I have had a rather unusual view on The Terminator for the longest time. I do consider it James Cameron’s best movie, and the best of this franchise. These are for reasons of pacing and innovative filmmaking. Yet, what I mainly consider this film as is not so much a science fiction movie, but essentially a techno-slasher film. You’ve got a hulking, invincible juggernaut of a killer stalking and hunting down an innocent young woman. That’s a bare bones plot description for both The Terminator and a Friday The 13th sequel. The vibe of the movie is very relentless and evokes a very techno-horror hybrid ideology. Beyond that quirk of perception, I do have many things to praise this film for that I feel James Cameron severely abandoned afterwards.
In the post-apocalyptic future of 2029, SkyNet, a super computer defense system wages a losing war against a human resistance which it is intent on exterminating. In their desperation, the machines send an indestructible cyborg known as The Terminator (Arnold Schwarzenegger) back in time to kill Sarah Connor (Linda Hamilton), the woman whose unborn son will become mankind’s only hope. In hopes of preserving humanity’s future, the human resistance sends soldier Kyle Reese (Michael Biehn) back in time as well to protect Sarah. But does he even stand a chance against the most unstoppable killing machine ever created?
Obviously, The Terminator has been widely praised since its release, and so, there’s not much I have to tell you that hasn’t already been said. Regardless, most of these reviews are about what these films mean to me and the nature of cinema, in general. James Cameron previously worked in the special effects world working on numerous lower budgeted pictures, but after a great deal of hard work and determination he scored his first major directorial job with this film. The budget was tight, but with Arnold Schwarzenegger’s growing star power from the Conan films, there was a lot of credibility and weight put behind this. Still, it wasn’t an easy task getting it made. The restrictions of budget and resources really did work towards the film’s benefit. It forced Cameron to be innovative and a bit of a guerilla filmmaker. It’s a perfect example of better creativity through adversity. As I mentioned in my Aliens review, I think once Cameron got a big budget and a lot of freedom as a filmmaker, he lost that edge and began to indulge in overly long films with far laxer pacing and storytelling techniques. He was still innovative in the technical realm, but not so much in the creative one where tight storytelling was concerned.
What I find to be so intelligent and original with what Cameron did with The Terminator is how he maintained tension and a tight cohesion of the plot. The main exposition in the film is dealt with in the midst of a car chase. The excitement and danger are high, keeping the audience intently invested in every second, and Cameron uses that time for Kyle Reese to impart a great deal of exposition about himself, the T-800, and the future war. In the vast majority of films, the exposition scene is a slow paced, quiet scene that is regularly the most derided scene in the film from the director’s perspective. Cameron changes that all up, and makes it one of the most captivating scenes by melding it with an intense chase sequence. From there, even the slower, character building scenes maintain some degree of urgency or dramatic electricity to never allow the film to lose your interest or attention. If not in the hands of James Cameron’s innovative and visionary filmmaking talent, I could surely see this movie slipping down into a B-grade sci-fi film that you’d see premiere on late night Cinemax. Believe me, those films do exist, and were heavily inspired by this far superior film. Having the right director at the helm can make a severe difference in whether a movie is brilliance or cheap exploitation fare.
This film is expertly shot with strong, sharp focus on every detail and bit of action. The night scenes are definitely gritty creating a dangerous edge and energy that wholly serves the tone and vibe of the picture. It brilliantly reflects the “tech noir” theme of the movie, showing us the dark side of technology. Cameron and his director of photography Adam Greenberg do a marvelous job all around. All of the action is shot with skill, dramatic weight, and great storytelling ability. Just in the way it is shot, The Terminator looks and feels like a 1984 film, and in all the best ways. It might have its rough edges here and there, but they work so excellently towards the energy of the picture. Overall, you can see the great, deliberate insert and close-up shots that establish and enhance the mood and tension of the film. The slow motion sequences are beautifully and masterfully done creating so much tension and dramatic anticipation. The editing of Mark Goldblatt is some of the tightest, most dead-on-the-mark work I’ve ever seen. There’s not an extraneous frame anywhere in the runtime of this movie. Every shot has purpose and cohesion to the kinetic and emotional beats of the story. Action directors of today should go back and watch this movie to see how you competently direct, shoot, and edit an action sequence. The car chases are great, but the entire police station massacre is insanely tense and masterfully shot and edited. It’s a major action set piece of the film, and it could not have been executed any better than it was. Yet, the climax is able to top that with a long series of action sequences from a car chase to the explosions to the final industrial plant confrontations. It continues to hammer home the seemingly indestructible nature of the Terminator as it continues to come back from one fiery explosion after another. It’s a frightening action climax where the monster simply will not die while our heroes continue to suffer more and more injuries hindering their ability to continue running away.
Michael Biehn is absolutely amazing as Kyle Reese. What strikes me first is the weathered, war torn quality of his performance. Reese does seem like a guy who has been through the darkest parts of hell on earth with both the psychological and physical scars to show for it. Biehn also has great physical intensity such as during the initial car chase where Reese is imparting the exposition to Sarah. There’s a depth of urgency, fear, and heart with every word he delivers. It creates someone that’s not just an action centric soldier, but a man with a solid core of humanity. The pain of Kyle Reese is deep seeded, and the trauma and pain that he has endured comes through in the texture of Biehn’s performance. This is a guy who does initially seem like an intimidating threat, almost serial killer like, but that intensity and frayed exterior are molded into a fascinating, sympathetic character that an audience deeply cares for before too long. Biehn’s romantic chemistry with Linda Hamilton is wonderful, and the tenderness that forms between them makes this so much more than just a testosterone fueled action picture. It has a lot of depth that has always been a strength of James Cameron’s films. He always seems to create very dimensional lead characters which enhance the nature of the films they populate. Why Michael Biehn’s acting career didn’t soar to greater heights after this movie is a mystery to me. It certainly did for Hamilton and Schwarzenegger.
It goes without saying that this was one of Arnold’s defining roles. While Conan the Barbarian was a big success, this propelled him into a whole new level of stardom. What he does at The Terminator was instantly iconic with only eighteen lines of dialogue. The deliberate movement and restrained mannerisms he devised for this Terminator create a cold, threatening, dominating screen presence. I have seen other lower grade actors attempt to approximate this sort of robotic performance, but Arnold just had something special. It’s the whole package from his size and build to the choice of punk or leather attire to the calculating way he surveys a scene. You can view a methodical yet relentless intelligence behind everything the Terminator does, and Schwarzenegger just hit it perfectly on the mark. There’s not a moment where you don’t take him as a serious, menacing threat, and after that is all solidly established by him, it carries over seamlessly when the flesh is burnt off and it’s just Stan Winston’s animatronic endoskeleton. While almost everyone seems to love when Arnold does the cheesy action films, I feel his best work is in the more serious roles because it creates a challenge for him. He has to dedicate himself to a far stronger character, and create something that stands out in a dramatic fashion. There are a lot of cheesy action heroes out there, but not many who can pull off the really serious, iconic roles such as Conan, the Terminator, or Dutch in Predator. Arnold can do both equally well, and that’s much of why he’s the action movie legend that he is today.
This film was especially pivotal to Linda Hamilton’s career, and the reasons why are vibrantly evident. While, as Sarah Connor, we see a great deal of panic and fear, it is all mixed in with a genuine sense of humanity. Sarah’s an average woman thrust into an extraordinarily intense and dangerous scenario, but ultimately, we see her inner strength shine through. When you first see her as a lowly waitress, you could never imagine she could come to survive and fight through this frightening, lethal experience with as much resilience as she ultimately displays. Hamilton gives us the full spectrum of emotion in an impressive dimensional performance that also adds in a layer of romanticism. The build up to the love scene between Sarah and Kyle is beautifully touching, and would be able to squeeze tears out of the more emotional audience members. That tenderness and depth of love and passion triggers the greater strength of the film that I mentioned before. It is a love scene that is not there for the sake of skin and titillation, but for the sake of love itself. At the film’s end, you can see the subtle seeds of what we will see Sarah become in Terminator 2: Judgment Day. In this film, Linda Hamilton is absolutely excellent giving us a sympathetic and strong character that stands the test of time.
And I have to mention the excellent performances of Lance Henriksen and the late Paul Winfield. Henriksen has some great humorous dialogue that is just enough off-kilter to be memorable. We’re so used to seeing Henriksen playing rather dark, disturbed characters, and so, it is a wonderful treat seeing him enjoy this upbeat, charismatic character. Winfield was always a stellar, sophisticated acting talent, and while Lieutenant Traxler has his streetwise qualities, he is a compassionate and intelligent commanding officer. He strikes the perfect balance between entertaining, charming character and capable, seasoned cop. Many films like this would paint all the cops as unlikeable fools, somewhat like Dr. Silberman is (appropriately enough), but instead, Cameron maintains his sense of humanity in these characters along with casting superb actors to realistically embody those qualities.
While the animatronics, stop motion, and optical effects work largely appears dated next to today’s sleeker digital effects, especially with the work done in the sequels, I think that gritty, rough edged effects work here benefits the overall style and feel of this movie. The stop motion animation in the climax evokes more of that techno-horror feeling taking the scary skeleton of the haunted house and meshing it with a dark science fiction menace. Stan Winston did an amazing job with all the physical effects further cementing his stature as an effects wizard and master of creature designs. Having clocked in stunning work with the Terminator, Predator, and Alien franchises, his quickly earned legendary status is no surprise. The visual effects were handled by Fantasy II, and for a mid-80s low budget science fiction picture, they did an excellent job. Combined with Cameron’s vibrant vision, they achieved something that really grabbed audiences’ attention at that time, and truly captivated their imagination. The brief future war sequences are stellar. The only thing I ever mark as a negative is the use of rear screen projection, which Cameron would use again in Aliens. It just never looks convincing, especially when compared to good quality blue screen composites. Regardless of that, these were very eye-opening effects in 1984, and they entirely serve the film’s dark, gritty tone.
The synthesizer based score done by Brad Fiedel encapsulates that tense, dark atmosphere of The Terminator. The compositions alone are excellent, and the main theme has become iconic. The use of the metallic percussion reflects the cold, mechanical heart of the Terminator, and gives us a rather chilling, ominous feeling whenever it appears. So many other cues are done with great feel for the intensity of their respective sequences maintaining the weight of the drama and action. Many instances again evoke a high tension horror atmosphere such as whenever the Terminator is seconds away from killing Sarah. The synthesizer sound perfectly fits for a 1984 tech-noir action film as it simply enhances that oppressive technological theme, and is an obvious sign of the times. However, it can get elegant and beautiful during the aforementioned love scene. Fiedel takes that heavy, almost claustrophobic type main theme, and rearranges it into a piano love theme that is sad, touching, and wonderfully gorgeous. While Fiedel would blow it out of the water with his work on Terminator 2: Judgment Day, what he does here is a solid, excellent fit for the kinetic energy and tense danger that is so tightly wrapped in this film while highlighting the depth that the film has to offer.
The Terminator is really amazingly well written. As I said, Cameron is able to raise the concept above the standard action movie fare by injecting dimension and emotional depth into his story and characters. They live and breathe as realistic people that an audience can attach themselves to, and that makes the rather fantastical story gritty, believable, and gripping. The dialogue is honest and real showcasing distinct personalities that leave a lasting impression, and with the stellar casting, it couldn’t be any more pitch perfect. It’s not just those iconic one-liners from Schwarzenegger or Biehn that make it great. It’s every nuanced quality of the characters and depth of the story being told that have made The Terminator a classic. Arnold Schwarzenegger has done movies with far more quotable dialogue, but they do not match the filmmaking quality and intelligence of this one. That is all due to the innovative creativity and artistic talent of James Cameron.
James Cameron had a vibrant vision for this movie, and was intensely driven to realize it on film. While he hasn’t lost vision, I do think he’s lost a number of exciting qualities that made The Terminator so exceptional. He used to be able to tell amazing and captivating stories in innovative and exciting ways. Even if the storytelling rhythm and cohesion became more lax in his subsequent films, we were still treated to things we hadn’t seen before, and were given stories that ignited our imaginations while still touching us deep in our hearts. The Terminator is an excellent example of what made Cameron a fascinating and awesome filmmaker for many years. However, as his budgets got bigger and his ego became overinflated, I just think he stopped caring about the story and characters, and was just more enamored with the evolution of visual effects and filmmaking technology. I would really wonder if someone gave James Cameron a $6.4 million budget today, could he still make a film as well made as this one.
This if my favorite film of the entire Terminator franchise, and I consider it the best film James Cameron has made. This is for the reasons of the tightness of the storytelling where not a scene, moment, or frame is wasted. While even Terminator 2 took the time it needed to tell the story it had to tell, I just love the relentless momentum of this movie. It has its character building scenes wrapped up nicely between and within the action sequences. No part of the film ever drags on. Coupled with all the amazing talents from the actors to the special effects mastery to the cinematography and editing, The Terminator is a lightning strike of stardom and awesomeness. I take nothing away from its 1991 blockbuster sequel, but there is just something so riveting about the lean and smart storytelling in this film that sets it apart for me. It’s that guerilla filmmaker mentality of better creative through adversity and budgetary restraints that sparks my love for The Terminator. Cameron showed the talent he had despite the restrictions of the production, and made a big impact when this hit theatres. Everyone who worked on the film believed strongly in it and Cameron’s ability to make it happen. It’s that ambition and hard working dedication which can set the exceptional filmmakers apart from all the others. This is a film that should be on every action and science fiction film fan’s must-see list. And while it’s not my favorite Schwarzenegger movie, it is one of his best.
In recent months, I started buying comics again, and of course, one of the first I grabbed was Justice League. With DC revamping their full line of books with 52 all new #1 issues, it was a perfect entry point. I was a serious fan of the Justice League and Justice League Unlimited animated series, and while this is not of the same continuity, all of the main voice actors were brought back for this outing. So, that made this animated movie quite special for me. What we have in Justice League: Doom is a very stellar story crafted by some amazing talents as DC Comics’ premiere superhero team battles with more than just villains, but a breach of trust within their own ranks.
Soon after thwarting an attempted robbery by the Royal Flush Gang, the Justice League of America comes under the attack of Vandal Savage’s Legion of Doom. The immortal conqueror has assembled a team of villains to defeat Superman, Batman, Wonder Woman, The Flash, Green Lantern, and the Martian Manhunter. Concerned of the consequences should his fellow crime fighters ever turn their backs on humanity, Batman created a set of methods for which to immobilize Earth’s most powerful superheroes in the event of an emergency. However, Vandal Savage breaches the Batcave’s security and obtains these files allowing for his team of villains to use them for lethal intent. Now, joined by the young hero Cyborg, the JLA must overcome deep feelings of betrayal to defeat the diabolical Legion of Doom before Savage launches a missile that will destroy half the planet allowing for himself to be situated as ruler of all mankind.
While there is a lot of subject matter I will delve into, first and foremost, I want to say that this is a thoroughly enjoyable, fun, and exciting motion picture. It is full of great action, excellent characterizations, and plenty of epic, heroic moments that will inevitable please any adventure-loving viewer. There is plenty of levity throughout to counterweight to more dramatic storyline, and the balance between them is beautifully handled. There is much to examine and highlight with this animated feature.
This was adapted from a 1990s story arc in the JLA comic book titled Tower of Babel, and a few changes were made. The line-up of the team is different which originally included Aquaman and Plastic Man. The roles of Green Lantern and the Flash were originally the relatively newer heroes of Kyle Rayner and Wally West, but are now the more classic Hal Jordan and Barry Allen. Also, Cyborg is only a recent addition to the Justice League of the comics, but he is nicely integrated into this story. His role shows a young hero earning his keep by stepping up in a chaotic situation, and using his unique skills to help resolve it. The main villain was also changed from the endlessly fascinating Ras’ Al Ghul to the less dimensional Vandal Savage. Using Ras’ made more logical sense since he is a Batman villain who has infiltrated the Bat-cave numerous times, and it is established that he knows Bruce Wayne is Batman. Plus, his motives are usually more ideological in nature whereas Vandal Savage is usually just about conquering the world. Still, they are both megalomaniacal in their own ways. However, despite these peculiar changes, the story still works excellently adapting new motives and dynamics to these different characters.
Every superhero is handled with substantial depth and respect. The story allows for an audience to see most of the JLA outside of their superhero personas. You see Barry Allen attending to a crime scene as a police forensic investigator, Clark Kent at a press conference as a reporter, Martian Manhunter in his human guise as a police detective, and Bruce Wayne in his interactions with Alfred. They are brief moments, but enough to show an audience that these people do live lives outside of their costumes. In their lives, there are people who they personally care about, and those that care deeply for them. I did especially like how Alfred was written being the rational voice to Batman’s more obsessive, workaholic mentality. It shows that Alfred is still his keeper, and can exercise authority over him due to a long standing respect. Batman wants to keep working, pushing through the pain and fatigue to resolve this new mystery, but Alfred reminds him that he is human and needs rest and mending. Bruce could override Alfred’s mandate, but he would never disrespect Alfred’s better judgment. The interactions of these characters display a history amongst them. Little quips about how Ace “sucker punched” Superman before, or Hal and Batman talking about who is ahead in saving whose life really creates a long standing trust and camaraderie here. This makes the impact of Batman’s secretive contingency plans a stronger blow because we can see how much they are friends on top of being teammates. What is really great is what Batman reveals as his contingency plan for himself at the end, and it hit me as very telling of Batman’s true nature of trust.
I also enjoyed that the entire League is not unanimously opposed to Batman’s contingency plans. They are all stunned by it, but subtle actions by some of them suggest a more open minded, fair viewpoint. I can entirely see Hal Jordan being for it as, at least in the comics, he went completely insane and killed the Green Lantern Corps when infected by the fear entity Parallax. He’s also seen someone like Sinestro, who was a Green Lantern, betray the Corps and become an enemy as well. So, having counter-measures in place to neutralize a rogue member would be a wise precaution in his eyes. However, most of the League would view this as a betrayal of trust, and no one is entirely wrong. When Tower of Babel was written Batman was being made into an increasingly more paranoid character, and so, while his ideas might have been wise, his secrecy might be arguable. However, Batman never takes time to brood about this, or feel regret over it. He remains strong in his belief that what he did was a necessary precaution, and it’s only Savage’s twisting of their intent that made them potentially objectionable, in his eyes. Being the sole non-super powered member of the team, he has a unique perspective to see how destructive their powers could be if mind control or a psychological break were to turn them to the side of evil.
Of course, the voice cast is excellent! Having the same actors back who I loved in the old DC Animated Universe just added an extra special quality to the film. Kevin Conroy and Tim Daly have been voicing Batman and Superman, respectively, for a long time, and have earned a respectable standing in the annals of these characters. Conroy is the voice of Batman to me, forever and always. He captures every psychological and emotional nuance of the character perfectly, and clearly enjoys voicing the Dark Knight. Daly embodies the moral sensibilities and epic quality of Superman wonderfully. Michael Rosenbaum is clearly a great actor, and he is able to adapt his voice acting nicely from Wally West to Barry Allen. There’s still a playful aspect to his performance, but it’s more restrained, a little more mature now. He clearly made a conscious effort to differentiate the two performances. The only change-up here is the amazing Nathan Fillion as Hal Jordan reprising his role from the Green Lantern animated movies. His performance truly transcends expectations meshing greatly with the animation direction to create strong emotional moments. Fillion offers up great jovial quips, but also, deep emotional resonance for Hal. He creates an interesting and fun character that holds a lot of weight. Lastly, Phil Morris, who portrayed the Martian Manhunter on Smallville, takes on Vandal Savage, and does a thoroughly effective job at it. He gives Savage a nice touch of majesty and culture wrapped in an imposing megalomaniacal package. The remainder of the cast inhabit their characters superbly keeping things strong, vibrant, and powerful throughout, but it doesn’t end with just the voice acting.
I have really enjoyed the animation style of these animated movies. I have seen Superman/Batman: Public Enemies, Superman/Batman: Apocalypse, Justice League: Crisis on Two Earths, and Batman: Under The Red Hood (which I previously reviewed). All of these have had some slightly different character models, but they have all raised the animation standards for this medium. They are nicely detailed giving each character their own unique look, angles, and energy. All of the heroes here seem a little younger than usual, but that’s exactly what DC Comics has done with their new continuity. So, it did not throw me off at all. The motion of the animation is very fluid making for some dynamic and exciting action sequences. Those sequences are also smartly handled by never making them frivolous. The heroes have to work hard for their victories, and each action scene furthers the story along. The Royal Flush Gang tends to be a token, generic band of villains to battle, but here, they are made more formidable. They have cunning, skill, power, and some cohesion. As dialogue suggests, they have eluded the JLA before, and so, everyone steps up their game so to not repeat that loss. The Justice League uses teamwork and smarts to ultimately triumph over them.
Scenes play out with a solid cinematic style aided by an excellent color scheme to bring out vibrancy and mood. These enhance the subversive elements in the story creating a mysterious, foreboding atmosphere. The creative design of locations is very cool. I really loved the waterfall interior setting of the Bat-cave. It offers up a different aesthetic than I’ve seen applied before. I felt it was a little inspired by the one in Batman Begins due to the waterfall entrance in Christopher Nolan’s film. Also, the Hall of Doom was a nice update from the old SuperFriends cartoon. It still has all the classic design elements, but it reflects Vandal Savage’s personality with various pieces of elegant art that depict him only.
The story unfolds in a very tight fashion. Pacing is consistent throughout. As DC is keeping these hovering around the 75 minute mark, there’s hardly time to let the story lag anywhere, but it’s more a fact that there are no extraneous elements present. It’s a very lean, meaty storytelling structure staying right on point with the plot elements and character dynamics. Every plot element that is introduced has a purpose. They all tie back into the story at some point, and grow organically from the conflicts or crises that develop. They really took Tower of Babel as a template, an idea, and built a fresh story around it using a new set of character dynamics and relationships to create Justice League: Doom. That is very smart screenwriting, and that was evidently the standard for the late Dwayne McDuffie. Brilliant stories filled with well rounded, well realized characters and themes. He surely hit every character squarely on the mark in this instance crafting their psychologies and histories around a very intelligent storyline. When the Leaguers are taken down in the second act, there is such an epic and powerful weight given to it all. It’s not handled like “just another villain victory.” These are moments that could claim all of their lives, and it is no easy feat for them to bounce back from it. Beyond just the physical toll, it becomes an emotional and personal injury that they need to overcome to move forward with stopping the Legion of Doom. These moments are given their due time so that their epic weight can come crashing down upon the viewer. It is an amazing sequence that gripped me tightly as it unfolded.
My only down comment is that, at the end, I would’ve preferred a more sound tactical approach in the villains and heroes pairing off. When you have such equal opponents setup here, it would be more logical to change them up. Have Flash take on Cheetah, Batman against Mirror Master, Superman against Bane, or Martian Manhunter battling Star Sapphire. Throw the villains off guard by pitting an opponent against them they are not prepared for instead of each hero battling their common enemy. I can understand the storytelling significance of having each hero take down the villain that defeated them earlier in the story, but this suggested approach also makes sound storytelling sense. The Legion of Doom outsmarted them once. Now, it should be the JLA’s turn to outsmart them instead of just throwing down like they’ve done countless times before with the same enemies. This is especially so since there’s a missile ready to be launched that will destroy half the Earth. No time for personal vendettas. For me, it would’ve been more satisfying if they had taken a smarter approach by changing up the fight dynamics instead of trying to settle scores when the fate of half the world is at stake. However, that is merely my own personal issue, but the climax of the film doesn’t end with a hero-villain fight. The Justice League still has a crisis on their hands that requires each member to give it their all to avert disaster, and that only made for a far more intense and satisfying ending.
This is a very dramatic story that deals squarely with the characters on numerous levels. It raises a very involved issue about trust amongst a group of people with secret identities and super powers. Despite their own personal secrets, they have come to trust each other, but at some point, there must be an objective point of view questioning ‘what if.’ Beyond just the potential of mind control or magic manipulating them, anyone is capable of using their power to do something destructive through emotional or psychological turmoil. When that day comes, someone has to be prepared to deal with it, and Batman surely felt it was his responsibility to prepare for that. Batman, at his best, has always been about doing what’s needed, not what’s popular. The film doesn’t address the complexities of the issue, but it does address how the characters deal with it. That is what’s important, in the long run, and it would truly be intriguing to see a direct follow-up to this story to know how this team moves forward from here.
All of this simply results in an extremely well rounded animated movie. The foundations of its success truly began with Dwayne McDuffie’s immense talent and brilliance as screenwriter. I have not had a wide spread exposure to his work, but from what I have learned of it, Justice League: Doom exemplifies much of what he was admired for. This is written with so much depth and knowledge of the characters that it works as an excellent entry point for anyone into the DC Universe. The loss of all the stories McDuffie still could’ve given fans worldwide is hard to fathom, but it is clear that his talent will be forever missed. However, he left behind a large catalog of work for us all to enjoy at our leisure. So, I would say starting here would be a fine choice. Justice League: Doom has thrilling action, great excitement, rock solid dramatic storytelling, wonderfully fun characters, and is an all around enjoyable watch. It’s an attention grabber from beginning to end, and I know for me, it left me wanting more of this greatness. As I know it does for the great guys at the Raging Bullets DC Comics fan podcast, whose own review helped me fuel mine, this movie makes me long for the return of a Justice League animated series.