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Senior Batman vs eternally young Superman

 BATMAN: THE DARK KNIGHT RETURNS Part One/Part Two (/Video/2012 - 2013). Director: Jay Oliva.

Based on Frank Miller's graphic novel The Dark Knight Returns, this two-part animated feature looks at the dark side and older years of Batman/Bruce Wayne. Batman has not appeared in Gotham city for a decade, but the threat of a homicidal gang that calls itself the Mutants, and whose activities are becoming more and more violent, bring him out of retirement. Eventually this brings him into conflict with the Gotham police department, which gets a new female commissioner in part two, and then with Superman in the final sequences. Taking care of the Mutants with blunt brutality, something the police were not able to do, makes the now-senior Batman a hero in the eyes of some Gothamites, and a fascist in others, such as the Joker's nutty psychiatrist, who thinks Batman is the real sociopath and is responsible for villains like the Joker. This is all played out before a backdrop of social and political commentary. A new, very young female Robin named Carrie at first seems like a frivolous character, as she comes out of nowhere and seems to have had absolutely no training, but she grows on you after awhile. There's more than one suggestion that the Joker in this might be gay -- his final confrontation with Batman is in a Tunnel of Love! -- as well as other sexually ambiguous characters, but whether this is to give them added color or is mere LGBT exploitation is debatable. [One villainess has a butch haircut and swastikas painted on her naked, substantial breasts!] Peter Weller makes a fine Batman, with David Selby also notable as Commissioner Gordon, and other voice roles are well cast.The animation is fluid and Oliva's direction is fast-paced and cinematic. This is not your father's Batman.

Verdict: Sometimes thought-provoking, sometimes childish, but it holds the attention. ***.

Watch out for that mouth!

GRABBERS (2012). Director: Jon Wright.

On isolated Erin Island, where nothing much ever happens, Garda [or cop] Lisa Nolan (Ruth Bradley) comes to work temporarily. Ciaran O'Shea (Richard Coyle), who drinks more than he should, is the island officer she is assigned to. Before long they both have their hands full with alien monstrosities of varying sizes -- one is absolutely huge -- who have slimy tentacles the better to snatch you up with and insert you into their toothy maws for dinner. Scientist Adam Smith (Russell Tovey) and the others determine that people who survive attacks by the monsters have a large amount of alcohol in their systems, so the two cops gather up the island residents to the local pub and get everybody drunk to save their lives; liquor is toxic to the hungry creatures. This is a likable, mildly gruesome horror-comedy that is abetted by good actors playing engaging characters; it's scary and funny but ultimately a little too silly for its own good. The FX and photography are top-notch.

Verdict: Not as much fun perhaps nor as inventive as Attack of the Crab Monsters, but it has its moments. **1/2.

The two-headed giant about to have a snack

JACK THE GIANT SLAYER (2012). Director: Bryan Singer.

In the long-ago Kingdom of Cloister, young Jack (Nicholas Hoult) meets the princess Isabelle (Eleanor Tomlinson) about the same time as he acquires some magic beans. The beans sprout huge vines that soar skyward, dragging along both Tom and Isabelle, who discover a land of belligerent, carnivorous giants who hate the human race even as they love the taste of it; the giants' leader has two heads. Roderick (Stanley Tucci of Burlesque) hopes to use the giants to take over Cloister, even as the giants are planning their own attack on the kingdom far below. The climax has many giants plundering the palace as the people try valiantly to fight them off. Jack the Giant Slayer is no classic, but it is an entertaining movie with some spectacular special effects work and impressive scenic design. A highlight is the first, suspenseful appearance of a giant at a stream in the world above. Gruesomeness is more implied than depicted. The actors are more than adequate but take second place to the FX.

Verdict: Not quite magical, but close, due to some talented technicians. ***.

THE REDGRAVES: A Family Epic. Donald Spoto. Crown; 2012.

This is a solid and highly interesting -- and rather depressing -- look at a famous theatrical family. The first -- and most compelling -- half of the book looks at patriarch Michael Redgrave, who fathered three children but whose main passion was for men, and had boyfriends all during his marriage, some of whom could be considered long-time partners. The second half of the book looks more closely at the lives and careers of Redgrave's daughters Vanessa and Lynn, and son, Corin, all of whom became actors. Redgrave's wife, actress Rachel Kempson, eventually took a lover of her own, but he was also attracted to men, and Vanessa's husband, director Tony Richardson, was also homosexual [these men were "bisexual" in the sense they also had relationships with women, if for no other reason than appearances, but their main interest was men]. All of this old-fashioned shame and guilt from closet cases gets wearying after awhile, even if the time period was pre-Stonewall [the advent of modern day Gay Liberation]. The Redgraves does not ignore the careers and achievements of these individuals, however, and also looks into the lives of Nastasha Richardson [Tony and Vanesssa's daughter, who died tragically young] and Jemma Redgrave, another very talented actress. Spoto weaves an excellent tapestry of changing attitudes toward both actors and gays, with a theatrical and film world background providing added atmosphere.

Verdict: Well-done and a very good read. ***1/2.

DEEPLY SUPERFICIAL: NOEL COWARD, MARLENE DIETRICH, AND ME. Michael Menzies. Magnus/Riverdale Avenue; 2012.

Michael Menzies, born in New Zealand, wanted a more fabulous life and convinced himself that he was the [highly unlikely] figurative and literal love child of two celebrities he admired, Noel Coward and Marlene Dietrich. Coming out and moving to London, then New York and Hollywood, he recognized he had no performing talent [although he has had some success as a writer] and took jobs on the fringes of show biz, such as working for film's DeLaurentiis family. Menzies did manage to meet Coward in the early days, but never did catch up with Dietrich, although he tried to model himself on their style and behavior. Frankly, Deeply Superficial, while a quick and basically well-written read, has a somewhat dated quality, as in these days of gay bears and increased knowledge of the diversity of the large gay male community, self-described "queens" who model themselves on divas are just a little passe, however amusing and likable. Most of the biographical notes on the two legends seem cobbled together from many, many bios on Coward and Dietrich, and Menzies admits that if the facts are dull he just elaborates a bit, therefore you have to take what he says about these celebrities with a grain of salt. The best chapter has to do with Menzies' friend who loves the same music as he does and dies of AIDS -- the book is temporarily transformed from a, yes, superficial tome to a trenchant and moving one -- but alas that is only one chapter. Still the book can be read in under an hour and has its fair share of entertaining moments, and his notes on his real parents can be poignant. This is similar to other books that link unknown show biz types to the much more famous, such as Under the Rainbow by John Carlyle.

Verdict: Superficial look at two major stars by an appealing supporting player. **1/2.

Hunnam, Wilde, Bana and Kristofferson

DEADFALL (2012). Director: Stefan Ruzowitzky.

Addison (Eric Bana) and sister Liza (Olivia Wilde) have participated in the robbery of a casino and are on the run during a blizzard. When they decide to split up and meet later, Liza encounters an ex-boxer/jailbird named Jay (Charlie Hunnam), who is also on the run from police. Jay takes Liza home to his parents' place, where Addison shows up to reconnect with Liza -- and finds a whole family of hostages. But will the sheriff's daughter, Hannah (Kate Mara), manage to save the day?  Bana, Wilde, Hunnam and Mara [House of Cards] all give very good performances in this and there's an interesting supporting cast, with Treat Williams as the sheriff, and Kris Kristofferson [Blade] and Sissy Spacek [Carrie] as Jay's parents. The movie has a kind of old-fashioned script with abrupt character reversals but also a certain degree of suspense. Bana makes a dynamic lead.

Verdict: Passable crime drama. **1/2.

HOLLYWOOD ENIGMA: DANA ANDREWS. Carl Rollyson. University Press of Mississippi; 2012.

While perhaps not in the top tier of movie stars, Dana Andrews did have a long, successful career and starred in a great many movies, the most famous of which is probably Laura. Due to what Rollyson describes as a "minimalist" acting style, Andrews could at times be unfairly seen as a Great Stone Face, although some of his performances belie that impression; he got his characters' feelings across with less showy effects. Andrews' big problem was alcoholism, which began to affect his life and his work as the years went by, until he got on the wagon and went public with his affliction in a public service TV spot against drunk driving -- certainly an act of courage. Andrews was no great fan of the phony Hollywood lifestyle, and avoided such rockbound Republicans as Wayne and Heston. Written with the cooperation of Andrews' family -- much of the info on his early life comes from a series of letters, perhaps related in a little too much detail -- the negative elements of his life are mentioned if downplayed. Basically this is a solid look at the actor's life and times. Some of Andrews' most memorable films and performances include Boomerang, Beyond a Reasonable Doubt, and an episode of the TV series Checkmate. 

Verdict: Compelling bio of an interesting man and performer. ***1/2.  

THE HOUSE OF REDGRAVE: The Lives of a Theatrical Dynasty. Tim Adler. London: Aurum Press; 2012.

Despite the title, this book is essentially a biography of the late Tony Richardson, the British film director who was married to Vanessa Redgrave and was the father of the late Natasha Richardson, who died when she was married to actor Liam Neeson (The Other Man). Apparently the book's publisher thought that Richardson's name wouldn't sell a book, so this was re-imagined as a book on all of the Redgraves, which it isn't, even though there are sections on Vanesssa, her brother Colin, and her daughters late in the book; most of the text covers the life and career of Tony Richardson (The Loneliness of the Long Distance Runner; Tom Jones), who brought a stark reality to British theater and cinema that had been missing before. Adler looks at the nutty brother and sister duo of Vanessa and Colin (the latter of whom is largely unknown in the U.S.), both of whom devoted more attention to radical politics than to their own children. Lynn Redgrave, despite a highly successful career, gets short shrift except for passages on her discovering that her husband was the actual father of her grandchild and the resulting scandal, and her death from cancer. Richardson is portrayed as a gifted narcissist who could be both generous and loved, nasty and hated, and was decidedly confused and uptight about his sexuality. Adler doesn't seem that comfortable or up-to-date when writing about Redgrave's and Tony Richardson's homosexuality, and some passages might be considered borderline homophobic and decidedly dated. However, the book is a good read and generally well-done if you're looking for a tome on Richardson and his circle. For a book that's actually about Michael Redgrave and his family, see Donald Spoto's The Redgraves: A Family Epic.

Verdict: Quick and entertaining read, albeit flawed. ***.

Tom Cruise and Rosamund Pike

JACK REACHER (2012). Writer/director: Christopher McQuarrie.

When a military man is arrested for shooting five civilians, he insists that his lawyer, Helen (Rosamund Pike of Wrath of the Titans) -- the daughter of the district attorney -- get in touch with an investigator named Jack Reacher (Tom Cruise). Reacher is at first convinced of the man's guilt but the more he digs -- and once he is warned off the case and even attacked -- the more he realizes that there's more to the story than meets the eye. Five people were murdered but was just one of them the true target? And will Reacher survive to find out the truth? Jack Reacher is a credible suspense film, although the motivations of some of the characters and the reasons for their conspiracy are never fully explained. Werner Herzog, Robert Duvall, Alexia Fast, among others, offer good supporting performances, and Cruise [Mission: Impossible] gives his customary satisfactory "action star" turn. Although he has hardly any dialogue, the very intense Jai Courtney as a sinister bad guy almost manages to steal the movie away from Cruise with little effort. McQuarrie keeps things moving at a brisk pace and the film is very well photographed by Caleb Deschamel.

Verdict: Absorbing if imperfect thriller. ***.