Batman: The Animated Series- Shadow of the Bat, Part 2

 "I hate wet shoes!"

A solid conclusion here, with the newly coined Batgirl earning her spurs and, in the end, the grudging respect of both Batman and Robin, after a few false starts. It's also nicely plotted, with Gil Mason and Two-Face plotting together to rule the law and the underworld respectively. I had to laugh, of course, at the sight of Jim Gordon not recognising his own daughter in that mask, but heigh-ho.

I suppose the plot was rushed a little, what with our baddies changing their plans to spring and then kill the Commissioner, a decision clearly based on the fact that the story needed to be wrapped up quick. But still, this is a solid debut for Barbara Gordon's alter ego. It gets points too for a solid set piece with Batman and Robin trying not to drown, especially as we're only really seen so much of the two of them together in the series thus far.

What's this about Harvey Bullock keeping Thorne's involvement to himself, though...? 

Batman: The Animated Series- Shadow of the Bat, Part 1

 "This place gives me the willies..."

Yes, I know- thirteen straight days without a blog post, something that hasn't happened in a loooong time. In my defence, I'm still adjusting to life after recovering from my surgery with everything being all busy again with fatherhood, my relationship and my career back to being full time again- all good things, but I have less free time than I did before February. I'm adjusting, but I'll get there. Plus there's been the heatwave, a lot of stuff to do, and, er, a YouTube "watch later" list that I'm slowly getting under control.

Anyway, it's back to Batman: The Animated Series. It may have left Netflix but it's now on Amazon Prime so I pick up right where I left off, and this is certainly a strong start to the new season. Functionally, this is the episode where Barbara Gordon becomes Batgirl. It is, I think, the first time Bruce uses his "Matches" Malone disguise, something I remember from the comics back in the day. 

It puts all the world building that's been going on to good use in this tale of someone framing Jim Gordon for corruption. The story depends strongly on the supporting cast of both cops and mob bosses, giving Gotham a real sense of place. The animated series is properly established by now and uses all that world building to powerful effect, also giving us some tantalising clues about Jim Gordon's framing. And the ending, with Two-Face revealed and Barbara (with some help from her teddy bear!) debuting her proper Batgirl costume.

Most of all, though, I love how noir this is, from the first class animation to the plot to the mood. This is what peak Batman looks like. 

Batman: The Animated Series- Paging The Crime Doctor

 "I thought I told you to take the day off..."

This is one of the finest episodes yet- perhaps the best.

Yes, it's a little contrived that Rupert Thorne should have a brother, Matt, whose medical career he has ruined but was an old med school friend of Lesley Thompkins and Thomas Wayne. But this nice little tale of moral ambiguity and dilemmas, and ultimately of redemption, is rich and deeply fulfilling. Even better is the final scene, with Bruce wanting nothing from Matt Thorne in return for funding his defence other than to "Tell me about my father".

Oh, there are loads of good episodes with the traditional rogues' gallery, and so they should be. Our favourite baddies are important. But the animated series really does have an added level of depth with mob characters like Rupert Thorne, and the likes of Lesley Thompkins who humanise Bruce Wayne. The relationship between those two is rather lovely.

I'm amazed how I suddenly seem to be quite far in to The Animated Series, and how little there is left to watch. Yet it is, by this point, pretty much a fully matured and impressive take on the character and the world. And episodes like this really highlight just how good it can be.

Batman: The Animated Series- The Man Who Killed Batman

 "Without Batman, crime has no punchline."

We begin with rain, with night-time darkness, with interesting camera angles giving a very noir feel, matching the '40s fashions and cars for which the Animated Series is known. And a small time crook, one Sidney Debris, face drawn in that slightly cartoonish way of which the Animated series can be fond, seems to have killed Batman, in circumstances which he relates to Rupert Thorne, and to us.

This is one op those episodes that are "Batman-lite", and are told from a specific perspective. Such episodes are often among the best, and this is certainly no exception.

Debris, except in his head, is a hopeless loser. Set up to take the fall, he accidentally seems to kill Batman, but the fame proves too much for this mouse of a man. Violence, suspicion, a dangerous encounter with a fascinating nuanced and unstable Joker (by this point the character of the Joker, and his rapport with Harley Quinn, is very interesting), all drives him to desperately seek help from Thorne.

And here we have the two clever twists that really make the episode: Thorne doesn't believe him, thinking him a dangerous rival and, less surprisingly, Batman is not in fact dead (interestingly, not only Montoya but also Bullock must presumably have been in on it) but using Debris as a reward to get to Thorne. It's all delightfully clever, and the ending- Debris finding respect as a big man in prison- is perfect.

As is, perhaps, the episode itself.

Batman: The Animated Series- Vendetta

 "I've had cats that made more noise than you...!"

Another good episode here. Oh, we introduce Killer Croc, whosew portrayal is fine but qho was never one of the more meaningful members of Batman's rogues gallery. No: this episode is noteworthy for how it fleshes out the broader supporting cast.

The conceit is very clever- Harvey Bullock is framed by Killer Croc for the murder of a prospective informer, with Boss Rupert Thorne in the mix. Right awayt it adds nuance to Bullock's character- a cop who cuts corners and not a pleasant individual, certainly, but not corrupt. The moment between him and Batman at the end, too, is nice and nuanced.

So are Batman's respective rapports with Gordon and Alfred, of course, but at this stage that comes as no surprise. But it's satisfying to feel this sense  of so many characters by now familiar- not just Bullock and Boss Thorne but also news reporter Summer Gleeson, Officer Montoya- this is an increasingly impressive aspect of the Animated Series.

And, by this point, we're on a solid run of really rather a lot of solid episodes in a row.

Batman: The Animated Series- It's Never Too Late

 "All your power and money has bought you is an empire of misery."

Another excellent episode here. It's interesting once again how there's an ambiguity in the setting- the cars and clothes and tommy guns evoking the 1940s while the drugs evoke contemporary times. It's also good to see how the Animated Series follows not only Batman's usual rogues gallery bus also the same mob bosses- once again we see Boss Thorne.

And yet this is a touching and effective story about how one mob boss, with his empire of hard drugs, can yet be reformed. It's an episode full of flashbacks and clever twists and turns- most notably involving Father Michael- and superbly constructed in such a way that it earns its payoff. It's also fascinating to see Batman not just using his brute force and detective skills but also psychology.

I do wonder if or when we'll see Boss Thorne again- or whether Two-Face will ultimately get him...?

Killer Klowns from Outer Space (1988)

"These clowns aren't people. They're creatures, things from another planet!"

No, I kid you not. This really is a film about, literally, killer clowns from outer space. And it's quite hilarious. And very, very late '80s. It has the fashions, the hairstyles, some very '80s bikers, and even an end-of-level baddies. And, incidentally it has a superb theme tune from top Californian punk band The Dickies.

This is a "B" movie, of course. You'd guessed that. It's mainly about the set-pieces, with a rather basic by-the-numbers plot with just a few broadly drawn characters to give us a bit of camply humorous melodrama to string everything together. The acting is hammy, but deliberately so, with a standout comedy performance from John Vernon as the gruff, violent Officer Curtis Mooney. So let's just talk about the set pieces.

I suspect this movie didn't exactly cost much, but it looks great, with absolutely no sign of cheapness anywhere, probably because  the film doesn't exactly call for realism. But there's so much cool stuff here, right from the comedy hillbilly (with a dog called "Pooh Bear"!) who kicks off the set pieces. We get a high point early on as a clown twists a balloon into the shape of a bloodhound and uses it to follow Mike and Debbie, our heroes, but the film manages to top even that, many times. Custard pies, silhouettes, candy floss, ventriloquist's dummies… everything you can think of is used to terrifying effect and there's a shower scene that's, yes, more terrifying than Psycho and even more terrifying than the one and only Jasper Carrott in Jane and the Lost City, if such a thing is possible.

The climax, in a perverted version of an amusement park, is perfect- full of suspense and laughths in equal measure and, this being the late '80s, there's an end-of-level boss straight out of the Sega Mega Drive, with highly prominent puppet strings, no less.

I'd heartily recommend this movie, in the highly unlikely even you can get hold of it. The combination of affectionate piss-take of '50s sci-fi "B" movie with a very '80s fixation on the inherent terror of clowns is a winning one. It's funny, but it's very, very scary indeed, and not one for those with a phobia of clowns. It's also, of course, interesting to see this so soon after Vampire Circus! And it deserves to be adored for the title alone.