Tag Archives: The Dark Knight Returns

Jailbreakers (1994)

You know Frank Miller, right? The comic book guy. No, you’re thinking of Alan Moore. Yeah, that’s right, the 300 guy. He’s done other stuff, though, far better stuff, like Sin City and Ronin and a fantastic run on Daredevil. He did the Daredevil book Born Again and the Batman books The Dark Knight Returns and Year One, all of which might legally be deemed works of genius. For a while he was one of the masters. Then, as so often happens with young artists who garner those labels — “genius” and “master” — Miller produced a string of decidedly less-than-masterful works that included the lukewarm Returns sequel The Dark Knight Strikes Again and another Batman book called All-Star Batman and Robin the Boy Wonder; the latter is largely derided for the portrayal of Batman as a psychotic child-abuser, which is a new one. There are a few more stinkers, but they all get the pass in comparison to Miller’s latest book (ahem, “book”): Holy Terror. This is a story (ahem, “story”) so undercooked that it makes one wonder if Miller forgot to turn the oven on altogether. It’s somehow impossibly offensive and impossibly dull at the same time. Holy Terror is without a doubt Frank Miller’s most abominable creation, and unfortunately that’s saying something.

William Friedkin isn’t exactly the Frank Miller of film, but if he was, Jailbreakers would be his Holy Terror. The fact is that the Frank Miller of film is Frank Miller himself, who helmed his Sin City in 2005 and followed it with the increasingly awful The Spirit and Sin City: A Dame to Kill For. But Friedkin, for a time, had a career in cinema that seemed to be following the hugely disappointing formula that Miller’s laid in comics. For an exhaustive breakdown of the early struggle, the well-earned rise, the questionable fall, the lull, and the eventual redemption of the director known as William Friedkin, I highly recommend this piece by Dissolve‘s Noel Murray. In fact, Dissolve‘s entire Career View column is highly recommended. In fact, Dissolve‘s entire catalog is highly recommended.

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The Dark Knight Rises (2012)

As with our recent article on Batman Begins, this won’t exactly be a traditional “review” of The Dark Knight Rises so much as an examination of the comics that directly inspired the film, previous iterations of the character on the big screen, and the things that Christopher Nolan chose to pinch and blend together from the two of those in order to give us a recognizable version of Cinema Batman. Some of the most legendary moments in Nolan’s trilogy are those of true originality, but it’s good to remember every now and then that Bruce Wayne has been around a hell of a lot longer than Nolan and Co.

And if we’re talking comics that influenced Nolan’s last Batfilm, the only one really worth mentioning is Knightfall. Yes, there are a whole host of comic arcs that can claim to be influences for parts of Rises — the No Man’s Land arc sees Gotham cordoned off from the rest of the world; the four-part story The Cult has a villain operating from the sewers; Bane is the explicit right-hand man of Ra’s al Ghul in 1999’s Bane of the Demon; and Frank Miller’s seminal The Dark Knight Returns has a similar premise and conclusion to Nolan’s Rises, which we’ll come back to in a moment.

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Batman Returns (1992)

‘Tis the season! ‘Tis a time for merriment, gaiety, festivity, and a bunch of other synonyms! ‘Tis also a time in which box-office turnouts for fifth and sixth installments of Saw or Fast and Furious vastly outweigh those for fresh, original film — a time in which the popularity of one kind of movie seems almost contingent on the failure of the other. ‘Tis a good time for cynicism, evidently.

Batman Returns is a superhero sequel, obviously, but it’s not the kind of assembly-line movie that phrase conjures up today (it’s also a Christmas movie, hence my yuletide cheer). This isn’t an instantly forgettable Marvel sequel like Iron Man 2 or Thor: The Dark World, seemingly intent only on filling the space between Avengers team-ups. Returns, like Burton’s first Batman film, takes pride in originality even in the face of decades of established Bat-lore, flipping things upside down and ignoring long character histories and comic book arcs in favor of new things, for better or worse. So in Batman we discover that the Joker is the one who killed Thomas and Martha Wayne, not some nobody named Joe Chill; here in Returns, Penguin isn’t a respected sophisticate but instead a literal man-bird. Returns basically says f*ck you to so much of the Batman canon that it’s difficult to imagine it being released today without causing fanboydom to implode.

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