Pjtaylor-96-138044 'Batman: The Dark Knight Returns, Part II (2013)' acts more as a sequel to the first film, rather than a straight continuation, but still recreates Frank Miller's acclaimed graphic novel with a striking accuracy, in terms of tone, story and style. The piece follows a similar formula as its predecessor, presenting its bleak world with a brutal and brooding Batman operating on the fringes of the law. It focuses even more on the morality of vigilantism and the consequences it has on society, especially in a city as vulnerable as Gotham, while also exploring the idea that the Dark Knight creates the very evils he seeks to destroy. There are some interesting ideas explored here. The underlying themes are mature and nuanced, woven into the world at every opportunity. These also manifest themselves in the unexpected, often counter-intuitive but ultimately fascinating ways in which certain comic-book characters appear. Again, the handling of the source-material, including the wider Batman universe, is deft and demonstrative of a deeper understanding of the lore. All of this plays into the darker narrative presented, which very much plays into fears of the past that might soon become fears of the present. This isn't due to some prophetic ability, though, it is simply due to Miller's own widely known sensibilities, which seep into the piece in some less subtle ways such as a couple of 'on-the-nose' nipple-tassels. This time, the presented 'universe' isn't quite as cohesive, either. There are some elements that stand-out as being somewhat outlandish compared to the world established in the prior film and, indeed, at the start of this one (possible superpowers notwithstanding). It's in these moments, which aren't ever explained, that the otherwise incredible immersion is broken. Not that this is a major issue, but it is distracting and the plot leans fairly heavily on these elements. As does it on a structure that means it peaks about half-way through. This leads to a feeling that it's fairly unfocused, too, because the story doesn't head in its natural direction - not immediately or for its natural reason, at least - after this peak. Still, the events are always entertaining and there is a consistent, even somewhat surprising, level of emotional attachment to the characters, even those to the side. There is a constant level of excitement in the action sequences and some satisfaction in the blunt brutality of their conclusions, too. The movie picks the pace up again with a great, action-packed finale and ends on a down-played but fitting final beat. On the whole, I wouldn't say it's necessarily better than the first part, though it is difficult to rank them as they feel quite different. It certainly stands alongside it and is a fitting film for such an iconic character, one that serves him better than many of the live-action attempts. 7/10

Robert McElwaine Having just defeated the Mutant Leader; and acquiring Carrie Kelley as the latest version of his sidekick Robin; Bruce Wayne/Batman learns that he now must contend with the inexorable return of his most infamous nemesis; the Joker. Meanwhile fervently hostile political relations between the USA and Soviet Russia, force the President of Western nation to exploit the formidable powers of Superman; who who's actions inextricably will lead to a stand-off between he and the Dark Knight; while Gotham City descends in to anarchy.Commencing with the second half, and with his presence being teasingly hinted at within the first; there is the inexorable inclusion of the once camply referred to; Clown prince of crime; The Joker who's vocals are brought to life by Michael Emerson of TV's; Lost and Person of Interest fame. His presence undeniably runs the risk of feeling contrived but this was Frank Miller's story were are talking about here and his figurative resurrection from a comatose state his beautifully realized. That first moment you hear his first few syllables which herald the beginning of the second act; you can't hep but feel goosebumps. His personal story with he being incarcerated in a mental facility for undisclosed period of time in a dormant state and his reemergence are masterfully executed. The incorporation of his therapist; the naively idealistic Dr. Bartholomew Wolper (an ever reliable Michael McKean) also adds something to the overarching narrative. My one reservation with Emerson's portrayal is while he vocally has a chilling resonance; the iconic laugh just lacks the high pitched maniacal oomph that Mark Hamill definitely rendered. Never the less; his return although brief but it's impact is no less worse for it and serves to shine a light on the jaded nature of Bruce Wayne's former idealism.Entering in to the fray; having the torch being passed to her by her successor James Gordon, is new Commissioner Ellen Yindel (Maria Cannais-Barrera) who represents a bold new generation of Gotham law enforcement. Steadfast in her convictions in regards to the law; she has a contradictory code of ethics to her predecessor who she never the less has a underlining respect for as he does for her. It would be easy to portray her as a partial villain of the piece, and while undoubtedly a thorn in Batman's side; her motives are anything if not pure.Finally there is the final stage of the film, which while his arc of the story plays out in parallel with the previous ongoing action; the slightly uneven and shaky relationship between Clarke Kent/Superman comes inevitably to ahead. Once a symbol of hope, he has become something of the antithesis of everything he is supposed to stand for as he has essentially become a weapon of the United Stated government, answering to; President Ronald Reagan (remember that the graphic novel was published back in 1986). Truth, Justice and the American way have become glorified buzzwords to enshroud politically dubious intentions. The ultimate battle of two ideological; who are diametrically opposed another layer to the depth and complexity of the overall narrative.As a closing chapter this as with it's opening is an appropriately dark and gritty conclusion to this animated adaptation which would have deserved a theatrical release. It is however, as I have hitherto affirmed is not in it's overall entirety, as neither was the graphic novel. With the superhero/comic-book genre a healthy amount of suspension of disbelief is required, although this in my personal view asks a tad too much in terms of Bruce Wayne's waning virility; while there could have been an in-depth struggle with his reconciling in enlisting a new youthful sidekick with the brutal death of Jason Todd. All in all this is fundamentally an absorbing and richly composite tale that although not officially canon; would make for supplementary addition to the Batman saga. It's vocal performances are for the most part exemplary and it's animation inspired, as it strikingly captures the dark, brooding aesthetic of Gotham City. In short; it's required viewing for any Batman aficionado

leplatypus It's funny that i can draw parallel with my review for « Mad love » that i didn't praise even if it's also similar to the comics. So i was afraid for this one and it's a surprise that i like it and i wonder why ? my first explanation is the quality of the source : « DKI » is a cult comics among the best ever because Frank Miller has really understand the character, his universe and like « Watchmen », he writes for adults putting super heroes in perspective with the society, political power. This story of an old batman is totally riveting and watching it on a screen helps me discover things that i haven't seen so far : 1) with a girl for Robin, Bruce can be more warmly 2) the 4 parts can be tied : 1 & 3 is about old enemy having rehabilitation with the help of a shrink ; 2 & 4 is about a powerful leader who has to bite the dust ! 3) Miller has guessed all the terror attacks : Gotham twin towers exploding, killing an audience having fun, chaos after a bombing,… Another great thing in this adaptation is that all the memorable moments of the comics are still there. I expected the censorship to cut a lot but there wasn't a single : the fascist babe, Joker burning skulls, the TV shows, the soviet attacks, … After all this praise, now the few disappointments : first of all, the only thing that get cut is Batman's voice-over : it's a pity as it showed that he was nearly suicidal and surely sadistic ! Next, the animation is really good and looks likes the art of Miller/Janson with a reminiscent of « Akira » but the animators lack skills in scale, perspective : the room are too big for the characters, etc… and for sure, the biggest flaw is the colors ! Varley was talented and in my opinion, « DKI » is black, gray, blue… Here the colors are yellow and the mood totally changes ! When you see the opening race, you have indeed the tone for all the movie, too luminous and too bright ! That's why when Gotham flinches at the end, we don't have the feeling of the total panic the comics told us about ! If they can change their tones for « DKII », so i'm sure it will be then a incredible hit !

Thomas Drufke In preparation for the upcoming Batman V Superman film, I've decided to revisit a few of each of the heroes' feature films, especially those where they come in direct conflict with one another.With the first part of The Dark Knight Returns being as good as it is, it almost seems unfathomable to think it could be topped by part 2, but for the most part, it is. Part 2 is even more packed than part 1 with more prominent roles given to Joker, Commissioner Yindel, Oliver Queen, and of course, Superman. It's a fast paced and brutally graphic take on the Dark Knight's last stand in a Gotham City that is just about at the brink of decimation.Batman and Robin's plan to turn the mutant followers into "sons of Batman" was working quite well and Batman seemed to have the upper- hand on the city, that is until Joker came out of a little retirement of his own. Michael Emerson's voice performance as the incredibly creepy Joker works very well alongside Peter Weller's Batman, especially in the tunnel of love sequence. Joker's killing of over 200 people at the talk show was terrifying, but there's something about the entirety of the tunnel of love scene that really stood out even more to me. Murdering people after murdering people and forcing Batman into a no win situation seemed to be the best possible way to conclude these two guys arcs after so many years tearing each other apart.Same goes for the way they handle the Superman and Batman material. Yes, Superman does seem a lot like a boy scout for the president, but the reasons given seemed to make sense. I bought into the fact that that's what Superman would do after global tragedies and during a nuclear crisis. Which brings up the one complaint I have about this film, the nuclear crisis and inclusion of the Corto Maltese side arc. An hour and 15 minutes for each of these two parts is fitting, but I hardly believe the inclusion of a global crisis was needed for a Batman story. Everything else in this Frank Miller story, is absolutely brilliant.Seeing Batman result to beating the crap out of cops and Superman virtually killing for the government in war was an interesting and ground breaking way to tell the story. It opened the door for comic books to become something more than just guilty pleasure readings and into something that can appeal and apply to people of all ages. Christopher Drake's incredible score once again kicks in at the right moments including the legendary Batman/Superman fight. The whole film is fast paced, but the last 30 minutes is some of the best direction I have ever seen in an animated film to date. The first time I saw the film I didn't know what to expect in the end and every left turn made was just as shockingly amazing as the last. The Dark Knight Returns Part 2 is quite simply one of the greatest superhero films of all time.+Epic scope+Batman/Superman fight & dynamic+Score+Last 30 minutes+Oliver Queen's inclusion+Brutally graphic-Corto Maltese side arc with nuclear crisis wasn't entirely necessary10/10