#Danny Bruce Wayne isn’t the Spirit of Gotham | Explore Tumblr Posts and Blogs

deadsetobsessions · 4 months

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Danny Fenton is so damn sick of rich fruit loops. It’s worse now, since he’s one of them.

It’s not Vlad that he’s with, thank the Ancients, but Danny isn’t sure that this is better.

Because he’s Timothy Drake, a baby, and he’s been reincarnated after the Ancient of Reincarnation accidentally drank too much wine.

He’s going to kick their ass so hard when he gets back.

Danny huffs. He rolls over, ignoring the silent manor. Sure, he’s read the comics. Sure, he laughed and imagined being adopted by Batman- come on, Danny had black hair and blue eyes even back then, he was totally adoption bait- when his parents gave him reason to lose trust in their love. But that’s it, that’s all he thought it was. A day dream, a wish for a universe that didn’t exist.

Danny hadn’t understood the reality of the whole Infinite Realms thing, a place he was now the King of. Batman? Real. Danny? Reincarnated. Hotel? Trivago.

Like, this wasn’t what he meant, dammit.

And now he’s stuck as Timothy Drake, and Ancients, he was starting to see parallels.

——

Danny tried photography. He really did. He wanted to at least stick to the source material. But that’s not who he is. Even with the shiny new brain that memorized, catalogued, and put together clues at the snap of his fingers, but Danny’s never been one to take photos. It’s a respectable art, for sure, but Danny preferred to live in the moment instead of capturing it to remember forever. It’s just-

He watched the Graysons fall. He watched Dick Grayson turn into Robin. And Danny can’t and won’t ever betray his Obsession like that, ever again. He can’t let Jason die for his “story” to begin. That’s not how Danny works.

He’s there to protect.

Danny hasn’t ever been just Tim. Danny was also Tim and the Ghost King without a haunt. But now? Gotham is his haunt. He, in lieu of an actual city spirit, is Gotham. He’s also a Drake. And Drakes were meant to hoard.

Batman and Robin? They are his.

He claimed them, as a Drake. But that claim is weak. So he claimed them as their city, and that is a claim that will never be able to be challenged.

Danny’ll be damned before he allows some lanky starved clown beat the life out of one of his Robins. So, for the first time in his nine years on this planet, Tim-Danny goes ghost and flies.

“Who- who. Are you?” Robin slurred from his place in Danny’s hold. He is broken, yes. But not dead. Danny infuses some of his vitality, his ecto, into Jason’s injuries to help them heal.

“Gotham.” Danny replied, layering his ghostly voice with those of the city.

“Goth’m?”

“Gotham. Sleep, little bird. Your city has got you.”

When Robin, Jason, settled with a sense of trust that tugs at Danny’s core, Danny carried him to Batman, whose eyes were wild and manic. He glared menacingly at the green and white ghost in front of him, who was holding his broken and beaten son-

Well, it’d be menacing if Danny hadn’t watched him eat bricks and mortar, crashing into a building while using his grappling gun.

“You-”

“I am Gotham.” Danny cut him off. Despite his wary nature and natural paranoia, Batman settled at his city’s gaze rested on him. Danny knew that Batman recognized his city. Batman’s head bowed, but his eyes stayed on Robin. “You were supposed to take care of Robin.”

“I- I know.” And that voice was all Bruce Wayne the Dad instead of Batman the Vigilante. Danny gently placed Robin in Batman’s arms, taking in the tremors as he held his son close.

“Go back, Bruce. And make sure Jason knows how much you love him.”

He laughed as Bruce whipped his head upwards. “I am your city. You are mine as much as I am yours. I’ve known of you before you were born.”

Technically? Not untrue. But Bruce will chalk it up to weird magic shit. It’s not like it’s a secret that Gotham’s kind of curse. Besides, this way, Danny will be able to help out more often. And Bruce won’t be able to connect Tim Drake to the “Spirit of Gotham.”

“Return, my knight. This is not your city. I can not protect you as well as I can in Gotham.”

“Thank you… Gotham.”

Danny sighed. He wondered when he’ll have to field questions from a John Constantine. He’s pretty sure Bruce will call in magical help, even if it was his own city he was investigating.

Batman’s lucky Danny liked him enough to allow it.

#Danny is Gotham #danny phantom #Jason Todd #Jason Todd as Robin #joker is about to get haunted #bruce wayne #Gotham’s knight #batman #bamf danny phantom #ghost king danny #dc x dp #Danny is Tim Drake #he’s like nine #Jason Todd lives #joker? probably not #the bats: hmmm suspicious #also the bats: Gotham loves me! I’m doing the right thing!#dp x dc

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saphushia · 4 months

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do you have any fic recs for dp/dc? ive been interested in reading good ones but its kinda hard to shuffle thru them all.

oh fuck yeah you know i do. i'm just gonna make a list of good ones until i get bored or tired lets see how long this gets lmao

also personal preference wise i'm not big on the danny-gets-adopted fics so u gotta ask someone else if u want recs of those ones lmao

⭐= my absolute favorites all fics are gen unless a ship is listed make sure u check fic tags for CWs b4 reading 👍

=ONESHOTS=

⭐It all Started at a Convention tim meets danny at a tech convention and they have a surprisingly nice afternoon together. and then tim comes to a realization about some things danny said...

A Monsterous Kind of Love [tim/danny] tim's a vampire. danny's a full ghost. tim gets to kill a few hunters in a frenzied rage to keep danny safe. as a treat <3

You've Got My Heart (I've Got Your Soul) [tim/tucker] congrats tim! you met your soulmate! why's he trying to kill you. hm. maybe you fucked up, buddy

Of loss, longing and long duration. [danny/bruce] of danny falling in love with bruce, breaking up with bruce, and proceeding to still be adored by all bruce's kids, past and present.

You Are a Monster (But So Am I) [danny/duke] duke's not a monster fucker- he's not! he swears! it's just this one, specific, really pretty eldritch snow monster-

If I had a nickel for every billionaire that tried to kidnap me, I’d have two nickels- which isn’t a lot but it’s weird that it happened twice bruce is very tired. it's not his fault he accidentally kidnapped some teenager. aka danny's very bad wierd and stressful afternoon.

=ONGOING=

If You Give a Bat a Burger danny's just trying to lay low while keeping gotham's spirit infestation under control- of course nothing ever is simple for him. meanwhile, the bats all have their hands full with what seem to be unconnected cases, but nothing's ever simple for them either.

Rooftop Express [danny/jason] danny is bored and starts his own version of doordash in gotham. red hood keeps putting in orders so he can see the cute delivery boy <3 what do you mean he's a halfa

⭐Bus to Nowhere danny's adventures being a homeless teen in gotham on the run from his parents and the GIW. he's called dumpster tommy now, and he can't seem to stop befriending criminal and attracting vigilantes desperate to help him

An Interesting Family Tree [danny/tim] danny left the league of assassins years ago, but he can't seem to keep his nose out of it when he finds out red robin's being targeted by them. (canon divergence of tim's search for bruce in the red robin comics, where danny joins him. don't need to read the comic to read the fic)

⭐Grave Promises after an identity reveal gone wrong, danny has no one to turn to. no one, except, maybe, the hero who got stuck in the ghost zone years ago, who became danny's friend, danny's mentor, before they finally got him returned to his timeline. nightwing.

Our Empty Graves [jason/danny] danny, mute, injured, and on the run, is saved from a tight spot by red hood. he quickly becomes jason's problem, and jason makes the mistake of becoming endeared to this snarky shit.

Night Circus [dick/danny] dick hits it off with danny, a circus performer who just came to gotham. dick's thrilled- aside from the fact that circus gothica seems to be connected to the string of robberies that's suddenly hit gotham, and the bizarre thief dressed like the grim reaper...

Secretary Danny danny accidentally gets himself hired as the personal secretary of tim drake, wayne industries CEO. he's surprisingly ok with this, actually. and he's scarily good at it.

ok it's late i need to go eepies now have funnnn <3

#fic rec #answers #dcdp #anonymous #i have too much time to trawl thru fics lmao #<- guy who regularly just. goes thru every single page of fics when they get into a new fandom

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rainybyday · 2 years

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Wayne Spirit Add-Ons

Add ons that don’t connected to each other but they probably could of the Wayne Spirit and/or Comic Cross Dimension au idea (pick your favorite) by me

+Danny knows exactly where Damian is because all he needs to do is follow the energy radiating off a Lazarus pit and BOOM, there’s a baby Damian

+Danny won’t kill Joker because sometimes there are worse things then death

+Danny knows where Cass is every single time and she can’t sneak up to him

+Once he knows Duke can see him he started to play hide and sneak to see how many times he can avoid Duke finding him

+Stephanie won’t die, not even for a minute because there is no way Danny was letting any one of his Bats die in Gotham

+Danny will cling on to any Bat who is sad on their backs and won’t go away until they get the care they need or feel better (since they all know that cold spot is their Ghost hugging them and watching them when they are at their worse and is comforting them)

+Danny is always there when anyone gets sick by their bed side

+Kate just accepted the fact Danny existed, no more need to be said when your a vigilante who kicks drama theater kids ever night in a bat suit, a ghost isn’t that far out their

+Danny did meet the spirit of Gotham, had a fight, Gotham sulking that they lost, Danny swearing that he will take care of the Wayne’s and made a pact for them to co-parent the family

+Alfred is god and Danny respects him and admires him a lot, so when Alfred always verbally gives him gratitude when he cares for the family Danny will get flustered so bad (even if Alfred can’t see him (yet))

+Danny loves all the Bats but Bruce is his favorite, his boy, his baby that he found, his child who he comfort, his teenage he protected, his silly adult he sighed about, his hero who he became so ultimately proud of

+The same time that Danny was protecting the Wayne’s he was also going to the Drake’s residence to play with a cute cubby baby Tim

+Danny died (again) of laughter when he saw the scene of Jason stealing the tires off the Batmobile

+Danny is always there when the kids are training to become a Robin because training injuries traumatized him when Dick almost fell down a tightrope once

+He didn’t stop the Joker from shooting Barbara in time but he did get to him before he could touch any of the Gordon’s

+Danny is a hugger and a clinger, if you are touched by the Danny, every Bat has the unspoken rule of stopping whatever your doing to rest (they all learned from Bruce who made the mistake of going out as Batman when Danny was clinging on him)

+Danny thinks Damian is hilarious and adorable when he first meet him after spending a good amount of his childhood slightly disliking that Robin

+No villains will, nor will ever can kidnap a Bird to train them without their consent because Danny will be there to show exactly what happened when you touch those that he claims as him (he knows some training sessions are unavoidable but that doesn’t stop him from freezing anyone of those villain mentors from hurting or making any of his Bird’s from doubting themselves of any kind)

+Everyone in the manor always obey Danny, even Alfred (which is very few times since Danny and Alfred always agree with one another to protect the idiots they fondly call their family)

+Loves when Damian is finally at the manor because of all the pets

+Danny finds listening to Jason reading soothing as it reminds him of Jazz

+Danny always gets Tim to get some rest, always

+Takes care of Steph when she is Robin because clearly someone wasn’t going to be kind to her in anytime soon

+Danny always claps when Dick does his small flairs during fights or during patrol

#danny fenton #danny phantom #batman #dc x dp #dp x dc #batfam #damian wayne #tim drake #jason todd #bruce wayne #dick grayson #cassandra cain #stephanie brown #barbara gordon #alfred pennyworth #Wayne spirit au #Or comic cross dimensions au #Or family spirit au #i Like Wayne spirit better

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vavandeveresfan · 4 years

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Batman Returns: Danny DeVito on Michael Keaton Reprising Role For The Flash.

From comicbook:

The biggest geek news story of 2020 has undoubtedly been Michael Keaton returning to his role as Bruce Wayne / Batman, a character he last portrayed in 1992's Batman Returns. Keaton is expected to appear in DC's The Flash movie which will be a loose film adaptation of the Flashpoint story from comics. Of course, as iconic as Keaton is with this Batman role, the villains of his film are also quick to come to mind when discussing his titles. Danny DeVito, the actor responsible for bringing the Penguin to life (and death) in Batman Returns, is nothing short of excited but this news.

"I think it's great," DeVito told ComicBook.com in an interview promoting his upcoming Disney+ title The One And Only Ivan. "I think it's a great series and I think it's a wonderful story and it's a lot of fun and a lot of energy and I loved Oswald Cobblepot, and I love Tim Burton. We've done four or five movies together. I can't wait for him to come up with the next one, whatever we're gonna do together."

It's hard to image DeVito reprising the role of Oswald Cobblepott, seeing as his character was carried to a final resting place by penguins beneath Gotham City back in 1992. Then again, this is the world of comics where no one is ever really dead, so if Keaton is really coming back, anything is possible! The final word on this might come this Saturday during DC FanDome.

For now, DeVito has The One and Only Ivan on the horizon, releasing on Disney+ on Friday. "It's really fun," DeVito says of the family friendly film best on a popular true story novel. "I'm enjoying this. I love this movie that I'm in, The One and Only Ivan" and I'm enjoying the fact that you get to relive it. You know, when you speak to the journalists after the break. Movie's finished, gonna be on Disney Plus on the 21st of August, I'm looking forward to it. It's a beautiful movie and happy that you're interested."

In the new film, DeVito portrays Bob, a friendly pup in gorilla Ivan's underground living quarters who isn't exactly welcome all the time but keeps a positive attitude throughout. DeVito says this character is "kind of a blending of my personal life and what's going on in the screen."

"Bob is very free spirit," DeVito says. "I feel like I can do anything. Myself, I always feel like, you know, I can come and go. I don't have to worry about any, you know I'm not inhibited in any way. And Bob is the same way. He comes and goes and eats a piece of pizza off the ground and just goes with the flow realizing, of course, in The One and Only Ivan that one of the most important things, if not the most important thing, is to have friendship and family. And if you have a friendship, or a mate, or a buddy, which in this case is Sam Rockwell playing Ivan, it kind of rounds you out. It fills you out and gives Bob a purpose other than just his every whim."

The One and Only Ivan is available on Disney+ on August 21.

The One and Only Ivan is one of my favorite kids books. From what I’ve seen, Disney’s ruined it.

#Michael Keaton #Michael Keaton Batman #The Flash #Danny DeVito

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batmanmoviee-blog · 4 years

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Movie review: ‘The Dark Knight Rises’ a worthy end to Batman series

The closing chapter certainly changes up the pace after the first two films delivered a strong focus on organize crime. Gone are the Falcone and Maroni crime families. The terrorizing Bane (Tom Hardy) steps into replace them eight years after Harvey Dent’s death. Thanks to the Dent Act, many criminals are behind bars. Oh, does he ever! Bane has his eyes on destroying Gotham in a way that nobody could probably imagine. He wants to destroy the city not only from terror but from the inside out.

This isn’t to say that there’s not fallout remaining from The Dark Knight. Batman remains on the run. Bruce Wayne hasn’t been seen in a few years. Wayne Enterprises certainly doesn’t boast the profits the company used to bring in. While crime isn’t what it used to be, this doesn’t stop others from popping up every now and then. Selina Kyle (Anne Hathaway) uses the Dent Day party at Wayne Manor to steal Martha Wayne’s pearls. Granted there’s an ulterior motive at play–Selina only does this to give Bruce Wayne’s prints to corporate rival John Daggett (Ben Mendelsohn). Meanwhile, Bane and company have set up shop in the city’s sewer system.

the dark knight rises full movie

In what is the longest film in the trilogy (and probably just a tad bit too long), there is a lot happening. Alfred Pennyworth (Michael Caine) resigns as the Wayne family’s longtime butler. Bruce Wayne turns over his company to a new CEO, Miranda Tate (Marion Cotillard). A rookie cop, John Blake (Joseph Gordon-Levitt) is one of Gotham’s honest cops and also assists commissioner James Gordon (Gary Oldman) in trying to save the city. Everything comes to a climax in the film’s final hour. Bruce Wayne/Batman, Selina Kyle/Catwoman, and Commissioner Gordon team up to save the day. It doesn’t come easy but whatever it takes, right?

Let’s talk about the final few minutes of film. Everything certainly comes together with concluding stories. I like the way that it’s all spliced together and weaving in the various characters. We also get some hope when one assumes the worst had happened. I wouldn’t expect differently. Christian Bale also leaves his mark as Batman for an entire generation of movie goers. Looking back at the last 30 years of live-action Batman films, it’s hard to find someone that can top him. Listen, everyone manages to bring their own thing to the role but when you look at Bale, you really feel like you’re looking at Batman. Maybe its because of how he prepares but something about Bale’s performance elevates the material in a different way.

Politically speaking, Bane certainly represents a movement. His character is one who manages to lead Gotham’s residents to go against the government and the police. All the while, Bruce Wayne is sent into a prison and Commissioner Gordon is forced into keeping a low profile. In their absence, Bane terrorizes the city while Jonathan Crane (Cillian Murphy) is the jury and executioner. There’s a lot more that can be said here but I’m not about to dive into it.

Aesthetically, the solid work keeps coming in terms of design, cinematography, editing, and score. While James Newton Howard doesn’t return, Hans Zimmer keeps the spirit alive. Where other composers might find a way to [ay homage to Danny Elfman’s iconic Batman score, Zimmer doesn’t. He finds a way to make it his own. Perhaps the most disappointing part of the film is taking Chicago out of the equation and moving the bulk of Gotham to Pittsburgh. It may be a minor thing for some but as a viewer, we can easily tell the difference in the skyline and the city’s overall design. Christopher Nolan’s trilogy is one of the rare trilogies that manages to get it right. Such trilogies usually manage to come with a misfire along the way. This isn’t the case with this one as every film hits the right mark. The Dark Knight Rises caps off the trilogy with a high but bittersweet note.

DIRECTOR: Christopher Nolan SCREENWRITERS: Jonathan Nolan and Christopher Nolan CAST: Christian Bale, Michael Caine, Gary Oldman, Anne Hathaway, Tom Hardy, Marion Cotillard, Joseph Gordon-Levitt, and Morgan Freeman

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britesparc · 5 years

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Weekend Top Ten #388

Top Ten Things Tim Burton’s Batman Films Did Right

Thirty years ago, give or take, the first Tim Burton Batman movie was released in cinemas (according to Google, its UK release date was 11th August 1989). Everyone knows the story; it was a phenomenon, a marketing juggernaut, a hit probably beyond what anyone was reasonably expecting. I was too young to understand or appreciate what was going on, but for twenty years or more the image of Batman in the public consciousness was intertwined with Adam West and pop-art frivolity. Suddenly superheroes were “dark” and “grown-up”; suddenly we had multi-million-dollar-grossing properties, franchises, and studios rummaging through their back catalogues of acquired IPs to land the next four-quadrant hit. Throughout the rest of the nineties we got a slew of pulp comic adaptations – The Spirit, The Phantom, Dick Tracy – before the tangled web of Marvel licenses became slightly easier to unpick, and we segued into the millennium on the backs of Blade, X-Men, and Spider-Man. Flash-forward to a super-successful Batman reboot, then we hit the MCU with Iron Man, and we all know where that goes. And it all began with Batman!

Except, of course, that’s not quite the whole story. Studios were trying to adapt superheroes and comic books for a number of years, not least because Richard Donner’s Superman had been such a huge hit a decade before Batman. And the Batman films themselves began to deteriorate in quality pretty rapidly. Plus, when viewed from the distance of a couple of decades or more, the supposed dark, gritty, adult storytelling in Burton’s films quickly evaporates. They’re just as camp, silly, and nonsensical as the 1960s show, they’re just visually darker and with more dry ice. Characters strut around in PVC bodysuits; the plots make little to no sense; characterisation is secondary to archetype; and Batman himself is quite divorced from his comic incarnation, killing enemies often capriciously and being much less of a martial artist or detective than he appeared on the page (in fact, Adam West’s Batman does a lot more old-school deducing than any of the cinematic Batmen).

I think a lot of people of my generation, who grew up with Adam West, went through a period of disowning the series because it was light, bright, campy and, essentially, for children; then we grow up and appreciate it all the more for being those things, and also for being a pure and delightful distillation of one aspect of the comics (seriously, there’s nothing in the series that’s not plausibly from a 1950s Batman comic). And I think the same is true of Burton’s films. for all their importance in terms of “legitimising” superhero movies, they have come in for a lot of legitimate criticism, and in the aftermath of Christopher Nolan’s superlative trilogy they began to look very old-fashioned and a much poorer representation of the character. But then, again, we all grow up a little bit and can look back on them as a version of Batman that’s just as valid; they don’t have to be perfect, they don’t have to be definitive, but we can enjoy them for what they are: macabre delights, camp gothic comedies, delightfully stylised adventure stories. They might lack the visual pizazz of a Nolan fight scene or, well, anything in any MCU movie, but they’re very much of a type, even if that type was aped, imitated, and parodied for a full decade following Batman’s release. There’s much to love about Burton’s two bites of the Bat-cherry, and here – at last – I will list my ten favourite aspects of the films (that’s both films, Batman and Batman Returns).

Tim Burton’s Batman isn’t quite my Batman (but, for the record, neither is Christopher Nolan’s), but whatever other criticisms I may have of the films, here are ten things that Burton and his collaborators got absolutely right.

Great Design: seriously, from an aesthetic point of view, they’re gorgeous. The beautiful Anton Furst Gotham, all gothic towers and industrial pipework, is a thing of beauty, and in terms of live-action the design of all of Batman’s vehicles and gadgets has never been bettered. It gives Batman, and his world, a gorgeously distinctive style all its own.

Wonderful Toys: it’s not just the design of the Batmobile and Batwing that impresses (big, bulbous round bits, sweeping curves, spiky wings); its how they’re used. Burton really revels in the gadgets, making Batman a serious tech-head with all manner of grappling hooks, hidden bombs, and secret doo-dahs to give him an upper hand in a fight. It makes up for the wooden combat (a ninja Michael Keaton is not), suggesting this Batman is a smarter fighter than a physical one. Plus all those gadgets could get turned into literal wonderful toys. Ker-ching.

He is the Night: Adam West’s Batman ran around during the day, in light grey spandex with a bright blue cape. Michael Keaton’s Batman only ever came out at night, dressed entirely in thick black body armour, and usually managed to be enveloped in smoke. From his first appearance, beating up two muggers on a Gotham rooftop, he is a threatening, scary, sinister presence. It totally sold the idea of Batman as part-urban legend, part-monster. Burton is fascinated with freaks, and in making his Batman freaky, he made him iconic.

You Wanna Get Nuts?: added to this was Michael Keaton’s performance as Bruce Wayne. Controversial casting due to his comedy background and, frankly, lack of an intimidating physique, he nevertheless utterly convinced. Grimly robotic as Batman, he presented a charming but secretive Bruce Wayne, one who was kind and heartfelt in private, but also serious, determined, and very, very smart. But he also excellently portrayed a dark anger beneath the surface, a mania that Bruce clearly had under control, but which he used to fuel his campaign, and which he allowed out in the divisive but (in my opinion) utterly brilliant “Let’s get nuts!” scene. To this date, the definitive screen Bruce Wayne.

Dance with the Devil: The counterpoint to this was Jack Nicholson’s Joker. Cashing a phenomenal cheque for his troubles, he nevertheless delivered; his Joker is wild, over-the-top, cartoonish but also terrifying. In my late teens I was turned off by the performance, feeling it a pantomime and not reflective of the quiet menace and casual cruelty of, say, Mark Hamill’s Joker; but now I see the majesty of it. You need someone this big to be a believable threat to Batman. No wonder that, with Joker dead, they essentially had to have three villains to replace him in the sequel.

Family: Bruce’s relationship with Alfred is one of the cornerstones of the comic, but really only existed in that capacity since the mid-80s and Year One (which established Alfred as having raised Bruce following his parents’ deaths). So in many ways the very close familial relationship in Batman is a watershed, and certainly the first time many people would have seen that depicted. Michael Gough’s Alfred is benign, charming, very witty, and utterly capable as a co-conspirator. One of the few people to stick around through the Schumacher years, he maintained stability even when everything else was going (rubber) tits up.

Meow: I’ve mostly focussed on Batman here, but by jeebies Batman Returns has a lot going for it too. Max Shreck, the Penguin, “mistletoe is deadly if you eat it”… but pride of place goes to Michelle Pfeiffer as Catwoman. An utterly bonkers origin but a perfectly pitched character, she was a credible threat, a believable love interest, and an anti-hero worth rooting for, in a tour-de-force performance. Also came along at just the right time for me to experience puberty. If you’re interested. Plus – and this can’t be overstated – she put a live bird into her mouth. For real. I mean, Christ.

Believably Unreal: I used to criticise Batman for being unrealistic, just as campy in its own way as the ‘60s show. But that’s missing the point. It’s a stylised world, clearly not our own thanks to the Furst-stylings. And Burton uses that to his advantage. The gothic stylings help sell the idea of a retro-futuristic rocket-car barrelling through city streets; the mishmash of 80s technology and 40s aesthetics gives us carte blanche for a zoot-suited Joker and his tracksuited henchmen to tear up a museum to a Prince soundtrack. It’s a world where Max Shreck, looking like Christopher Walken was electrocuted in a flour factory, can believably run a campaign to get Penguin elected mayor, even after he nearly bites someone’s nose off. It’s crazy but it works.

Believably Corrupt: despite the craziness and unreality, the first Batman at least does have a strong dose of realism running through it. The gangsters may be straight out of the 40s but they’ve adopted the gritty grimness of the intervening decades, with slobby cop Eckhart representing corrupt law enforcement. Basically, despite the surrealism on display, the sense of Gotham as a criminal cesspool is very well realised, and extends to such a high level that the only realistic way to combat any of it is for a sad rich man to dress up as Dracula and drive a rocket-car at a clown.

The Score: I’ve saved this for last because, despite everything, Danny Elfman’s Batman theme is clearly the greatest and strongest legacy of the Burton era. Don’t come at me with your “dinner-dinner-dinner-dinner-Batman” nonsense. Elfman’s Batman score is sublime. Like John Williams’ Superman theme, it’s iconic, it’s distinctive, and as far as I’m concerned it’s what the character should sound like. I have absolutely no time for directors who think you should ever make a Batman film with different music. It’s as intrinsically linked with the character as the Star Wars theme is with, well, Star Wars. It’s perfect and beautiful and the love-love-love the fact that they stuck it in the Animated Series too.

Whelp, there we are. The ten best things about Burton’s two Batman movies. I barely spoke about the subsequent films because, well, they’re both crap. No, seriously, they’re bad films. Even Batman Forever. Don’t start.

#top ten #batman #1989 #tim burton #Michael Keaton #batman returns #comics #movies

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navpike · 5 years

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it’s that time of year yet again folks! time for me to round up the lot of everything i wrote this year and throw it at you all like a proud parent! this year i managed to publish 217,613 words across 22 fics, with an untold number more unpublished (some of which belong to an original novel i started at the beginning of the year, and an autobiography i dipped my toes into as well!) let’s dive in!

(a ** denotes some personal favorites!)

DC FICS:

Time And Again (28303 words) [batfam, bg dickwally, jayroy, superbat]:

Dick Grayson comes to live with Bruce Wayne on a Tuesday afternoon when he’s nine years old. It’s a Tuesday like any other, so Bruce settles the boy in and leaves him in Alfred’s capable hands after dinner and heads out for patrol. Gotham’s underworld does not take a day off, and therefore Batman cannot either. Dick awakes in the middle of the night and Bruce isn’t there. Alfred calms Dick down and sits with him and assures him that Bruce would have been there if he could and Dick believes him. Alfred's words can only maintain that belief for so long. Or, the one where Bruce doesn't tell Dick that he's Batman at first and things spiral out of control until people start communicating like adults.

Gold-Plated (1279 words) [batfam]:

It starts like this. Dick follows Jason into the cave, shouting at his brother’s back, while Jason roughly tugs at the release for his helmet. “I mean, I know you’re not going to stop dealing with all of your problems by shooting at them, but could you at least have the decency to not do that while I’m around? Could you at least pretend you still follow some sort of-” “Shut up!” Jason roars, whipping around to hurl his helmet at Dick’s head.

**Every Fiber of My Being (21376 words) [dickwally, batfam, bg timkon]:

As much as Dick and his siblings have argued, Bruce has never budged on his "Keeping Secrets Policy". There's not a person alive outside of the family that knows the secret identity of any of the Bats. Not even Dick's boyfriend. Dick understands the need for some secrets, knows that keeping their identities safe keeps them and their loved ones safe, but when he takes up the cowl, team dynamics aren't the only things that begin to change.

Tremble, Tremor, Shake (2118 words) [batfam]:

Tim doesn’t answer. He lurches like he’s going to go for the toilet again, but he doesn’t quite make it, instead dry heaving once, twice and then slumping against the wall again. Dick thinks that’s the end of it. He’s wrong. Tim slumps against the wall and immediately starts seizing.

**My Brain Occasionally Malfunctions (2243 words) [batfam]:

Dick was shot in the head. Such a serious injury is not without consequence. In which Dick's gunshot wound causes him to develop epilepsy and Jason has some thoughts on the fact that Dick tried to hide it from them.

Teenagers (1280 words) [dickwally]:

Dick and Wally have just found out that their twins have abilities and Damian's been training the twins behind their backs. Looks like everyone's revealing a secret tonight.

**Sign Your Life Away (23927 words)[timkon, batfam, bg dickwally, batcat, clois]:

The Wayne family is a good one, well known, well off, charitable, likable, politically unaffiliated. So when a treaty with Krypton is hinging on an arranged marriage, the Wayne boys are some of the first they approach. Tim is very, very aware that the name right underneath 'Wayne' on the UN's list is 'Luthor'. He can't allow some poor stranger to be forcibly bound to Luthor for the rest of their lives. So when they ask him, he says yes, before he can stop to think if this is actually a good idea.

MARVEL FICS:

**Project: Light (54526 words) [stucky]:

When Steve and Sam finally track down the Winter Soldier, the last thing they’re expecting is to find Bucky with a girl who’s calling him ‘Dad’. Steve doesn’t quite know how to handle that. The others know how to handle it only marginally better. Or, how to win over children and influence monsters: how Bucky’s surprise daughter helps the Avengers help Bucky find himself again, and how he finds Steve again along the way.

Always So Certain You're Fine (2252 words) [gen]:

They're grieving, sure, but they have a war to win, still, and by some miracle, they do it. Or, the Infinity War fix-it that no one asked for.

Suffer in Silence (6416 words) [thundershield]:

Five times Steve Rogers was in pain, and one time he finally wasn't.

**A Hero, Like Spiderman and Better Hawkeye (4286 words) [gen]:

If pressed to answer how he’d gotten to the top of the Avengers’ list of preferred babysitters/dog watchers, Peter’s not too sure he’d know what to say. In which MJ, Ned and Kate Bishop get roped into helping Peter babysit/dog watch, and things spiral wildly out of hand in a Starbucks.

Unexpecting (1893 words) [thruce, valsif]:

When they find themselves largely alone on Earth, tasked with preserving Asgard’s history and her people and working with Earth’s governments to settle political issues, and it seems like battle in another form, Thor and Brunnhilde find themselves seeking comfort in each other. It is harmless, (mostly) innocent fun, until they find themselves staring down at a little indicator, telling them that Brunnhilde is pregnant. In which Thor, Brunnhilde, Bruce and Sif raise a child together, and grow a little themselves in the process.

**What the Desert Will Let Him (5471 words) [samsteve]:

There’s an itch at the back of Sam's mind, that tells him to stay in DC and he thinks maybe this has something to do with The Voice and why he was thrown ass over tea kettle back into this world when he desperately didn't want to come back. In which Sam dies with his wing-man, but something sends him back to live out the rest of his life, because he's not done. There are people who need him, even if he doesn't know it yet.

**Wake Up Calls (4379 words) [gen, bg stucky]:

Bucky Barnes wakes up in Wakanda, the first time, and the second, and the third and fourth and twenty-eighth and sixty-first... Shuri starts out as an ally, and becomes a friend, and then might as well be his kid sister. Bucky and Shuri's relationship told through a few wake-up calls.

Dead Men Walking (16629 words) [gen]:

They don't always show it, but they've each got their own demons to battle. Peter keeps happening upon these battles. OR a bunch of times that Peter was there for the Avengers in a moment of need, and one time they were all there for him.

LGBTQIA(vengers) (3656 words) [stucky, natpepper]:

Steve Rogers comes out on a Tuesday afternoon. By Wednesday morning, it's hit every major news outlet. Twitter has some opinions, and Pepper Potts is taking no prisoners.

**Impact (6087 words) [winterhawk]:

Clint Barton is not born with wings. He is not a mutant, though he doubts that would have helped his case. He is an ordinary boy, until he, one day, is very suddenly not. Or: the wingfic nobody asked for, in which Clint's wings have brought him nothing but trouble until one day, they suddenly don't.

Perfect Men and Other Crimes (2069 words) [stucky]:

Bucky Barnes knows that he is lucky. He still cannot help but feel decidedly unlucky when he hears the New York Police Department’s new policy on partnering regular cops with enhanced ones. Bucky doesn’t have anything against enhanced individuals. He really doesn’t. But he is still profoundly uncomfortable around people who could snap him like a twig. Detective Steven Grant Rogers is exactly that.

Same Monster (2610 words) [gen, bg thruce]:

After returning to Earth, Bruce goes to visit his cousin when a case brings her to New York City. It doesn't go as planned. Or, the one where Jennifer Walters becomes She-Hulk, Bruce feels guilty, and Thor is a good boyfriend.

HAWAII FIVE-0 FICS

Can't Help DNA (5146 words) [mcdanno]:

The first time that Steve McGarrett and Danny Williams meet, Danny Williams is not holding a weapon. He has his hands in fists and Steve’s skin is singing in that way it does whenever he’s around someone else with the SuperGene. Steve, for his part, is pointing a gun at Danny’s chest and screaming at him which probably isn’t helping the situation, but he’s not going to admit that. He’s shouting, and then Williams is shouting and they eventually get their IDs out without Steve shooting anyone and without Danny’s Gene flaring up. It’s a win in Steve’s book.

Situational Awareness (6461 words) [mcdanno]:

Steve McGarrett has a soulmark from the moment he’s born. He has a mark that his dad covers up when he’s a baby, an ugly black thing in the shape of knuckles splayed across his cheekbone. Danny Williams gets his mark a few months after he’s born. There’s a black smear across the back of his hand and down two fingers and Danny dreams of the day his soulmate will touch him for the first time and set the mark alight with color. Steve McGarrett grows up hating his soulmark, Danny Williams dreams of the day he'll meet his soulmate. Somehow, against all odds, they find each other.

Things Unseen (15206 words) [mcdanno, bg konocat]:

Steve's known almost his whole life that his anchor was going to be one of the Kelly-Kalakaua family, the only ones strong enough to tie him to the Seen when he needed to talk to a spirit. What he did not know was how important a cop from Jersey who doesn't believe in ghosts would end up being. In which Steve and Kono are peak mlm/wlw solidarity, Danny is a wreck, Chin is tired and there are some ghosts.

#fic roundup #marvel #dc #hawaii five 0 #fic #mine

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15 Reasons Why “Batman & Robin” Isn’t the Worst Movie Ever

By any reasonable standard, “Batman & Robin” is not a good movie. Joel Schumacher’s film suffers from a multitude of bizarre choices that pull it in a thousand different directions at once. In 1997, both critics and comic fans savaged the film for being a feature length toy commercial defined by campy performances and an incoherent tone. After two decades of continued mockery, the movie’s reputation has rotted even more, and the film is widely considered one of the worst movies ever made.

RELATED: Digital Justice: 15 DC Comics Video Games You Forgot Existed

With “The Lego Batman Movie” weeks away from release at the time of writing this, it’s a perfect time to revisit the older toy-friendly Batman movie. Now, CBR is taking a look back at 15 reasons why “Batman & Robin” isn’t the worst movie ever. Although the film remains deeply flawed, it’s a fascinating production that reveals some truly redeeming qualities upon closer reexamination.

THE SPIRIT OF “BATMAN ‘66”

In the 1990s, Batman occupied a different place in pop culture than he does today. In the wake of the 1960s’ “Batman” show, the character had been primarily considered a children’s character for decades. By the 1990s, Batman had just started to step out of that show’s shadow thanks to the works of creators like Frank Miller, Paul Dini and Tim Burton. Instead of shunning it, “Batman & Robin” whole-heartedly embraced the legacy of the Adam West era and tried to update it for modern audiences.

While that move backfired spectacularly, lighter takes on the Batman franchise have become more accepted since 1997. In recent years, DC Comics has reclaimed the legacy of the 1960s’ “Batman” with comics like “Batman ‘66” and the animated film “Batman: Return of the Caped Crusaders.” Like “Batman & Robin,” these newer projects are filled with tilted Dutch angles and corny jokes. Although darkness still largely defines the modern Batman franchise, “Batman & Robin” reclaimed a perfectly valid version of the characters years before anything else did.

UMA AND ARNOLD

One of “Batman’s” most notable features was its cast of over-the-top Technicolor villains. “Batman & Robin’s” main antagonists are perfectly logical extensions of that era’s campy foes. Uma Thurman’s Poison Ivy channels Mae West, Julie Newmar and Cruella de Vil in a performance that relishes every bad gardening pun. Since Ivy was created by Robert Kanigher and Sheldon Moldoff in 1966’s “Batman” #181, that era’s aesthetics are a foundational part of her character. Although Ivy never appeared in the old show, Thurman’s Ivy would’ve been right at home facing down Adam West and Burt Ward’s Dynamic Duo.

Arnold Schwarzenegger’s turn as Mr. Freeze is one of the film’s most reviled aspects, but it’s a faithful update of the Mr. Freeze of the 1960s. In his three appearances on “Batman,” Mr. Freeze was portrayed as a heavily-accented, pun-loving villain by George Saunders, Otto Preminger and Eli Wallach. Schwarzenegger’s Freeze has the exact same traits with his TV predecessors. Even as Mr. Freeze tries to freeze Gotham City, Arnold’s good-natured, jokey performance keeps the character from ever becoming truly evil, which enables his redemption by the movie’s end.

HEART OF ICE

While “Batman & Robin’s” Mr. Freeze is largely an extension of his 1960s persona, the film recognizes that “Batman: The Animated Series” added a deeper dimension to the character. In the Emmy Award-winning episode “Heart of Ice,” Paul Dini and Bruce Timm gave Mr. Freeze a tragic origin involving his attempts to cure his terminally ill wife Nora Fries. That’s a compelling motivation for any interpretation of Mr. Freeze, even Schwarzenegger’s neon-blue decathlete.

Schumacher and scriptwriter Akiva Goldsman wisely incorporate Victor Fries’ attempts to cure Nora into “Batman & Robin.” While it doesn’t totally work here, the movie replicates a moving “Heart of Ice” sequence where an imprisoned Mr. Freeze stares longingly at a snow globe that reminds him of Nora. By injecting this pathos into Freeze, the filmmakers make him a sympathetic figure who realistically seems like he would help cure a terminally ill Alfred from the same disease that took his wife.

ALFRED’S STORY

After appearing in two Tim Burton directed Batman movies and Joel Schumacher’s “Batman Forever,” Michael Gough’s Alfred is tasked with carrying a lot of “Batman & Robin’s” emotional heft. While Gough had a fairly distinguished career as an actor, his Alfred was largely a supporting character in his first three Bat-film appearances. In this film, Alfred’s sudden terminal diagnosis becomes the driving force behind Batman’s emotional journey towards accepting his place among his adopted family.

While this subplot doesn’t have the space to cohere into something really substantial, Gough elevates the script with the warmth and tenderness that his Alfred shows Bruce Wayne. Although Christopher Nolan’s “Dark Knight” trilogy doesn’t share much with “Batman & Robin,” this film sets a precedent for foregrounding the Bruce/Alfred relationship. While those later films would explore their dynamic to great effect, this film uses that same familial warmth to fast-track Alicia Silverstone’s Barbara Wilson, Alfred’s niece, into the Bat-family.

BATGIRL’S PRESENCE

Despite its faults, “Batman & Robin” contains the only live-action feature film appearance of Batgirl. Although Yvonne Craig’s Batgirl joined Adam West and Burt Ward’s Dynamic Duo after their big screen adventure, the character’s inclusion here is another nod to the 1960s “Batman” series. In the ’60s series and that era’s comics, Batgirl is secretly Barbara Gordon, the daughter of Commissioner Gordon. Since the elder Gordon hardly has a presence in this movie, Batgirl’s familial relationship to Alfred makes more sense in the context of the film.

Although she doesn’t share a last name with Barbara Gordon, Silverstone’s Barbara Wilson shares her aptitudes for computers and motorcycles. While she doesn’t get much screen time in-costume, the film treats Batgirl as an equal to Batman and Robin and gives her a pivotal role in the film’s climax. While Batgirl seems like a fairly likely candidate to show up in the upcoming “Gotham City Sirens,” “Batman & Robin” remains one of Batgirl’s most visible appearances outside of comics right now.

GOTHAM CITY RACER

In one of the film’s better action sequences, Silverstone’s Barbara and Chris O’Donnell’s Dick Grayson race each other through the streets of Gotham City in an underground motorcycle race. Within the context of the film, the event gives Barbara and Dick a chance to establish a kinship over their shared love of thrill-seeking.

In the race sequence, the film’s various tones coalesce into a stylistic delight. The crowded scenes that set-up the race feature several explicit references to films like “Mad Max” and “A Clockwork Orange,” and even an inexplicable cameo from the rapper Coolio. In a strange but inspired choice, the race plays out like a real-life level of “Mario Kart,” complete with balloons and explosions littering the track. Set against the pulse-pounding beat of Underworld’s minor techno classic “Moaner,” this sequence is legitimately thrilling. While the rest of the film struggles to find the right balance between campy comedy and serious action, this scene finds the perfect tonal blend.

BATMAN & ROBIN: THE ALBUM

While “Batman & Robin” was only a moderate commercial success, the album featuring “music from and inspired by” the movie was a smash hit, filled with an eclectic mix of artists. In 1997, the album produced several chart-making singles across genres. The album’s lead single was the Smashing Pumpkins’ “The End is the Beginning of the End,” a frantic mix of distorted guitars and electronica that won a Grammy in 1998. The compilation also featured R. Kelly’s “Gotham City,” a bizarre ballad that ends with a children’s choir praising Batman’s hometown as an inspirational “city of peace.” In addition to Underworld, the album produced memorable singles from rappers Bone-Thugs-N-Harmony, singer-songwriter Jewel and pop-rockers the Goo Goo Dolls.

Although Elliot Goldenthal’s score never reaches the heights of Danny Elfman’s seminal scores for Tim Burton’s Batman films, insertions of his bombastic theme are subtly woven throughout the film. While this might seem like a minor note, it adds a sliver of cohesion to the film’s tonal inconsistencies.

ROBIN’S ARC

The film’s puzzling plot seems to pull most of its characters in wildly divergent directions amidst changing motivations and shifting alliances. While he’s underserved in this overcrowded feature, Robin’s character arc has a clear trajectory that’s true to his comic roots. After being introduced in “Batman Forever,” O’Donnell’s older Robin expresses the same exasperation with being Batman’s sidekick that fueled Dick Grayson’s evolution into Nightwing in the comics.

While Schumacher’s Robin is called Dick Grayson, his quick temper, endless frustration and recklessness seem to be borrowed from the comics’ second Robin, Jason Todd. “Batman & Robin” is only this Robin’s second adventure, and recasting Grayson’s desire to move beyond the Robin identity as an extension of his Todd-esque immaturity works. Since Robin’s emotional arc encourages him to outgrow those emotions, it conveniently paves the way for a return to the status quo at the film’s conclusion. Instead of flying solo, this Robin reaffirms his status as a more equal partner to Batman and Batgirl.

BATMAN IS BATMAN

When this film was released, George Clooney’s turn as Batman was criticized for making the character supremely arrogant and intensely unlikable. Even though decades of stories have conditioned readers and fans to think otherwise, that’s not an invalid interpretation of the character. In the franchise’s most beloved iterations, Batman remains a regular source of frustration to his closest allies. Since most stories cast Batman as a protagonist, these unlikable failings can be easily glazed over in favor of showing Batman doing something cool.

As 2014’s “The Lego Movie” proved, an unlikable Batman can still star in a compelling story. Given Batman’s fundamentally altruistic mission, the interpersonal flaws enrich the character. While Clooney’s Batman seems uncaring, he spends a great deal of time rescuing civilians and thawing out frozen civilians. While some more recent superhero films have featured wanton destruction and loss of life, Batman repeatedly goes out of his way to save Gotham and protect its citizens from danger. Regardless of any other factors, that concern for the well-being of others cements the validity of Clooney’s Batman.

IVY’S POISONS

Despite Thurman’s delightfully exaggerated performance, Poison Ivy never really comes into her own as a multi-faceted character. Although she plays an increasingly less important role as the plot progresses, the script finds some clever ways to tie her into some of its more outlandish aspects. Before she’s doused with plant chemicals and becomes Ivy, Dr. Pamela Isley is seen doing research cross-breeding animal and plant DNA. While the full extent of this Ivy’s control over plant life is nebulous, these experiments explain how she can facilitate the growth of sentient monster plants so quickly.

Brilliantly, “Batman & Robin” also gives Ivy a role in the creation of Bane. As part of her experimental research, Ivy inadvertently creates the Venom serum. While Bane is reduced from a criminal mastermind to a gurgling plant monster, he is given super-strength from Venom just like his comic counterpart. Even if Bane is used as Ivy’s glorified henchman, the revelation of her involvement in his creation ties the characters together well.

JOHN GLOVER’S JASON WOODRUE

A few years before John Glover started his lengthy tenure as Lionel Luthor on “Smallville,” he played a small but essential role as Jason Woodrue in “Batman & Robin.” In comics, Woodrue, also known as the Floronic Man, has had a fascinating trajectory from a minor plant-based DC villain to a mystical “Swamp Thing” antagonist. While Woodrue is only a human here, he plays the mad scientist who’s in charge of Pamela Isley’s research lab and is responsible for her evolution into Poison Ivy and the creation of Bane.

In a sequence that would be right at home in the “Batman” TV show, Woodrue tries to sell the Venom serum to a group of dictators called the “Un-United Nations.” As the character, Glover seems to channel every B-movie mad scientist cliché there is with extreme gusto. Glover hones in on the maniacal glee at this movie’s core and embodies it perfectly during his brief time on screen.

BATMAN LORE

Even though this overstuffed movie barely has enough room for all of its characters, the film is still filled with a number of allusions to Batman lore. Although “Batman & Robin’s” Bane only has surface connections to the Bane of comics, the character’s inclusion here is still noteworthy. When the movie was released, the character had only been around for four years after his 1993 comic debut. Along with the inclusion of a Nightwing-inspired Robin costume and the “Heart of Ice” references, the film showed a remarkable willingness to engage with that era’s Batman mythology.

The film also includes several nods to older, more obscure Batman lore. Wilfred Pennyworth, Alfred’s rarely seen older brother, earns a mention in the film. When Batman’s recounting Mr. Freeze’s origin through the Bat-Computer, there’s a subtle reference to the villain’s original moniker Mr. Zero. The producers of the 1960s’ “Batman” series changed the character’s name to Mr. Freeze for an episode that involved a diamond robbery. The movie references that specific episode by making diamonds the source behind Freeze’s power suit, ice gun and giant freeze ray.

FLASHES OF BRILLIANCE

Despite the tonal confusion that plagues so much of the film, Schumacher and the production team manage to capture a few striking moments of brilliance from the midst of the film’s madness. In one blink-and-miss-it scene, an extreme close up on Poison Ivy’s toxin-filled lips highlights their neon hue and reframes them in the same way a documentary might showcase a poisonous tropical plant.

While some of “Batman & Robin’s” action scenes are very silly, most of the chase sequences work pretty well. In the middle of a chase with Mr. Freeze’s gang, Batman cuts power to the Redbird, Robin’s motorcycle. As Batman continues pursuit, Robin is left to cry out in agony on the fingertip of a skyscraper-sized statue. O’Donnell lets out a scream that releases years of unseen frustration in one of the movie’s best pieces of acting. Having already seen Robin’s exhilaration during the motorcycle street race, the audience is left to linger on Batman’s cruel indifference to his partner’s wants as the chase continues.

GOTHAM CITY

The Gotham City of Tim Burton’s Batman movies was a dense gothic urban environment, shrouded in perpetual dusk. In “Batman & Robin,” Schumacher’s Gotham, brought to life by production designer Barbara Ling, is filled with neon lights and garish color that seems to expand infinitely upwards. With dense pockets of buildings and elevated roads, the city seems to be built around giant figures that look like giant Renaissance era statues come to life and then trapped in steel.

While these design choices are deeply impractical, they bring a hint of operatic grandness to the fundamentally silly proceedings. The cavernous Batcave seems to reduce everything but the Batmobile into miniature size and the Gotham Observatory sits in the palms of a giant statue that towers over the city’s skyscrapers. Schumaker’s Arkham Asylum twists like a whimsical dungeon pulled from a hallucinogenic-fueled nightmare. Where most modern depictions of Gotham have some basis in reality, “Batman & Robin’s” Gotham boldly highlights the inherent unreality of a world with superheroes.

IT HAD TO HAPPEN

Despite its multitude of flaws, “Batman & Robin” was a necessary growing pain in the development of the superhero movie as a viable genre. The failure of this fascinating experiment killed the idea of campy superheroes on film and made it clear that the next wave superhero movies couldn’t just be live-action Saturday morning cartoons.

In the decades following “Batman & Robin,” filmmakers learned from its mistakes and, from its ashes, created the modern superhero film as we know it. These revelations led to a greater emphasis on the sci-fi elements of the X-Men franchise in the early 2000s. As the general public grew more accepting of superheroes, Sam Raimi’s Spider-Man trilogy and the early Marvel Studios movies found a streamlined story-driven approach to embrace full-fledged superheroics. The failure of a supposedly kid-friendly Batman paved the way for Christopher Nolan’s adult-skewing “Dark Knight” trilogy in the 2000s and Zack Snyder’s even darker take on the character in the 2010s. While “Batman & Robin” remains defined by misguided choices and tonal inconsistency, it’s never dull and hints at the future highs that awaited the resilient Batman franchise.

Stay tuned to CBR for the latest on “The Lego Batman Movie” and the Dark Knight’s continuing adventures! Let us know what your favorite Batman movie is in the comments below!

The post 15 Reasons Why “Batman & Robin” Isn’t the Worst Movie Ever appeared first on CBR.com.

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