Catwoman (2011, Lauren Montgomery)

So in the mind of writer Paul Dini, human traffickers take women from the United States and ship them overseas. I really hope he’s not heading a commission for the U.N., because that situation isn’t accurate.

Catwoman opens, in an attempt to show just how grown up DC’s cartoons are, in a strip club. I wonder how many parents are going to buy this movie for their kids and then realize the filmmakers think mature storytelling means pornographic implications.

Sadly, director Montgomery is excellent. Though Catwoman’s really silly—she swings around on a whip, doing Spider-Man stunts—the direction is amazing. Until the final shot, which is too goofy, there’s not a single false moment.

The cartoon’s fast, which is nice, but can’t disguise the mediocre voice acting.

Eliza Dushku is okay (nothing more) as Catwoman, but John DiMaggio’s weak as the villain.

Besides the writing, it’s essentially competent.

2/3 Recommended

CREDITS

Produced and directed by Lauren Montgomery; screenplay by Paul Dini, based on the character created by Bill Finger and Bob Kane; edited by Margaret Hou; music by Christopher Drake; released by Warner Premiere.

Starring Eliza Dushku (Catwoman), John DiMaggio (Rough Cut), Kevin Michael Richardson (Moe) and Liliana Mumy (Holly).

RECENTLY

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Batman (1940) #112

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So this issue has three Batman stories, two comic strips and a one page text story. That level of content is a lot different from today.

The art’s fine… I suppose Dick Sprang, drawing ancient Rome in the second story, has the best panels (but just because of subject matter).

As far as writing… it’s actually kind of interesting to see the differences between the stories. The first one, by Finger, will offer the reader a chance to solve the mystery before Batman does. The clues are often too small to see, but if one really tried and knew a lot of trivia, he or she could do it. It’s also interesting because Batman and Robin almost die, surviving only by luck, not their own doing.

The last story, also by Finger, with Batman confused about his identity, is pretty good. The resolution is idiotic, but the mystery’s decent throughout.

Batman 112 (December 1957)

So this issue has three Batman stories, two comic strips and a one page text story. That level of content is a lot different from today.

The art’s fine… I suppose Dick Sprang, drawing ancient Rome in the second story, has the best panels (but just because of subject matter).

The last story, also by Finger, with Batman confused about his identity, is pretty good. The resolution is idiotic, but the mystery’s decent throughout.

CREDITS

The Signalman of Crime; writer, Bill Finger; penciller, Sheldon Moldoff; letterer, Pat Gordon. Batman’s Roman Holiday!; writer, Edmond Hamilton; penciller, Dick Sprang; letterer, Artie Simek. Am I Really Batman?; writer, Finger; penciller, Moldoff; letterer, Gordon. Inker, Charles Paris; editor, Whitney Ellsworth; publisher, DC Comics.

Superman (1939) #242

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The Pseudo-Superman story comes to its close with Superman choosing to be de-powered. It’s a strange move, since he’s still really, really powerful. Maybe not Silver Age powerful, but he hadn’t really been doing those feats during the rest of the issues… it’s a little confusing. It’s an effective scene, but it doesn’t hold up under much scrutiny.

Similarly, Superman’s decision to fight Pseudo-Superman to the death… again, shouldn’t he have tried to work something out with him.

It’s a good close though. O’Neil fits tons of story in–most of the issue focuses on these two bums slash crooks who “kidnap” an inter-dimensional being and use it to beat up Superman and terrorize the world in general. Some great art on those pages.

The beating up Superman scene is particularly rough to read, since it’s all so vicious.

The final scene’s a little anticlimactic though.

Superman (1939) #241

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I guess Wonder Woman wasn’t much of a draw back in the early 1970s because her guest appearance is a surprise (there’s no mention on the cover) and she’s practically in the issue more than Superman.

Following up on Superman’s epiphany from the previous issue (he’d prefer to live a normal life), Wonder Woman’s Indian sidekick convinces him otherwise. It’s only a couple pages, but it’s effective, maybe because O’Neil’s dialogue for Superman is so desperate.

But then there’s the subsequent problem (where Wonder Woman takes over). Superman has super-brain damage and is acting like a (well-intentioned) goofball. It’s almost like they have him do Silver Age things, then deal with the “real world” consequences.

The sand double gets a solid explanation here, along with a goofy name: Pseudo-Superman.

The reprint back-ups are cute, but out of place for the serious–if humorously handled–feature story.