“Decent (Good) but, could be better” is a quote that could justifiably summarize this film. Wonder Woman 84 just premiered on HBO Max to polarizing reactions. Some say it was good and fun and others say it was a disappointment and some say its convoluted trash.  Well, I say….

Merry Christmas my retroactive readers… and happy New Year; the world is still changed for the worse and we’re close to emerging from our exile into the corporate funded new world dystopia just before us.

Wonder Woman 84 was broadcast to the world on HBO MAX as an exclusive for the streaming service.  No, I don’t really care if this rattles the ruffled shirts of the citizens of tinsel town – let us face the facts Theaters are OVER until further notice. Stuffing people into theaters during a supposed Pandemic just to save Hollywood is not on my to-do list and frankly Hollyweird has too many skeletons in their closets for me to care. If it streams it leads.

Wonder Woman was released on HBO and did meeeehh, sort of well. I mean some media outlets are calling it a moderate success… Well yeah considering the current condition of the world. The film cost around two hundred million to be made and as far as I know had barely made one hundred million. However, it did result in a big jump in HBO Max subscribers and we learned anything from BLACK MIRROR –that’s all that matters.  So expect a lot more of these types of shenanigans especially after everyone tunes in to watch Snyder’s Justice League cut.

Was the film good or bad?

I did like Gal Gadot.  Her acting is improving and she is able to express more emotions in this than the previous.  I did like Pedro Pascal and Kristen Wiig’s attempts to flesh out characters with their performances from a script that is so riddled with plot holes and mcguffins it might as well be a Mario Kart race track. But, that’s all I liked.

Bad news is this is isn’t a really good film. 84’ is very surface material and superficial many times during the duration.  The pacing is sluggish, the narrative is grueling and the script is lazy and doesn’t reinvigorate the things you liked about the first film. All you have is a shiny splash painting of vague nostalgia that was obviously inspired by that second Thor film, cheesy Hallmark moments and RomCom elements thrown into a Wonder Woman film were things just happen in an attempt to distance itself from the Snyder verse and revamp itself. The movie aims high but, falls on its face by the end.
One major reason for the script being so messy is because it was written by Patty Jenkins, Geoff Johns and David Callaham. The first Wonder Woman was written by Zack Snyder, Jason Fuchs and Allan Heinberg with a screenplay written by Heinberg. Geoff Johns as a scriptwriter is hit or miss and Jenkins, although a capable film maker, I feel was overly built up by the hype of the first film as a solid writer. And David Callaham should’ve never been in the writers’ room for this project. Callaham’s previous  films included the uncredited rewrite to Marvel Ant-man, all of the Expendables films, Zombieland:2 and 2005’s live action DOOM film; so tell me why he got hired. Jenkins and Johns was a rough pairing but some studio dickhead decided hire this guy to complete the triangle.

The film is sloppy. The first twenty minutes are disarming and misleading. You go into it expecting something decent and after a flashback scene setting up the films overall theme and a very fun action set piece taking place in a Washington DC mall, you are strapped in and held captive by dialogue and dialogue and there will be around a hundred minutes before the next action scene.

The film then revolves around a Mcguffin rock that grants wishes to whoever touches it. Pedro Pascal plays a financial tycoon seeking the stone to fulfill his wish for greatness, power and success fueled by his abusive and impoverished upbringing. Unfortunate beginnings that would humanize this antagonist if it were referenced earlier in the film not the climax. Maxwell seeks the wishing stone to be able to absorb the power of its potential and become the WISHMASTER. Maxwell Lord is basically a shallow self-centered materialistic dead beat father, the entire movie, willing to forfeit the entire world for his goals the whole friggin movie but, shoehorn in a hallmark ending to his character at the climax of the film to try and redeem his character. Props to Pedro Pascal for giving a solid effort here.

Trevor is back however in the dumbest way that could be unexplained in a film. So my guess is his consciousness was resurrected and implanted inside the body of some poor schlepp that looks like a Dollar Store Bruce Campbell action figure. Why this? We don’t know. Who was this guy? We don’t know. Does this vessels life matter? Fuck No; Even Diana doesn’t give a shit about this poor guys life. She is willing to basically live her life with Steve inhabiting this poor guys body forever because, “fuck it”, she wants what she wants.

Kristen Wiig who is a solid actress is also given nothing more than a rehash of Jim Carrey’s Riddler arc from Batman Forever. She is an attractive and educated woman who goes through life unnoticed and insecure in an era that is superficial and self-congratulating. Now, it would’ve been possible to do a drastic before and after wish difference if they did a Steve Rogers type transformation but, I guess “fuck it”. Wiig’s character goes from a simple ugly duckling into a super powered  and alluring swan after just one wish into the wishing stone and a quick wardrobe change instantly. Her only price is in exchange for power her humility is lost. Instead she turns into a vapid, self-obsessed villainess that like Lord will throw the whole world under the bus to retain or gain her desired greatness, elegance, strength and power.
Both characters each symbolizing the stereotypical narcissism and self-serving natures of their genders. Yes, in creating this powerful feminie antagonist to match Diana they’ve unintentionally created a villain that projects the stereotypes of the selfish entitled woman.

The story is a mess with people teleporting from one end of the earth to the other. Wonder Woman running in mid-air comically and constantly, an invisible plane thrown in for fan service, super armor that’s built up in a useless scene only to be ripped up by Cheetah and a movie that drags on and on and gives you absurd things happening that make no sense in terms of telling a coherent story while simultaneously contradicting things that have happened later in BatmanVSSuperman and Justice League. I thought she turned away from humanity after WWI? – Why is she running around doing Wonder Woman shit in 1984? She flies now? She didn’t fly in either Snyder films (Correction Justice League theater cut was directed by Whedon).  But, she now knows how to fly now cuz, well “aerodynamics”. She can swing on lightning bolts because, well “fuck it”, it’s cool. She fights Cheetah, who only appears in cat form at the friggin end of the movie in a five minute fight that you can barely see and the effects are meeeeeeehhh, the effects were okay by this point of the film. Hell halfway through the film my mind checked out and I just viewed the film as brain candy. To tell you the truth, I was laughing at things happening.

It’s not that the film was totally terrible. If you had low expectations then you might just think it is a one&done superhero viewing experience. Now if you are like the majority of mindless wave chasers then you’ll either love it or hate it. If you ask me – it was just alright for the price of nothing. I didn’t have to leave my house and spend $15 – $30 just to sit and watch this in a theater of twits and finger sniffers. I was home and saw it on a streaming service. So, it only cost me about two hours of my time.

A bad film that is bearable to watch is okay with me. The film is what it is. It is in no way worse than other films that have been released this year alone; Bill & Ted 3 is a worse film. I can’t even put WW84 in the same conversation with my most hated movies ever list. It was like laughing at a poorly executed punchline.  In no way did I become enraged during the runtime; that honor goes to films such as Birds of Prey, Cabin in the Woods, Suicide Squad and others. The problem with WW84 is not that it is bad- The problem is that the film does all the bad things I hate about Hollywood movies nowadays; it’s the most MARVEL type DC movie the WB has forced upon us. They’ve finally made a Marvel type DC film and I hated being a witness to it.

Please forgive any grammatical errors. It’s around two in the morning out here in the middle of nowhere. If you can make excuses for films like this then you can deal with a typo here n there.

In the meantime, Stay safe retro fans. Stay safe, stay healthy and keep your fingers on that REWIND button.

Now the controversy that was surrounding this film I will touch on with a smile but, I really wanted to hit the nail on the head about why this is possibly my favorite movie of the year, if not favorite throwback movie of the year.

Where do I start? Let’s begin with cinematography, the film is photographed so beautifully with a smooth color palette of browns, blues, reds and set pieces all filmed on location mostly in New York City and other locations filmed in Newark, NJ. The director of photography Lawrence Sher (The Hangover, Garden State) deserves much credit for framing this film and all that goes into it as realistic and moody as it gets.

The centerpiece of JOKER is the acting. The bulk of the film rests on one persons shoulders and that one person that the film revolves around is Joaquin Phoenix. He infects every scene from start to finish with a tortured and effected performance; submitting his body and being into this shattered individual that’s merely holding together by the fingertips. The film is a character study of who, what and why an individual could become a super criminal.

Now do I think this is the ultimate and definitive Joker origin? No. Part of the Jokers appeal with fans for almost a century has been the mystery surrounding his backstory or lack thereof one.  Alan Moore’s Killing Joke did detail somewhat of an origin but, like MR.J says in the same book, “If I have to have a past, I’d rather it be multiple choice”. Whether you consider the Killing Joke or Joker (2019) to be the set in stone story is up to you. In fact the film will ask you the very same question once the Scooby-Doo ending rolls on screen – “Did this even really happen of are we the audience the punch line?”

Here is the story of Arthur Fleck, a middle-aged man suffering from a number of mental illnesses that may include Schizophrenia but most noticeable is his pathological laughter.

“Pathological laughter and crying (PLC) is a condition defined by relatively uncontrollable episodes of laughter, crying or both. The episodes either do not have an apparent motivating stimulus or are triggered by a stimulus that would not have led the subject to laugh or cry prior to the onset of the condition.”
– https://academic.oup.com/brain/article/124/9/1708/303196

“Pseudobulbar affect (PBA), or emotional incontinence, is a type of emotional disturbance characterized by uncontrollable episodes of crying and/or laughing, or other emotional displays. PBA occurs secondary to a neurologic disorder or brain injury. Patients may find themselves crying uncontrollably at something that is only moderately sad, being unable to stop themselves for several minutes. Episodes may also be mood-incongruent: a patient may laugh uncontrollably when angry or frustrated, for example. Sometimes, the episodes may switch between emotional states, resulting in the patient crying uncontrollably before dissolving into fits of laughter.”
– https://en.wikipedia.org/wiki/Pseudobulbar_affect

The latter was a result of head trauma suffered as a child. He lives with his mother, a former employee of the Wayne family, in an apartment building located in Gotham City’s version of The Bronx. Arthur works as a party clown for HAHA’s. He’s on several medications and has to appear for weekly Therapy sessions with an unenthusiastic shrink. Day after day of being detached from everyone around him and dragging himself up a tireless struggle to find his place and purpose in the world; a world that his mother has always told him he was meant to bring happiness to. His only escape and comfort is his imagination and his delusions.

The film is a descent of a man through the bowels of society and into madness, daring you to find some kind of empathy for Arthur; not so much for what he does but, for the person that was abandoned, dejected and ostracized by everyone around him. Its part black comedy, mostly tragedy but to be objectively honest is the story of someone finding purpose.
Grant Morrison once said on Kevin Smith’s Fatman podcast that Batman is the story of someone taking tragedy and finding purpose and meaning in it. Taking his symbols, attributes and resources to find purpose and meaning in this existence and that is button that Batman touches and pushes in all of us. That desire to be a hero and make meaning of our individual effections.  Now take that idea and flip it on itself; that’s the center of Todd Phillips’ Joker film, taking tragedy and finding purpose but, in a destructive way.

Todd Phillips really did craft together all the right elements to make this superb piece of art that will be deconstructed and analyzed for years to come.

Another key component of the film is the score by Emmy Award-winning composer Hildur Guðnadóttir (Chernobyl, Sicario: Day of the Soldado) which is its own character and drives the moody emotional notes of the film. The score was recorded before filming and was used on set during filming inspiring a lot of Phoenix’s performance in the film. The soundtrack gave the experience even more of a cinematic experience rather than just another comic book film. Tear inducing.

I’ve seen JOKER three times already and it’s damn near a billion dollar film by the time you’re reading this. Much deserved and earned achievement in spite of the media and what that CIA-Psyop called TWITTER had to say to mute the film for whatever reason.
Maybe all the paranoia and hysterics was instigated by Cancel Culture, maybe it was sjw’s, maybe it was sycophantic Disney fanboys obligated and compelled to protect the supremacy of their beloved brand or maybe it was just another attempt at creating a cheap incident via media, “creating the fires instead of reporting them.” It was a valiant yet impotent effort by all those CHUD’s mentiioned. Because the movie speaks for itself, it’s art. It’s fiction. It’s the origin story of a super villain and that’s what it is.
No one bats an eye when John Wick expertly and stylistically mercs hundreds of people in a franchise that is hyped and praised by the public as well myself. And I’ve never overheard soccer moms at the PARK PLACE MALL gossip and gasp over the gore, mutilation and murder of dozens of people during DEADPOOL. Actually, they line up to take their children to the film and even dress their sons up as the Merc with the Mouth.
However, I guess, if it’s violent at least make it tongue & cheek. Treat it like comedy, slap shtick, Looney Tunes, if people are going to die then dehumanize them-write them as two-dimensional bad guys, twirling their mustaches over jagged grins. Most people can only take violence if it’s sanitized, covered in sprinkles and deflated of humanity. People can only take the world if its sugar coated.

Perhaps that was the problem with the JOKER because, although there are only maybe seven deaths. Those deaths are presented as realistic as the real world can be. These aren’t demons, these are regular people living in our real world acting as apathetic and self-serving as we can and are in our society. If that’s not your behavior – it is behavior you’ve allowed and ignore on a daily basis.

2019’s JOKER is the story of Gotham creating its greatest monster. It’s the story of our society creating its own illness. And if you ask me, sometimes we do get what we deserve.

So in closing, I hope the directing, script, cinematography and acting receives all the nominations this year. And if any normie, or cinematic universe nerd try’s telling you this is too bleak and grim and isn’t a comic book movie, well I suggest you pull their nerd card and ask them, “You think this is dark? Have you ever read a Batman comic or any comic book, ever? Because, it gets pretty dark in the comic books and comics aren’t just for kids.”

It’s my favorite film of the year; unless Lighthouse (starring Robert Pattinson and Willam Dafoe) surprises me this evening.

JOKER directed by Todd Phillips and starring Joaquin Phoenix is a must see for everyone.

P.S. I love the fact that the man who made the GG ALLIN: Hated documentary back in the day is the one that directed this film in 2019. THUMBS UP, Punk rocker.

Stay classy, keep smiling, and keep your fingers on the Rewind button. “THAT’S LIFE”.

While Buffy the Vampire Slayer plays a little more into 90’s nostalgia than our preferred brand of 80’s nostalgia, there’s no denying the streak of quality that the comic continuation has been on since the Season 11 comics started. If you haven’t been following the comics but loved the series, then Buffy Season 11: Giles Vol. 1 will be a perfect jumping on point for you! Giles is a great character and getting a glimpse of his teenage years is every bit a joy as it sounds.

9. Paradiso Vol. 1: Essential Singularity (Image Comics – Release Date: May 22, 2018)

Paradiso is a post-apocalyptic sci-fi story that owes a lot to 80’s and 90’s anime and manga, drawing influences from Battle Angel Alita and Akira, two titles that we love here at NRW. While Ram V’s writing is definitely an exciting part of the story and gives everything a very grand feel, the art team of Dev Pramanik and Dearbhla Kelly deserves special mention. Every inch of the world in Paradiso is stylishly drawn and feels immersive. 

8. The Way of Tank Girl (Titan Comics – Release Date: April 17, 2018)

If you aren’t familiar with Tank Girl, you might immediately recognize how much the cover of The Way of Tank Girl evokes Gorillaz album artwork. That would be because Tank Girl co-creator and illustrator Jamie Hewlett is responsible for the image of Gorillaz. Tank Girl’s other co-creator, writer Alan Martin, is sometimes not given the credit he deserves.

That’s a shame because Martin is very funny. The comedy in Tank Girl is not only funny on its own merits, but does so while utilizing the medium of comics to the fullest extent. It does to comics as a medium what Watchmen does, but does so without taking itself as obnoxiously seriously as that series, and as comedy it doesn’t garner the kind of acclaim. While The Way of Tank Girl is best suited for fans of the series, the collection of rarities will make a fun introduction and coffee table book for anybody.

7. Bloodshot Salvation Vol. 2: The Book of the Dead (Valiant Entertainment – Release Date: Sept. 25, 2018)

What Valiant does better than perhaps any comic book publisher is making jumping on points for their ongoing characters. Few publishers are as new-reader-friendly, and Valiant stands far above Marvel and DC in that regard. Their comics are consistently high quality. Each year brings at least one title that stands clear above the rest,  like 2017 with Secret Weapons. In 2018, it seems to be Jeff Lemire’s Bloodshot Salvation is primed for that spot. The second arc of the title has only just begun, but it was such a strong opening that it’s hard to not seriously consider pre-ordering The Book of the Dead this far in advance.

6. Cult Classic: Return to Whisper Vol. 1 (Vault Comics – Release Date: TBD 2018)

Vault Comics Cult Classic metaseries has kicked off with a tremendous start on the back of Return to Whisper. It has a kind of Fright Night aesthetic and energy infused with a Stephen King influenced plot that balances its humor and horror in equal measure. It is one of the most fun comics currently running. This is an easy recommendation for most comic fans. Time will tell, but this bodes well for the future of the Cult Classic line.

5. Long Lost Vol. 1 (Scout Comics – Release Date: June 27, 2018)

Long Lost has been promoted as Stranger Things meets Ghost World, but that doesn’t really do the series justice. It has been one of the most visually and narratively unique comics of 2017/2018. The series is the perfect example of the kinds of stories that indie publishers tell when at their best. It’s strange, it’s heartfelt, and it’s often haunting. Writer Matthew Erman and artist Lisa Sterle compliment one another perfectly. This story of two sisters reconciling the mysteries about their mother and their own childhood damage make for a stand out Southern gothic tale. 

4. Deathbed (Vertigo [[DC Comics]] – Release Date: TBD 2018)

This might seem premature, but the relaunch of the Vertigo line warrants deserved hype. Vertigo in decades past was like Young Animal is today, but somehow more unexpected and more trailblazing. Some of the best stories told in comic form came from the imprint, and Deathbed seems poised to vie for similar acclaim. Some of the violence so far has been over-the-top, but in a way that makes sense for the story being told.

3. The Ballad of Sang (Oni Press – Release Date TBD 2018)

The Ballad of Sang is, in no uncertain terms, awesome. It’s bombastic, hyperviolent, highly stylized storytelling. The first issue was one of the best comics of 2018 and the series should be on your radar. This is an easy recommendation for comic fans and non-comic fans alike. If you like 70’s yakuza films or Kill Bill then this is a kitana-sliced no-brainer, and a quick flip through the pages would let you know instantly if it is the kind of thing for you.

2. The Power of the Dark Crystal Vol. 2 (Archaia [BOOM! Comics] – April 24, 2018)

Surprising nobody, the conclusion to The Power of the Dark Crystal is an easy pick for a graphic novel to keep on your radar. The art and storytelling in this series is some of the best in all of comics during its year-long run.  The conclusion has been every bit as satisfying as the set-up, but you can read all about that in our review here!

1. DC/Young Animal: Milk Wars (Young Animal [DC Comics] – June 19, 2018)

Young Animal is the best thing happening in comics for two years running. Most of the titles that the Gerard Way-led imprint produces will be the comics that create comic fans for years to come. Comic book events are, almost as a rule, the worst. There are exceptions, as Hickman’s Secret Wars was an example of a straightforward event done right, as was DC’s Rebirth. That said, the endless tie-ins and events set to coincide with film releases leave readers drained. It doesn’t help the industry, and short-term rewards betray long-term reader investment.

Milk Wars is different. For starters, the event only really requires a knowledge of two or three of the involved titles, but also sets the stage for Young Animal’s 2018, which proves to be stranger and more isolated from the DC Universe. There’s a lot that could be written about Milk Wars, but it is probably best experienced blind. The quality and strangeness of its pages can’t be denied, and it earns the top recommendation from NRW.

DC are upping their game and promise to deliver an EPIC 6 part comic book series on pure awesomeness. This is great news for DC fand and Thundercat/ He-Man fans alike. Finally, a crossover that we can really lose our hats to!

More info HERE

In 1989, Warner Brothers released the blockbuster film, Batman. A merchandising storm ensued, with both movie-related and general Batman-themed items flying off shelves. Around this time, the NES was at the dizzying height of its popularity as a home console, and it only stood to reason that a game be made. DC Comics dropped the license to Sunsoft, and one of the NES’s better late-era games was the end result.

I’ve wanted to do a Sunsoft NES game for a while now, and I may eventually do all of them… but this one was the first Sunsoft title I recall playing as a youth. I always loved the company’s style of presentation; they often found ways to inject color and vibrance into even the most gritty, drab themes. Sunsoft is undeniably late 80s/early 90s to the core. Batman: the Video Game is no exception.

A watchful eye on Gotham City. A huge, looming, watchful eye. Massive and constantly staring at Gotham City. Damn, Batman, cut us some slack.

The game is loosely themed after the 1989 film, though prototype graphics show that this wasn’t initially a priority for the development team. In the end, it was mostly graphics that tied the game and the film together anyway; I don’t recall Batman fighting a flying beetle-man or two separate malevolent AIs in the film. All things considered, the basics are the same: you, as Batman, must stop the Joker from dominating Gotham City with his campaign of poison and terror. Batman must travel through the Axis Chemical Factory, an abandoned laboratory, and other locales to reach Joker atop the Cathedral for the final battle. The game plays similarly to many action platformers in most ways, but one function you will be using often is Batman’s wall-jump. I mean, you have to become PRECISE with this move to get through the mid to late stages. Well-timed wall-jumping can also be used to avoid harm from certain enemies perched in hard to reach places… while you make your way over to punch them to death. Half of the game’s respectable challenge is simply navigating a level without dying, and the enemies only play a part in that. There are plenty of static hazards you have to avoid touching, such as ooze, grinding gears, and electrified surfaces. Batman: the Video Game is challenging, but thankfully, as the Dark Knight, you’re prepared for the challenge.

Batman can not only punch (quite rapidly, in fact) but can also use 3 different weapons. He gets his trusty batarangs, a triple-shot “dirk,” and…a gun. I mean, it shoots little missiles, but it’s a gun. Didn’t Batman have a thing about guns?

Anyway, you’ll need these weapons, since Batman’s up against some pretty varied and tricky opponents. Your regular baddies include little spiky toaster-ovens, dudes who look kind of like French Legionnaires, ninjas, hopping giant mutants, very slow-walking androids with claws, and dudes who squat in place with flamethrowers. Fighting most of these enemies involves either careful timing or simple blitz tactics, depending on how they move and how far they can reach with their attacks. You’ll find bad guys posted on narrow ledges pretty often, and it will usually be while you’re trying to do the wall-jump to climb vertically. When you kill an enemy, you almost always get some kind of small reward; hearts give back health, the missile icons give you ammo for your weaponry, and the “B” icon just gives you 1000 points.

A sprite rip of most of the common enemies in the game. Found at www.spriters-resource.com

The bosses are as colorful as the array of underlings, and two of them are actually machines. The first boss you fight, right outside City Hall, is a flying fireball tosser who seems daunting until you realize you can just stand to one side of his blasts and then boomerang his stupid face when he swoops down toward you. Axis Chemical Factory contains the first of the two electronic bosses; Batman must first shut down its outer defenses before blasting away at its energy core. At the end of the underground level, you fight Electrocutioner, a mohawked Mad Max extra with a claw for one hand and a deadly lightning gun for the other. (It is worth noting that most of the bosses, including him, are based off actual minor villains in the comic books.) If you’re patient, you can literally get this guy to attack the wall while you nuke him from the other side of the room. Level 4 is an abandoned laboratory that ends in a fight against another robotic boss. This one is a bit more straightforward; Batman must defeat two large and very dangerous cubes that move about the room and try to destroy him.

Level 5, the Gotham Cathedral, has two bosses: Firebug and The Joker himself. Firebug looks and behaves a lot like someone you’d expect to see in Fist of the North Star, and his routine is a pretty scary pattern of anime jumps and massive fireballs. The Joker is, well… a joke. His elaborate strategy consists of shooting you, running away, and pointing to the sky to summon lightning bolts that you can avoid by standing about one arm-span away from him. Once you defeat Joker, you get to watch one of the coolest cut scenes I’ve seen outside of Ninja Gaiden.

Batman: the Video Game has some really cool graphics, which manage to be both colorful and suitably drab for the setting of Gotham City. The background graphics are especially good; while they are undeniably 8-bit, some of them, namely the first stage, look surprisingly realistic. There are also some truly delicious cut scenes; these loosely follow the film and add a good dramatic element to the whole experience. The music was composed by Naoki Kodaka, and it is probably my favorite part of the game. The title screen music is completely flat, but every other track makes up for it. The level music is all pretty rock & roll. It’s as intense as it should be. I particularly like how mean the boss music sounds, and I especially enjoy Level 4’s music.

There was also a game for the Sega Genesis, which most consider to the better game; it’s not only on a more advanced system, it stays much truer to the film. Eventually Sunsoft also released a sequel (of sorts) for the NES, Batman: Revenge of the Joker. I have taken a cursory look at it, and it’s not a terrible game… but it’s very silly. There have been a multitude of other games released during the Caped Crusader’s more prominent periods on TV and the big screen; to list them all here would not make for interesting reading. I will say, however, that most of the ones based on the later films… well, they suck just about as bad as those films did. 

When the newer series of Batman films began a few years back, there was an outcry among hardcore comic/Batman fans. This says more about how good the 1989’s Batman was than it does about the new series. As a kid who sat wide-eyed in the theater during the Batwing scene and the cathedral fight in the ’89 film, I can relate to the feeling that they did it right the first time around. I also poured a lot of hours into this game as a kid, and enjoyed it enough to surmount its considerable difficulty.

See you mid-month, RetroManiacs!

No car is as cherry as the 1989 Batmobile. Look at his face. He knows he’s fly as hell.