Guy Gardner and Ganthet. They face off against Superman, who decides to fly straight into the sun and begins absorbing all its radiation. Through this process, the solar system will eventually grow cold and die. With nothing left for them to do, the Corps place the Earth under quarantine and escort the arks in search of a new world.
Back on Earth, Cyborg holds an infected Wonder Woman in place with her lasso of truth. Cyborg asks if she can speak and she replies "We have a voice." Cyborg then asks if there's a cure to the virus, with Diana revealing, in a true horror movie fashion of a twist, that the cure was in Cyborg all along. "You are man and machine. You are binary. Off and on. Patient Zero and the One. The Alpha. The Omega." Realizing everyone they fought could have been saved, Cyborg looks up to the sky and knows he has to inform the arks. Distraught, he inadvertently let go of the lasso, Wonder Woman is free and rips off Cyborg's head.
So between Superman going into the sun and speaking through Wonder Woman, it does seem that the Anti-Life Equation has a form of sentience. I guess this would excuse the surprise appearance of Martian Manhunter at the Fortress in issue five, but the kind of time it took for him to make his move still feels off. Even if the Equation was biding its time, part of me feels the drive it has to spread death would have overridden any rational thinking and that the way things played out were only done to add more drama at the exact moment there was a chance of hope. While I have been harping on this, it's really a small hiccup rather than a major plothole though and doesn't hurt the story at all.
And so, the series ends with the arks approaching what Lois refers to as "Earth 2" (not to be confused with the multiverse Earth 2) and declares that "the monsters were behind [them] now."

"DCeased" is an awesome well written story. Tom Taylor has a brilliant handle on the characters of the DC universe, capturing the dialogue and emotional moments in a natural way. Being set outside the main DC universe allows it to have major consequences than would normally be allowed in a way that it doesn't feel like things are being done for shock value. The art by Trevor Hairsine is pretty decent, giving a unique feel to this story. There's obviously a dark atmosphere throughout, since there was no recovery time between the Apokolips invasion and the Anti-Living outbreak; hell, the brightest spot I can think of is the final splashpage when the arks reach Earth 2. Some of the art in the relaxed moments can feel a little off, but he truly shines when it comes to the Anti-Living with the horrific transformations of civilians, heroes, and villains.
The Anti-Living are a unique take on zombies. With the way it can spread through the internet, it meant that unless you were completely off the grid, you were susceptible to it. There's also the fact that it doesn't necessarily kill but corrupts the mind and that anyone infected could still be killed by conventional means, even if they may have a little more endurance to begin with. Also, it's mostly fast acting, which does away with the trope of someone being infected but hiding it from others that we see in so many zombie stories.
Admittedly, there is a bit of a pacing problem with our heroes gathering on the roof of the Daily Planet for three issue in a row and no significant progression of the story happening until issue five. I feel it's forgivable though as nothing that happens really feels like filler, and with as much as I wrote on each issue, there's definitely importance with each scene that pays off by the end.
Overall, I highly recommend "DCeased" as a great story for fans of superheroes and horror and easily accessible to new readers.

Wednesday, March 18, 2020

Movie Review: "Superman: Red Son" - Rushed and Shallow


An alternate history story that depicts what would happen if the rocket that brought the last son of Krypton to Earth landed in Soviet Russia, the "Superman: Red Son" comic miniseries is regarded as one of the best Superman and Elseworlds stories published by DC. Henry Cavill even included it in his reading material when he was prepping for the role in "Man of Steel." It was really only a matter of time before the series was adapted as part of DC's animated film line. While I was looking forward to its release, the final product makes me wish they had made this a two parter in the vain of the Dark Knight Returns and Death of Superman adaptations.

For the most part, the movie hits the main points of the original story. The important thing that remains the same is Superman's character. Despite being raised in a different part of the world, much like his mainstream counterpart, this Superman still values the sanctity of life anywhere on Earth.
The problems lie in the changes they make, both in story and characters. Certain moments are either rushed or lose the significance they had in the comics. One such instance is the fight between Superman and the Superior Man (this universe's version of Bizarro) created by Lex Luthor for the United States. In the movie, the two just fight until Superior Man's power overloads and he melts into a puddle of goo. In the comic though, the fight between the two accidentally causes a nuclear missile to launch and the clone sacrifices himself to save millions; it showed that despite being flawed, the clone still held Superman's value of life. In the movie, Superior Man's personality is best described as "'Merica!"

One of the biggest changes from comic to film is Superman's discovery of a gulag full of dissidents that had been kept secret from him by Stalin. One of the prisoners of the gulag is Superman's childhood friend, Svetlana, who dies in his arms asking him to be the savior the people need. It's a really emotional scene. Unfortunately, this moment is undercut later in the film when Superman, now the ruler of Russia, begins lobotomizing those who would go against his rule with electronic implants to make them productive members of society. Superman justifies this as saying it's better than imprisonment or execution, but he's failing to realize he's imposing his will as much as Stalin did.
In the comic, Superman eventually took over Russia after Stalin had died of cyanide poisoning, working to raise people from poverty and create a utopia. The electronic implants are introduced, but this is supposed to be a step in Superman ultimately realizing he's overstepped his bounds in a world not his own. Having Superman use the electronic implants after seeing the atrocities ordered by Stalin that lead to his friend's death makes him no better and it disrespects Svetlana's memory.

The Red Son version of Wonder Woman is changed as well. Wonder Woman works with Superman like in the comics, but the reasoning for the dissolvement of their partnership is different. In the comics, she ended things after seeing how far Superman was going with the electronic implants. In the movie though, they make her experiences lead her to a conclusion as simple as "all men are bad"; it's the narrowminded idea of what some think feminism is and the kind of thing I'd expect from Frank Miller. If she had been working with Superman and acted as an ambassador for Themyscira for a short time, I may have understood her thought process. (Remember how close Diana was to giving up on man's world in the 2017 film before realizing their potential for good? She had only left Themyscira for roughly a week.) But in "Red Son", she had been acting for at least two decades; was her whole time that unpleasant that she saw nothing good about the rest of the world? Even her role in the third act is severely limited to the point where she could have been cut, and yet it's her final appearance that seems to push Superman over the edge to invade the US; it makes it look like Superman is doing it over a girl rather than just being manipulated by Brainiac.

It may seem like I'm being nitpicky about this, but I just expected the Red Son movie to be as riveting as the comic was. As I said before, I feel this should have been a two part film to give it a proper adaptation. That way, the characters and relationships that were cut would remain and the moments that were rushed or changed could resonate as they should, as well as include the twist ending that was left out. Granted, I'm not sure where the break between would be considering it's a three issue series, but the point is it needed a longer run time.

Before you think I'm being totally negative, I do have some positive notes to mention.
I found it politically relevant, even more so that when the original comic was published. It deals with the issues of social injustice and inequality, as well as the issues between America and Russia rising again.
The animation is pretty good, with my favorite fight scene being between Superman and Batman for its brutal nature.
The voice cast is decent while not that outstanding. We have good performances from Jason Isaacs and Amy Acker as Superman and Lois Lane, while Vanessa Marshall and Roger Craig Smith do well reprising Wonder Woman and Batman, respectively. The best of the lot though is Diedrich Bader as Lex Luthor, who perfectly captures the arrogance and bravado this version of the character exudes.

Overall, "Superman: Red Son" is an alright film adaptation that captures some moments of the story better than others. Those familiar with the comic may have problems with the changes made, but the uninitiated may find it more enjoyable.

Thursday, February 13, 2020

My Top 5 Jim Carrey Movies


In my opinion, Jim Carrey is one of the finest actors of our time. Between the 90's and 00's, Carrey starred in many iconic films and gave some very memorable performances. He may be well known for his comedic skills, ranging from straight-forward funnyman to zany maniac, but he's also been praised for his serious roles in drama films. When I think about it, there aren't many movies I can think of where Carrey isn't entertaining in some variety. Growing up on his films, some of them stand out to me more than others. So I wanted to take some time to talk about my top five Jim Carrey movies, and my choices may be surprising.


5. YES MAN (2008)

Since this isn't a well known Carrey film, I'll explain the plot. Carrey plays bank loan officer Carl Allen, who is having a rough time following his divorce, leading to him ignoring his friends and just having a dim outlook on life. After being suggested that he attend a motivational seminar, Carl follows the speaker's advice to say "yes" to any opportunity that presents itself. This leads to a chain of events that not only helps improve Carl's life but those around him.
This is a more down-to-earth comedy for Carrey. He's not as zany as when he was younger, but he still has that Carrey charm when it comes to the comedy. Carrey is also supported by a well rounded cast who work naturally off each other, including Bradley Cooper and Danny Masterson. Zooey Deschanel plays Allison, Carl's new love interest, and I love the quirky chemistry her and Carrey share.
What also stands out to me in this film is the music, specifically two selections. The first is "Separate Ways" by Journey. The song is epic in its own right, but its meanings and use at the beginning and end of the film greatly show Carl's progress. It's featured as Carl's ringtone when he's at the video store and he's called by Pete (Bradley Cooper). At this point, Carl is depressed due to his divorce, and that works with the song's break-up meaning. By the end of the film, the song is played again as Carl is driving a Ducati motorcycle he borrowed from a friend to get to Allison across town. This time it plays on the song's more triumphant themes of love, corresponding to Carl's new positive outlook and his feelings for Allison.
The other song is "Jumper" by Third Eye Blind, though in this case, it's Carl putting his new guitar lessons to use by playing the song trying to talk down a man threatening to kill himself.


The first time I saw this movie was early 2012, and I'll be honest, I was feeling really down on myself at the time. I think Carrey's performance and the meaning of the song being played out gave me a new appreciation for "Jumper". I was in no way suicidal, but I had this feeling of being unwanted, and it was a deep cut. I think "Jumper" and "Yes Man" helped me out a lot during that time.
Basically, it's more of a personal connection that makes "Yes Man" one of my favorite Jim Carrey movies. Its message is one I needed when I first saw it: a little positivity goes a long way. Plus, it's a funny movie in its own right, and if you haven't seen it, I really recommend it.


4. BATMAN FOREVER (1995)

This is definitely an unpopular opinion, but "Batman Forever" is my favorite of the original Batman movie series. I know fully well it has some problems, the biggest probably being the contrasting tones, with the film being stuck between the dark aesthetic of the prior Tim Burton films and before director Joel Schumacher went full neon camp in "Batman & Robin". That being said, I feel there is a balance that brings a lot of cool shots, with the lighting actually helping accent the darker colors. Considering "Batman: The Animated Series" was airing at the time, I think "Forever" matched the tone in some way with a mix of serious and fun. There's also a lot of cool designs, from the Batcave, vehicles, villain lairs, and costumes (batnipples notwithstanding). Plus, it actually gave more focus to Bruce (the main character I remind you) than the other films in the series.
So admittedly, Jim Carrey as the Riddler isn't the main reason I like this movie. But this is still a Jim Carrey movie and the film has a place in my heart, so that's why it makes the list. That said, Jim Carrey is pretty entertaining in the film and is a major part of what makes it fun. He brings his standard zany schtick, but considering the high energy Frank Gorshin brought to the role in the 60's TV series, I'd like to think Carrey was inspired by that. One person who definitely didn't like Carrey was Tommy Lee Jones, who played Two-Face in the film. He flat out told Carrey he hated him while also trying to match Carrey's energy in his own performance. I feel like that's the impact Jim Carrey can have; Jones didn't like him yet was so threatened by him that he tried to be like him. Admittedly, it probably would have been better if Jones played the more serious villain by comparison, but that's what happens when ego goes unabated.
Whether you liked Carrey's performance or not, it was definitely a memorable one.


3. ETERNAL SUNSHINE OF THE SPOTLESS MIND (2004)

I'd dare say that this is one of the best movies ever made due to its emotional resonance and cinematography.
Jim Carrey plays Joel, a soft spoken man who decides to have a procedure to erase his memories of his free spirited girlfriend Clementine (played by Kate Winslet) after learning she had done the same over him. Joel finds himself in a dream state reliving his relationship in reverse, but remembering the good moments of their time together leads Joel to regret his decision and attempt to keep some sliver of Clementine alive in his mind.
I first saw this about ten years ago for a film study class back in college; it moved me to tears then, and it still does whenever I decide to rewatch it. Carrey and Winslet bring this immediate connection as Joel and Clementine and there's so much emotion in their performances. You become invested in them from their budding beginnings to their slow burn of a break-up, with all the fun and heartfelt moments they shared in between.
What also makes this film stand out is how it depicts memories and dreams within the mind. It's not as clean cut as other stories make it out to be. This film shows memories blending in and mixing together as Joel's lucidity allows him to try and manipulate the situation he's in, allowing for surreal moments as well. There's also the degradation of memories, which is shown through both blatant and subtle ways. In both aspects, they are done very well with the set designs and the mix of practical and computer effects. Even the music has this distortion to it, working well with the dreamscape and the fading of memories.
The film has a big twist moment that I won't spoil here if you haven't seen it, but the observant may pick up on it right away while others may catch the hints the next time around. I also feel the film leaves things open-ended, and that what the viewer thinks happens next depends on whether they want to look at the situation logically or hopefully. In that regard, I'd like to believe in a happy ending.


2. THE MASK (1994)

Sometimes I feel lucky that I grew up with Cartoon Network in the 90's. Not only did it have much more variety than it does now, but it gave kids a chance to experience and appreciate the classic cartoons their parents grew up on, including the Looney Tunes and Hanna-Barbera catalogs. And it was the slapstick comedy of those cartoons, particularly the works of Tex Avery, that helped inspire one of the most iconic movies of all time, "The Mask."
Jim Carrey plays Stanley Ipkiss, a bank clerk that comes across a magical mask that when donned suppresses the wearer's inhibitions and allows them to act on their impulsive desires in a chaotic way that can defy logic. In Stanley's case, his behavior as the Mask is like a wacky cartoon character in the vain of Bugs Bunny or Woody Woodpecker. While his initial use of the mask plays on his more selfish desires, his altruistic side shines through at the end.
Jim Carrey plays both sides of his character very well. Stanley is relatable as the lovable loser, whereas the Mask is funny as hell and totally quotable. He also gives two memorable music performances, with the night club dance scene to "Hey! Pachuco!" that had amazing choreography and a police stand-off where he's able to escape by performing "Cuban Pete" and getting the whole police force to sing and dance with him.
Carrey's not alone in what makes this movie great. We had Stanley's love interest Tina, played by Cameron Diaz in first ever film role; it was a hell of a debut for her as a character who was likable in her own right and wasn't just there for eye candy. There was also Stanley's dog, Milo; it's not only adorable watching Carrey act with him, but Milo also plays a significant role in the film's third act. Then you have police detectives Kellaway and Doyle, total opposites that have hilarious interactions with each other throughout the film; I tell you, I may have watched a movie that focused on these two if given the chance.
Much like the classic cartoons that it homaged, I feel there's a mostly timeless quality to "The Mask." Not only does it really feel like its own world, but it doesn't have any dated references. Even the CGI holds up pretty well over fifteen years later. I think this has to do with the cartoony nature of the Mask; you know it looks silly because it's supposed to be.
Overall, "The Mask" is a trifecta: a good Jim Carrey movie, a good comedy, and a good superhero film. On one hand, it's a shame we never got a direct sequel, but I think it just means we can appreciate the one film even more.

Before we get to number one, here are a couple honorable mentions:
* Liar Liar (1997): As a lawyer "cursed" with being unable to lie for 24 hours, Carrey is a laugh riot both verbally and physically in a performance that in the real world probably would have gotten him committed. In addition, Carrey's character goes through some decent development by the end and the bloopers at the beginning of the credits are just as funny as the rest of the movie.
* Bruce Almighty (2003): A unique premise for a comedy, Jim Carrey with the powers of God offers for some creative visual gags in addition to his own wacky personality. As Bruce learns the pressures and responsibility of being omnipotent, it leads to what I feel is a heartfelt and inspirational conclusion. Besides that, I enjoy Carrey and Jennifer Aniston's relationship and Morgan Freeman as God is just perfect. 

And my favorite Jim Carrey movie of all time is...


HOW THE GRINCH STOLE CHRISTMAS (2000)

By extension, this is also my all time favorite Christmas movie. I make a point to watch this every year around the season, specifically the extended edition that airs on Freeform. From what I can tell, said edition never had a home release and I prefer to watch this since it gives extra laughs and more reasoning for Cindy's investigation about the Grinch.
Compared to other Christmas movies, I feel this has a timeless quality, like it really does exist in its own little world. I love the set designs and the make-up, especially the Grinch's look. Seriously, when I saw the first trailer as a kid, Carrey's look as the Grinch scared the crap out of me to the point where I could hardly look at the poster for the longest time. Considering the Grinch is supposed to be a scary guy, I think the desired reaction was achieved. Since the cartoon version with Boris Karloff was a big part of my childhood, I find it easy to see this film as an expanded version of the story (especially compared to the recent "Cumber-Grinch" version). Come to think of it, I feel this is probably the best Dr. Seuss movie adaptation as well; "Horton Hears a Who" is a close second, which coincidentally also starred Jim Carrey.
Speaking of, what would this movie be without Carrey as the mean one himself? Through the heavy make-up and suit, Carrey brings his trademark wit both verbally and physically to the role, resulting in a lot of quotable moments. The scariness of the Grinch is already on deck, but Carrey is also able to have a funny side show through even the character's cynical moments. Hell, as I get older, I've found the character can actually be relatable to adults at least when it comes to his home life. Plus, Carrey also puts his own spin on the classic "You're a Mean One, Mr. Grinch" song.
Between the original cartoon and the live action adaptation, whichever version you prefer, "How the Grinch Stole Christmas" is a classic. In the latter's case, it's hard to imagine anyone else but Jim Carrey covered in all that green fur.

Sunday, February 9, 2020

Movie Review: Birds of Prey - How Harley Got Her Groove Back


Many would agree that one of the best parts of the 2016 Suicide Squad movie was Margot Robbie's performance as Harley Quinn. It was only a question of when we would see her reprise her character. Enter "Birds of Prey". In the comics, the Birds of Prey are a group of female vigilantes based in Gotham. Despite the film using the team name, the marketing for the movie focused heavily on Harley, so much so that it made me worry that the rest of the team members were going to get shortchanged. A "Harley and friends" movie isn't a bad idea, but at least have the title match the contents. Thankfully I was worried for nothing, as the main protagonists all get a significant amount of screen time in a suprisingly wild ride of a film that's hardcore fun.

First and foremost, Margot Robbie outdoes her performance in "Suicide Squad" and brings new energy to her character. After her break-up with the Joker, Harley is trying to find a purpose and place as she sets out on her own, and it leads to a lot of crazy and fun antics that have consequences to the same degree. What's great about her journey in the film is that it doesn't change who she is deep down; she's only out for her own self-interest and those who get in her good graces, whether they want to be or not. Still a villain, close to anti-hero, but in no way a straight-up hero.
In recent years, Harley Quinn has been seen as DC's equivalent to Deadpool: a comedic red and black wearing reference making fourth-wall breaker. Bearing that in mind, one could see some Deadpool influence in the film, with Harley narrating most of the story (including flashbacks when needed), fantasy sequences and adding in some cartoony drawings from time to time.

The fight choreography is pretty damn amazing. In a more grounded story, there's less reliance on CGI and more abundance of real stunt work. Coupled with an R rating allows the film to get real brutal, and it kept surprising me with how much they didn't hold back.

While Harley is the majority focus, the film does a good job at showcasing the other characters in a way that feels natural to the story and warrants the movie being named after the team. Let's talk about each "Bird" in order of my favorites:
* Jumee Smollett-Bell as Dinah Lance/Black Canary: Next to Harley, Dinah's character has the most connections to others in the film. It's fun to watch her navigate her way through it all as she tries to figure out the right thing to do. There's also hints of an interesting backstory that could be explored in a future film.
* Rosie Perez as Renee Montoya: Perez gives a decent performance as a hard-as-nails veteran detective. The only downside to her character is that life seems to keep finding a way to shit on her for actually doing her job.
* Mary Elizabeth Winstead as Helena Bertinelli/Huntress: In terms of focus, this character unfortunately drew the short straw. It reminds me of Drax in the first Guardians film: a good character with entertaining moments, but doesn't seem to get as much spotlight as the other protagonists (plus, both characters are out to avenge their families). Hell, she doesn't even get to meet the others until the third act. It's honestly a shame, because I think Mary Elizabeth Winstead is probably the third most recognizable star in this film given her own filmography (Sky High, Final Destination 3, Scott Pilgrim vs. the World, 10 Cloverfield Lane). Hopefully like Drax, Huntress will get a little more attention in a future film.
* Ella Jay Basco as Cassandra Cain: The young actress turns in a good performance as a charge that ends up befriending Harley. My only problem is how different this portrayal of the character is from the comics. I honestly don't mind her not being the daughter of assassins (as far as we know), but you know what would have been interesting? If they kept her mute. Just imagine Harley and the others having to act off a character who couldn't talk back to them. It certainly would have been different from the troubled foster kid in an abusive home we've seen many times before.

Then you have the villains. As soon as Ewan McGregor was cast as Roman Sionis/Black Mask, I was totally on board with the idea. His performance is pretty entertaining; he's a person who likes to have fun, both in a conventional sense and in a sadist kind of way. There's one scene in the film that gets down right unsettling, highlighting how unhinged his character is. It was also great to see him wearing the comic accurate mask for the film's climax, adding significance to it as he seems to wear it when it's time to get down to dirty business.
There's also Sionis' right hand man, Victor Zsasz, played by Chris Messina. He's shown to be just as deranged as his boss, and in keeping to the comics, we see that he scars his body with tally marks for each person that he's killed. Honestly though, I kind of wish he got a little more screen time, as I felt a little more fear towards Sionis, while it probably should have been the other way around.

My nitpicks aside, "Birds of Prey" is a damn fun film that doesn't pull any punches. Whether you're a Harley fan, an action movie watcher, or just want a good girl power adventure, this film is worth a view.

My DC Extended Universe Film Rankings:
1. Aquaman
2. Wonder Woman
3. Shazam!
4. Batman v Superman: Dawn of Justice
5. Man of Steel
6. Birds of Prey
7. Justice League
8. Suicide Squad