#samliu

[adamwatchesmovies]

Wonder Woman: Bloodlines (2019)

Wonder Woman: Bloodlines proves even a so-so Rogues' Gallery can make for interesting characters with good storytelling. While this particular installment in the DC Animated Movie Universe suffers from budgetary restrictions (a growing concern), it’s a step above the 2009 film.

After rescuing Steve Trevor (Jeffrey Donovan) from the waters surrounding Themyscira, Princess Diana (Rosario Dawson) defies her mother and travels to “man’s world” with the Amazon’s divine weapons to protect humanity. While learning the customs of her new home with the help of Dr. Julia Kapatelis (Nia Vardalos), Diana befriends her teenage daughter, Vanessa (Marie Avgeropoulos). Five years later, Vanessa has grown to resent “Wonder Woman” and is transformed into the Silver Swan to aid Doctor Poison (Courtenay Taylor), Giganta (Kimberly Brooks), Cheetah (also Brooks), and Doctor Cyber (Mozhan Marnò) in a plot to attack the Amazon’s home.

Aside from Ares (who’s appeared in many films and television series already) and Dr. Psycho, all of Wonder Woman’s best-known enemies are present. Even relatively recent additions like Veronica Cale (voiced by Constance Zimmer) are incorporated. The most enjoyable aspect of the film is the ways it to incorporate so much into a 79-minute movie. You might scoff at the purple healing ray but it’s eloquently integrated into the plot, as is the invisible jet. This film is a sequel to Justice League War (though some of it takes place before) but it stands on its own and serves as a solid introduction to those who might not know Wonder Woman already.

So many villains mean we have many action scenes, all of which are different. The screenplay by Mairghread Scott manages to make Silver Swan pretty cool (non-threatening name aside). Her relationship with Diana showcases what makes this superhero so unique and beloved. Diana’s hopeful and forgiving - almost to a fault.

There’s plenty to enjoy and the twists/reveals give Bloodlines pretty good re-watch value. This makes the flaws that much more disappointing. The animation has gone far down since 2008's Batman: Gotham Knight, with the artists often struggling to keep Diana’s face on-model. Locations often feel empty, or conveniently framed to hide what would be expensive to show. Sometimes, there are straight-up errors, like Cheetah pulling a weapon from nowhere. Cool as it is, the climax struggles to keep power levels in check. Finally, there is the slight problem of Greek myths being reinterpreted in ways that raise questions. The Minotaur, for example. Part of the story is that the monster was killed… so if the creature shows up, what’s going on?

Despite the blemishes, this is an exciting adventure that showcases what makes Wonder Woman a favorite. The villains are cool, the dynamic between Steve Trevor and Wonder Woman is well executed. Key plot points are subtly hinted at, meaning you get the kind of surprises that make you go “I can’t believe I didn’t see that coming!” There’s one more reason to catch this film. On home video, there’s a great package of special features that include a short film Death, based on the character by Neil Gaiman. The movie's good, the short's even better. (August 27, 2020)

[chibicelina]

You don’t know how happy this makes me. Death from The Endless is my favorite character next to Rogue. I’ve been a fan since I read The Time of Your Life. The High Cost of Living is beautiful too and not are my absolute favorite stories. In the #WonderWoman: Bloodlines animated film there is a DC Showcase featuring Death and all I know is I want more. HEY DC I WANT MORE!!!! Death was created by Neil Gaiman and Mike Dringenberg The animated short was directed by #SamLiu Written by #JMDEMATTEIS Voice work done by #LeonardNam and #JamieChung in the animated short and end credits is art by @jaeleeart #jaelee #beautiful Go and read up as much as you can about Death and check out this animated short. It made me cry❤️ #Death #TheEndless @thedcuniverse @dccomics #animation (at Portland, Oregon) https://www.instagram.com/p/CFoMazPBqPO/?igshid=15x7kbseo98uq

[psychodrive-in]

Today at http://psychodrivein.com Superman: Red Son (2020) Blu-ray Superman: Red Son is a nice addition to the DC Universe Animated Original Movie series that updates and sometimes improves on the original comic. --- Read more of Paul's review at the link in our profile! #superman #supermanredson #jasonisaacs #amyacker #diedrichbader #vanessamarshall #philmorris #paulwilliams #rogercraigsmith #sasharoiz #phillamarr #traviswillingham #samliu #jmdematteis #markmillar #batman #justiceleague #wonderwoman #abetterworld #phantomstranger #peterserafinowicz #dc #dcanimated #dcuniverse https://www.instagram.com/p/B92SLKQH6KS/?igshid=151qxlak4gcm

[ieatmovies]

JUSTICE LEAGUE VS THE FATAL FIVE (2019) Omniprésent mais inégal, Sam Liu continue son parcours avec JUSTICE LEAGUE VS FATAL FIVE, nouvel animé Warner/DC -le 34ème- forcément adapté du comics éponyme: commençant étrangement, l’histoire de cette aventure ne voit en effet que trois des fameux FATAL FIVE débarquer -ça sera comme ça tout le long- du futur pour foutre le bordel. De loin, la storyline peut ressembler au format classique, mais au moins, FATAL FIVE a le mérite de s’arrêter sur des personnages secondaires moins connus, à l’image d’un Mr. Terrific motivé et encore mieux, celui de Jessica Cruz, Green Lantern dépressive et agoraphobe/oclophobe à la fois cible et solution de ses problèmes moraux. Mis à part ça, FATAL FIVE ne brille pas par la qualité de son chara-design, où le physique quasi-caricatural de Superman côtoie une Wonder Woman bizarrement proportionnée, ni par l’originalité de son histoire -excepté ses très rares à-côtés sympathiques- qui perdra les néophytes, voire même les récents initiés au DCU. A réserver aux fans pur et dur du comics, sinon, pourquoi les nomes de Star Boy, Saturn Girl et Tharok ne vous parlent pas? Bref, on ne va pas râler, celles et ceux qui ont lu la version papier y trouveront sûrement leur compte: cela n’empêche pas que ce FATAL FIVE manque clairement d’ambition, long-métrage de commande aux antipodes de l’effervescence procurée par d’autre animés DC bien meilleurs que ce dernier. Il faudrait que Monsieur Liu dispose de plus de temps pour parfaire son travail, car nous, on rêve d’une claque graphique made in DC aussi magistrale que les scénarii d’un FLASHPOINT PARADOX (2013) ou d’un JUSTICE LEAGUE DARK (2017). Comme ces trois pauvres FATAL FIVE, il manque quelque chose au film pour être “complet”... Et on attend encore? JUST ONE MORE /20

[xyberangelzparadise]

Although I am now obsessed with the concept of SamLius and will be including it in all of my fics, y'all will see that Sam had a male friend in college who was literally in like 2 shots and never mentioned again and yall will be like "okay I see. WHORE."

[scifitalk]

Sam Liu

[moviebabble]

Film Review - Justice League vs. The Fatal Five (2019) [Video]

Another solid flick from DC Animation! . . . . . #JusticeLeague #FatalFive #DC #DCAnimation #SamLiu #Animation #Batman #Superman #WonderWoman #Metropolis

With Endgame coming down the pipeline and millions of tickets getting sold at a rate faster than one person can create another curious meme of Ant-Man crawling up Thanos’ ass — to those still waiting in line for their ticket online, I salute you! — the focus is starting to shift towards Marvel, even if Shazam!is coming this weekend. But DC has always had the upper hand when it comes to animation,…

[adamwatchesmovies]

Superman: Red Son (2020)

Superman: Red Son is one of the greatest Superman stories - an impressive feat considering it twists some of the most iconic aspects of the character and turns him into a villain. While the film adaptation may not entirely capture the power of the original work, it makes slight tweaks that in some ways improve the story.

What if Superman was raised in the Soviet Union? Under Joseph Stalin (William Salyers), Superman (Jason Isaacs) is the ultimate agent of propaganda and Communism's firmest supporter. When the United States government tasks Lex Luthor (Diedrich Bader) to develop countermeasures against him, a rivalry that will span decades is formed.

Viewers will benefit greatly from being familiar with the Superman mythos. Lois Lane (Amy Acker), Batman (Roger Craig Smith), Wonder Woman (Vanessa Marshall), Brainiac (Paul Williams), and other familiar faces show up prominently. Recognizing how these alternate universe versions differ from the traditional interpretations gives the story much more impact. We're not merely wondering what Superman might be like if he was raised somewhere else, we're exploring what would happen to the man of steel if he used his powers to rule and battle alien threats. An immortal, invincible ruler who can see and hear everything, from which there is no escape. While Superman is an alien capable of incredible feats, he is also, ultimately, a man, and capable of being corrupted just like us. Lex Luthor is now the hero. Red Son is filled with reversals and re-imaginings of figures and events (both comic book and real-world) that are fun to discover and fill you with just the right amount of unease.

The book's essence is kept intact, with a couple of changes made here and there. Wonder Woman is given a bigger role, as is Louis Lane. On the negative side, there are a couple references to sex that are largely unnecessary. They feel like Warner Bros. Animation desperately trying to convince us that this story is serious, not for kids.

Those who have been following the DC Universe Animated Original Movie series will be disappointed by the quality of the animation. It’s but no better than your standard episode of Justice League Unlimited. While the comic featured terrific artwork, the style used was never integral to its impact, unlike Superman vs. the Elite or Batman: The Killing Joke. The simplified style used here is not a Kryptonite bullet shot at your heart, but it’s still a letdown.

On home video, a short featuring The Phantom Stranger accompanies the main feature. It’s a nice bonus but not on the same level as the one that accompanied Wonder Woman: Bloodlines. Superman: Red Son is one of the better DC Animated films in some time. The action is exciting, the references to historical events and characters are fun to decipher. The characters and plot capture your imagination. It never supplants the original work but makes a great companion piece to it. This is one I’ll excitedly revisit. (On Blu-ray, October 8, 2020)

[ieatmovies]

REIGN OF THE SUPERMEN (2019) L’instoppable Sam Liu ne perd pas de temps pour donner une suite directe au bon mais frustrant THE DEATH OF SUPERMAN (2018), qu’il avait coréalisé avec Jake Castorena: qu’advient-il donc de la Terre, dépourvue du mythique kryptonien, et surtout de Loïs Lane, après la mort brutale de Kal-El? REIGN OF THE SUPERMEN porte bien son nom, avec cette émergence de super-hommes clamant haut et fort “être l’original”, tandis que le cadavre du véritable Superman a mystérieusement disparu: l’approche du long-métrage se veut au départ intimiste, avec la situation de Loïs, seule au monde, qui doute et tente de percer à jour l’identité des super-prétendants; loin d’un grand spectacle -du moins pour le début-, REIGN OF THE SUPERMEN creuse la psycho de ses héros déchus. Quant à la Justice League, elle sera forcément absente du chaos à cause d’un foutu portail interdimensionnel leur tombant en plein sur la tronche: Lex Luthor sera aussi un protagoniste important de l’histoire, le génie chauve étant à la fois machiavélique -la création hybride de Superboy- et presque touchant, se joignant à la célèbre journaliste du Daily Planet  dans sa quête de vérité. Mais passons, car si la narration est plus qu’appréciable, REIGN OF THE SUPERMEN n’accumule qu’un seul défaut: c’est QUOI ces plans fixes horriblement zoomés au point d’en être dégueulasses? Ok, c’est très rare, alors parlons scénar’: nous entrons dans un arc où le récit fait place à une période bénie des fans de Superman, à savoir sa résurrection et son look de retour, badass, barbe de trois jours, costume noir, cheveux jusqu’aux épaules; on ne peut s’empêcher de penser au mort-né SUPERMAN LIVES! (????) de Burton certes, mais là, DC mets des plats titanesques dans les assiettes à dessert, nous gavant de baston fantasmée. Bourrin ou stylé, choisis ton combattant, spectateur. Cyborg-Superman, Superboy, Eradicator ou Steel sont autant d’interprétations -n'est-ce pas là l'essence même d'un comic-book ?- littérales du légendaire Kal-El, violentes, innocentes, maudites ou artificielles: Liu creuse encore plus les personnages, tandis que se tisse la toile d’un grand super-vilain de la firme dont on taira le nom -mais qui s’est annoncé va l’Arrowverse à la télé-, épique et sombre. Animation fluide, dynamisme surboosté, REIGN OF THE SUPERMEN nécessitera au moins le visionnage de THE DEATH OF SUPERMAN pour pleinement s’apprécier, bien que le film se démarque à lui seul tel un THE FLASHPOINT PARADOX (2013), OU PRESQUE, OK, de Jay Oliva. Niveau générosité et grandeur, Liu s’éclate et éclate le mythe du kryptonien-dieu, faisant de lui un Christ super-héroïque rédempteur incroyable de par son évolution personnelle: DC commence l’année 2019 en très grande forme, malgré qu’il faille effacer quelques grossiers crayonnés disgracieux -mais rarement-: excepté ce détail, REIGN OF THE SUPERMEN comblera ceux qui aiment Superman, et l’animation made in Warner Bros. Avec Jerry O’Connell -le Superman de LOÏS AND CLARK (1993-1997) en V.O. pour la voix de Clark Kent, rien que ça mon pote. Ça poutre, et c’est très bien ainsi! SUPERMAN LIVES AGAIN /20

[scifitalk]

Reign Of The Supermen

[officiallykizer]

My colors on SAMs lines. Collab I did with one of the reasons I'm in the animation industry. Warner Bros animation director Sam Liu. Good guy, nice dude and awesome talent. #samliu #legolas #lordoftherings #digitalcoloring

[agrownupgeekgirl]

Daredevil by samliu

[adamwatchesmovies]

Reign of the Supermen (2019)

Reign of the Supermen isn’t as good as its predecessor, The Death of Superman. It does have the benefit of telling a less familiar story, however. For all intents and purposes, this is a direct-to-home-video animated feature receiving the premium treatment for a limited time and if you're intrigued enough to see it, you won't be let down.

Following Superman’s death in the battle against Doomsday, the world is in mourning when suddenly, four new supermen appear. A young clone of Superman (voiced by Cameron Monaghan) championed by Lex Luthor butts heads with the “Eradicator” Superman (Charles Halford). While Lois Lane (Rebecca Romijn) along with “The Man of Steel” (Cress Williams) investigates which of the new applicants is the hero Metropolis deserves, she begins suspecting the Cyborg Superman (Patrick Fabian), is her beloved brought back to life through mechanical reconstruction.

As Lois goes from mourning, to hopeful, to full-on investigative mode, we encounter a number of side characters including Luthor (slimy-sounding Rainn Wilson), the Justice League and key civilians in addition to the four Supermen. The direction is murky at first, as we’re not really trying to figure out anything besides what the deal of all these new heroes are -at least initially - and it’s pretty obvious two of the four capes definitely aren’t Kal-El. We're still kept guessing and even when we’re just following Lois as she interviews “Superboy” or “Steel”, the characters’ abilities and personalities (what we see of them) are interesting enough for you not to mind the detours.

The visuals are on-par with the other DC Animated films. The characters look good - the Cyborg Superman's design may actually be an improvement over the original look. The voice acting is fine, the action satisfying. Since you’re (again, hopefully) watching this in close proximity to the first part, you’re still reeling from Superman’s death and therefore emotionally invested.

The ending is, unfortunately, less than ideal. It’s almost too simple. The picture’s final act is a simple slugfest which pales in comparison to the one in DoS. Partially because it seems too easy and because it turns into yet another “cut off the head and every limb will fall dead” kind of climax. 

You'll pay one ticket's price to see both The Death of Superman and Reign of the Supermen. It’s a good value. You’re experiencing it early, and get the whole story in one neat package (make sure you stick around for the end credit scene) along with other fans. Does the big screen make a huge difference? Not really, as the quality of the animation is that of a home-video release, except in a couple of scenes where it jumps way up. Though this second chapter is the lesser of the two, the experience you get bumps it up. (On the big screen, January 13, 2019)

[whoismistere]

Batgirl and Robin by ~samliu

[ieatmovies]

BATMAN - YEAR ONE (2011)

Le lore de Batman est infini, et DC profite pleinement de cette opportunité pour sortir BATMAN YEAR ONE, qui nous éclaire sur une période-charnière de la timeline du Chevalier Noir: le futur commissaire Jim Gordon débarque à Gotham, pendant que Bruce Wayne revient de son exil et commence à porter la cape. Chapitré par dates-clés, YEAR ONE nous en apprend donc plus sur l'époque où Selina Kyle fuyait les réseaux de prostitution tout en devenant la future Catwoman, et surtout sur les doutes de James Gordon, à l'aube d'être père, flirtant avec l'adultère mais devant prouver sa valeur de flic: survolant cette première année de Batman, le film bien que court -64 minutes générique inclus- de Sam Liu apporte sa pierre à l'édifice. Tout en subtilité et en maturité, YEAR ONE s'attaque à ce second passage à l'âge adulte de Bruce Wayne -qui fête les 18 ans de la mort de ses parents-, lié chronologiquement à Jim Gordon, simple inspecteur en proie au doute loin d'être la charismatique figure du commissaire que l'on connaît. Et ce n'est pas plus mal, YEAR ONE se détachant des bad-guys explosifs de rigueur en ajoutant une touche parfois presque "slice of life" dès que la narration traite du policier moustachu. Semant les graines du mythe, l'animation du film brille de temps en temps par sa fluidité, instaurant les bases d'un univers prêt à entamer une expansion énorme. S'achevant sur le nom du Joker, murmuré par un des protagonistes, YEAR ONE est une fenêtre ouverte sur une partie de la genèse d'un des plus grands super-héros de tous les temps : on apprécie ce traitement honorable et réussi, équilibré, qui fait de ce long-métrage un des animés DC à ne pas negliger dès lors qu'on apprécie l'homme-chauve-souris. Old-school, nostalgique, l'intimisme de YEAR ONE nous prouve que Batman est intemporel, de par les infinies relectures et interprétations que son monde offre. Gotham rules.

YEAR ZERO /20