Jay Reviews "The Hobbit: The Battle of the Five Armies"

Jay here.

This is a tough one to write. It's tough because I have a deep affection for The Lord of the Rings trilogy and I won't out-and-out say the latest and last installment in Peter Jackson's Hobbit trilogy is a bad movie. There is plenty to point at and say that is well done. But there is also plenty to criticize. Some of these criticisms are centered on just this movie, The Battle of the Five Armies. Some of them are faults that have carried over from the previous two films, An Unexpected Journey and The Desolation of Smaug, and can be attributed to the entire series of prequels. But first let's dive into the plot of this "Defining Chapter" . . . .

This third movie begins moments after the second one ended. Smaug, the evil fire-breathing dragon, has been roused from his slumber by Bilbo Baggins (Martin Freeman), Thorin Oakenshield (Richard Armitage) and the remaining company of dwarves that had set out to reclaim their ancient kingdom from the vile lizard's clutches. Smaug swoops down from the sky and begins to burn the city of Laketown. 

Smaug is the greatest achievement to come out of this prequel series. He is awesome to behold and Bendict Cumberbatch's voice work is perfect for the character. Unfortunately, for Peter Jackson, he is laid low by Bard's (Luke Evans) black arrow before the title of the film even graces the screen. I would argue that the prologue that details Smaug and Bard's standoff is the only part of the movie that resonates in any real cathartic way. Almost everything else from then on for 2+ hours feels . . . hollow.

Smaug the Dragon lays waste to Laketown.

 

After defeating the fire-breathing drake, Bard leads the survivors of Laketown to the gates of Erebor where Thorin and his party of dwarves have taken up residence. Wanting the share of the treasure that the newly crowned king promised them in the previous film, they are joined by the wood elves led by Thandruil (Lee Pace). Thorin has changed, though, now consumed by the very greed for gold that infected Smaug and his grandfather, Thror, so many years ago. He refuses to share the wealth of the Mountain with anyone, even though he gave his word. This stubbornness brings about the major conflict of the movie as legions of Men, Elves, Orcs, Dwarves and Eagles collide in the fields at the foot of the Lonely Mountain.

So why did The Battle of the Five Armies not work for me? First, the title says it all - the majority of this movie is one long battle. Most of the story and character development you already got in the previous pictures. This one is not interested in a lot of plot, just mostly action. It's a conflict that is so dependent on CGI created images it feels soulless. Remember how you felt after watching George Lucas's Star Wars prequels? Well, in many ways watching Peter Jackson's Hobbit Trilogy makes me feel the same way. When he made the original Lord of the Rings trilogy, Jackson approached it like he was making an old-school historical epic. Sure there was plenty of computer generated images in those movies as well, but they were well balanced with practical effects that gave the films a real-world feel. It's been documented that after taking years of his life to develop and deliver the original trilogy that the famous New Zealand director promised himself that he would never attempt such an undertaking again. It took him to the brink of exhaustion and took a serious toll on his health. When approaching the making of The Hobbit he decided to hand the reigns over to Mexican filmmaker, Guillermo del Toro (Hellboy, Pans Labyrinth, Pacific Rim). 

Unfortunately, a prolonged battle over the rights to Tolkien's classic novel led to massive delays and del Toro had to abandon the project in order to pursue his own projects. Looking back now I think this might have been the turning point for the Hobbit movies. Like most people I barely batted an eye when I heard Peter Jackson was going to swoop in and save the day, directing The Hobbit. It made sense, didn't it? The man who was behind one of the greatest series of movies of all time was going to return to re-create his vision in the author's first novel about Middle Earth. Then it was revealed that the approximately 300 page book would be split into three films. This made me pause. How is it possible to spread out that little bit of material over three 2+ hour movies? The answer is, you create a lot of extra stuff and make up new characters to fill the time.

In one of many examples of a scene in the movie that does not happen the book, Galadriel (Cate Blanchett) comes to the aid of Gandalf the Grey (Ian McKellen).

 

The Hobbit, as a novel, is tonically very different from The Lord of the Rings. Author J.R.R. Tolkien intended it to be a story geared towards children. As a book it reads way more whimsical than his later trilogy. A hobbit named Bilbo Baggins joins the company of 13 dwarves and a wizard named Gandalf in order to help them retrieve their lost home and treasure from the clutches of the evil dragon, Smaug. It's a simple story with very defined steps that lead to its conclusion. Jackson's biggest mistake in my eyes was to try and connect these three Hobbit films in style and tone to his early series. I can't help but feel the Guillermo del Toro's take would have suited the book more. He could have brought the childlike point-of-view that was necessary to be true to the original work. He also would have insisted on more practical effects. It looks to me that Jackson didn't want to invest the time and effort it would have taken to scout locations and create the makeup, costumes, etc. on the scale of what he had done before. He opted to digitize a very large percentage of these films. I mean, we don't even get an Orc that is a man in full costume in these movies. Is it too much to ask to have a practical Orc? Like George Lucas before him I am sad to admit that Jackson fell prey to the ease of digital effects on a massive scale. And this third film is the worst example of this over-reliance on CGI.

The Battle of the Five Armies, as imagined by J.R.R. Tolkien is a very brief moment at the climax of The Hobbit that is stretched to fill an entire 2+ hour movie.

 

Don't get me wrong, I feel that the Hobbit trilogy is a superior series of movies when compared to the Star Wars prequels. The performances are better, the character development is better, and the effects are obviously better. But I feel there were opportunities missed to make a great movie and these were mostly encountered early on in the process. This third movie suffers the most from these choices. By the time the climactic showdown between Thorin and Azog takes place I felt disconnected. Richard Armitage is great as Thorin. It's too bad that he has to face off against a villain as flat as Azog. All of the qualities that made Gollum such a dynamic CGI character are absent in the albino Orc. He looked more fake to me in this third installment than in the previous two. Maybe the work on him was rushed here, but it took me out of the moment. At times I felt like I was watching a video game with great graphics instead of an epic movie.

Azog the Defiler rallies his forces for battle.

 

Let's talk about the good, though. I've already mentioned Smaug and how great he was realized on the screen. The performances (those coming from actual actors) are solid with Martin Freeman and Armitage leading the pack. The early scene with Elrond (Hugo Weaving), Galadriel (Cate Blanchett) and Saruman (Christopher Lee) saving Gandalf (Ian McKellen) from the clutches of Sauron was also entertaining, even though it is far removed from the actual plot of the original book. Seeing Saruman let loose and kick ass was pretty awesome and Galadriel's confrontation with the Dark Lord was pretty cool.

Ultimately, The Battle of the Five Armies is a mixed bag at best. It has moments that are really great but these are few and far between. It suffers from being a bloated, overly-stuffed epic trying to compensate for the limited amount of source material that had to be spread over three pictures. It is my least favorite of the three Hobbit movies and I'm sad to say ends Jackson's run of Middle Earth films on a somewhat flat note. 

Matt & Jay's Favorite TV Shows of 2014

Jay here.

Matt's and my next list explores the best that the small screen has to offer. More and more, television is beginning to eclipse what feature films are able to accomplish. Their serialized format allows more freedom and time to establish and develop characters that more multi-layered and complex. Matt and I approached this list after contemplating what are the best shows on TV as of 2014. Some of these shows are new, some are not. Some of them have not necessarily finished their current seasons, but they represent what we feel is the pinnacle of what the medium has to offer. Enjoy . . . .


Jay's Picks

 

Game of Thrones (HBO)

The 4th season of HBO's fantasy mega-hit took us into what fans of the books already knew was fertile plot territory. There were even more deaths of both beloved and hated characters. This was always going to be Peter Dinklage's season to shine, though, as Tyrion Lannister had the best overall arc of the show. The little man found himself falsely jailed by his father and sister, having to us his infamous wits to try and negotiate a way out of a seemingly insurmountable mess. The scenes of him on trial, trading barbs with his dad, Tywin (Charles Dance), are some of the very best the show has ever had. Game of Thrones continues to elevate what a television show can be with its astounding production value and careful juggling of multiple characters, all with different agendas and motivations. Next season will be a real test for the showrunners, David Benioff and D.B. Weiss, as they catch up to the story being told in George R.R. Martin's bestselling novels. They are heading full speed into uncharted waters, but so far they have crafted one of the greatest TV shows of all-time.

Last Week Tonight With John Oliver (HBO)

I think we should all pause and thank Jon Stewart for making the decision to venture into filmmaking when he decided to make Rosewater, because without him leaving The Daily Show to pursue his dream, we wouldn't have gotten to see how brilliant John Oliver is as a host. The rest is recent history, as Oliver left The Daily Show to helm his own show for HBO. It started off a little shaky for the first few episodes, as it was clear Oliver and his writers were trying to figure out what kind of show they wanted to be. Once they got it all figured out, though, there was no looking back as Last Week Tonight became consistently the funniest show on television. Oliver's approach was to not only comment on the biggest current events dominating the mainstream media, but also to focus on news that was not getting the attention deserved. Weather it be riffing on the hilarity of Space Sex Geckos, or giving us an inside look at the Supreme Court with the Justices replaced by dogs, or giving us an epic montage of almost every television personality getting blasted by a salmon cannon, this show had me in tears laughing almost every time it came on.

Hannibal (NBC)

Bryan Fuller's demented take on Thomas Harris's iconic characters has been one of the biggest surprises on television. The second season found Will Graham (Hugh Dancy), imprisoned for the vicious murders that were actually committed by his psychiatrist and friend, Dr. Hannibal Lecter (Mads Mikkelsen). As Graham's tries desperately to convince everyone of Hannibal's guilt, he becomes more and more unbalanced. Meanwhile, everyone's favorite serial killer/cannibal continues to fool everyone. Everything culminates in a season finale that was so thrilling and shocking that I'm still counting the days until Season 3's premiere. I've written before, in a previous column here, why this show is so fantastic. Despite taking violence and gore to levels never before seen on network television, Hannibal is a strangely beautiful show. Scenes are composed so artistically that you feel like you are watching an art-house thriller, not a Friday night crime drama on NBC.

The Affair (Showtime)

I'll be honest, this was a show I had little interest in and only watched due to the interest of my girlfriend. We let the episodes stack up in the DVR as I successfully was able to avoid watching it for weeks and weeks. Finally, I sat and watched the first episode with her and from then on there was turning back. There is so much more to The Affair than the marketing would lead you to believe, that's for sure. The show tells the story of Noah (The Wire's Dominic West) and Alison (Ruth Wilson), two married people who meet and have an affair one summer in the beach community of Montauk, NY. Each episode is broken into two halves as the two lovers share their story with a local detective who is interrogating them about a mysterious murder whose victim is not revealed at the start of the show. The first part tells everything from Noah's perspective and the second from Alison's. You'll notice immediately that even though you are watching a repeat of the same events there are differences in the telling depending on whose point-of-view you are witnessing. Characters behave differently, events are skewed and some things that happened before never actually happen at all. The closest comparison I can find is Japanese filmmaker, Akira Kurasawa's 1950 masterpiece, Rashomon, a film that employs the same narrative technique to cause the audience to question what is true and what is not. It works brilliantly as what starts off as a passionate affair turns darker and more sinister as secrets are removed, layer by layer. West and Wilson are fantastic in the show as well, as they bring a certain nuance to their portrayal of characters that change as perspective changes. Don't hesitate to check this one out.

American Horror Story (FX)

As it ended its 3rd season, Coven, and headed into its 4th titled, Freak Show, FX's cult hit send-up of archetypal horror tropes has established itself as one of the very best hours on television. If you don't scare easily, that is. Tapping into the very fabric of the genre, showrunners, Ryan Murphy and Brad  Falchuk, have created an anthology series that uses a rotating cast of the same performers (Jessica Lange, Sarah Paulson, Evan Peters and Lily Rabe, just to name a few) to tell a separate distinct story each season. First it was the family that moved into the haunted house, second the Asylum that mixed a serial killer slasher with possession and aliens. Next, the show's 3rd season would be its peak so far as it explored a coven of witches in New Orleans. Coven elevated what Murphy and Falchuk had created. It confronted themes like racial tensions in the South and feminine empowerment through a gripping and often shockingly scary plotline. It deserved all of the accolades it received. Now well into its 4th season, AHS continues to play with tride-and-true, classic horror stereotypes that have been rehashed countless times over. It just manages to find new ways to play with the form and do it better.

True Detective (HBO)

Nic Pizzolatto's crime drama had a lot going for it from the get-go. First, the entire season's 8 episodes were directed by the same person, Cary Fukunaga. This leant a consistency to the overall tone, form and mood of the show that made it feel more like a feature film in segments. Just witness the great single-take tracking shot in episode 4. You'll know it when it happens. Second, the casting of Woody Harrelson and Matthew McConaughey was inspired. They play homicide detectives, Marty Hart and Rust Cohle, estranged partners who lives become entwined during their 17-year pursuit of serial killer. Like Hannibal, this is a show that relies heavily on disturbing imagery, artfully shot. Taking place in the rural parts of Louisiana, the landscape is as much a character as Cohle or Hart. You can almost feel the humid heat of the Louisiana air. The story itself, though somewhat cliché now, is made more interesting by the dynamic between the two detectives and their rapport. While the killer and the murders he commits are compelling this show was more about these two men and their tumultuous relationship. True Detective was the best show of the year. As it heads into a second season which will feature an entirely new cast and new, unconnected story, it will be interesting see if it can sustain the same level of sophistication and solid writing that this inaugural one did.


Matt's Picks

Arrow (The CW)

Based on the DC Comics character Oliver Queen and his crimefighting alias, The Green Arrow, The CW has taken a character already previously brought to life on the TV screen in their hit series Smallville, and gives our favorite emerald archer the darker origin story only those of us who read the comic know. The story follows billionaire spoiled rich-boy Oliver Queen (Stephen Amell), who is on the family yacht with his father and girlfriend Sara Lance (Caity Lotz) when it sinks and he is stranded on a seemingly deserted island. When he returns -- alone -- after five years, and his loved ones (his mother, sister, and girlfriend) all find out he is not dead, their happiness soon turns to questions, wondering what happened to him while on the island. The series almost plays out like ABC's Lost, shifting between the present day with Oliver back in his city and home, and the flashbacks to his time on the island. Currently in its third season, Arrow is, in my opinion, the best comic book show adaptation on TV right now. The writers and production staff at ABC's Marvel's Agents of S.H.I.E.L.D. could definitely learn a thing or two about how to best utilize a universe full of legendary characters; S.H.I.E.L.D. has some of the best characters ever created in comics, but rather than using them -- even subtly -- they, for some reason, come up with minor villains no one cares about (even though, now, they are getting better). However, with Arrow and its spinoff, The Flash (another well done show this year), the writers and producers are dipping well into the DC universe, bringing to life some of the memorable heroes and villains fans love (Deathstroke, Arsenal, Shado, Deadshot, Huntress, Merlyn, Count Vertigo, Brother Blood, Dollmaker, Black Canary, Bronze Tiger, Amanda Waller, Nyssa al Ghul, Clock King, Cupid, Captain Boomerang, and Ra's al Ghul have so far all made appearances). Plus, the moral ambiguities found in the comic version are spectacularly brought to the screen, making the show feel more serious than what most would expect from a comic book adaptation.

The Goldbergs (ABC)

At first, critics rushed to compare this nostalgic-trip-down-memory-lane-of-the-1980s to the amazing, incomparable series, The Wonder Years (truly one of the best TV shows ever made)! While Wonder Years -- which ran from 1988 to 1993 -- actually took place from 1968 to 1973, Goldbergs does not take place in a specific year insomuch as it does the overall decade of the '80s. In the series, Adam Goldberg (Sean Giambrone) is a geeky 11-year-old youngest child living in "1980-something" with his family: his grumpy father Murray (Jeff Garlin); his overprotective, overbearing (s)mother, Beverly (Wendi McLendon-Covey); his older sister, geek-turned-popular girl, Erica (Hayley Orrantia); his big brother, the desperate-to-be-popular, thinks-he-knows-it-all Barry (Troy Gentile); and his loving lothario grandfather, Pops (George Segal). The show follows Adam as he tries to brave the pitfalls of life with his loud family and making his way through junior high -- overcoming obstacles such as girls, gym class, and getting through each day with as little humiliation as possible. One of the best things about this show is how it is appealing to both kids and adults, even though the storylines are more adult-oriented; but kids can watch too (which is saying a lot nowadays as most sitcoms on primetime TV have too much sexual innuendo). And for any adult now who was a kid, growing up in the 1980s, watching this series is a must! Because of the show's unidentified year, the '80s references are open for interpretation. For instance, there can be an episode featuring referencing When Harry Met Sally ... (on VHS tape!), but, a few episodes later, the main story deals with going to see E.T. when it was first released in theaters -- an impossibility seeing how the VHS of When Harry Met Sally was released in late 1989, and E.T. first premiered in theaters in 1982 and was later re-released in 1985. No matter! Sean Giambrone has great comedic timing for a younger actor and he plays off well with his entire family. While I knew Goldbergs could not come close to Wonder Years and thought it awfully pretentious of anyone to compare it to such an all-around great TV show, nevertheless, I tried the show when it first premiered and it didn't grab me. But, at the behest of my wife, I tried it again, and, myself being a child of the 1980s, I found myself loving the 1980s references and all-around feel; I also feel a sympatico with the protagonist Adam (Giambrone) -- I too was the dorky little movie fanatic! The fads. The styles. The music. The pop culture. The movies (watch the episode about the video store and you can definitely relate!). It's all in there. While the show is no Wonder Years, it does have an older Adam narrator, played by pop culture geek icon and comedian Patton Oswalt, and the stories are appropriate for a younger audience -- something all too rare nowadays, even on primetime channels and broadcasts. Also, I love that at the end of the show the creator -- the real Adam Goldberg (creator of the show) -- shows actual video footage he took in the 1980s, often showing the real characters shown in the night's episode.

Orphan Black (BBC America)

I came to viewing this series late in its run: after the entire second season had aired. So for the few days I had to myself (due to the birth of my niece), I binged on the first two seasons and ever since, I've become addicted to this show! I can't wait for the third season in 2015! Lead actress Tatiana Maslany is an acting-force-to-be-reckoned-with as she takes on the roles of five clones -- all with distinctive personalities! The main protagonist of the series is Sarah Manning (Maslany), a troubled young woman who returns to her hometown city (the show is filmed in Toronto, Canada) to get back her young daughter and start a new life together with stolen money from her drug dealer ex-boyfriend. However, she sees a woman who looks identical to herself commit suicide by walking in front of a moving train, and so, Sarah steals her identity with the hopes of gaining some additional cash. What comes with stealing the dead woman's identity is a journey down the "rabbithole," discovering a conspiracy in which she is a part of a genetic cloning program, meaning she has several clones of herself -- albeit, all with different personalities -- all throughout North America and Europe. With the help of her foster brother, Felix, and two of her clones (Alison and Cosima), Manning attempts to keep her daughter safe as well as get to the bottom of who cloned her and why. The best thing about the series is watching Manning's attempts to getting to the bottom of who's truly after her and her daughter, and figuring out why. Plus, the clones have their own story lines as well. The show has so many twists and turns that it is difficult to figure out who is on Manning's side and who is the enemy. You may think you know how things are going but then the slightest event triggers consequences you didn't think of. That's what makes a great show. And it's the writing, acting and direction which make this, hands down, one of the best TV shows right now.

Sherlock (BBC One)

This one is tough to call a series because there are only three (3) episodes in one season (and that season was in the month of January) ... but each episode is 1 hour, 45 minutes long! And, as much as FOX's Gotham (which came very close to making my list) and The CW's The Flash are impressing me this year, they still can't hold a candle to BBC's Sherlock! Starring Benedict Cumberbatch as Sherlock Holmes and Martin Freeman as Dr. John Watson, Sherlock takes the classic stories of Sir Arthur Conan Doyle's famous literary sleuth and modernizes them, placing them in contemporary London, with all of the classic characters also represented (i.e., Mycroft, Lestrade, Moriarty, Mrs. Hudson, and Irene Adler). In the third season, Sherlock reveals to Dr. Watson that he is indeed alive after his disastrous confrontation with Moriarty (a brilliant Andrew Scott) in the cliffhanger second season finale, and because of the time length of each episode, there is time for Watson's anger and resentment to be shown, all while having to solve a new case. The season also sees Dr. Watson getting married to Mary Morstan (Freeman's real-life partner Amanda Abbington), a visit to Holmes' parents' house for Christmas, and the introduction of a new cunning antagonist, Charles Augustus Magnussen (Lars Mikkelsen). While each episode is the equivalent of watching a movie, they are so worth it. And in a time when mindless television (particularly reality TV) rule the primetime networks, it's refreshing to watch Sherlock, which demands thought and evokes emotion all in one!

The Walking Dead (AMC)

If you don't watch The Walking Dead because "zombies aren't really my thing," then I feel so sorry for you! You're missing one of the best TV shows ever! The fact that major awards organizations -- such as the Emmys or Golden Globes -- don't give this stellar show its much-deserved win(s) prove that awards shows are b.s. Sure, TWD has gruesome deaths -- and special effects -- involving zombies -- or, as they're called on the show, walkers -- and the show's first couple of seasons did focus on the walkers and how the few humans left alive could survive them. However, now, in the middle of the show's fifth season, the focus is on our favorite group of survivors -- lead by Rick Grimes (Andrew Lincoln) -- as they try to survive the other humans with whom they come into contact. From cannibals (yes, cannibals!) to a priest with horrible secrets to a dictator-like policewoman, there's plenty of seemingly innocent "others" out there who have a very different agenda from that of the main group. Each time I've watched an episode of TWD lately (the past two years), sure, there's some gory moments, but I've been so damned impressed by the writing, acting, and overall production of each episode. Season four's episodes "After" and "Still" are some of the finest writing and acting I've seen, while the season four episode "The Grove" is one of the most unshakably disturbing. As for the current season, "Four Walls and a Roof" and "Coda" are so well done and some of the most intense television, they're unlike anything I've seen anywhere else on TV this season. And the season premiere "No Sanctuary" is badass defined for one of my favorite characters! Although I will never forgive the writers of this show for what happened to one of my other most favorite characters in the mid-season finale, I will still brave on as this show is simply too good not to! When it comes to the entire production and emotions of a TV series, The Walking Dead proves its brilliance! 

Matt & Jay's Favorite Albums of 2014

Jay here.

We're getting closer and closer to the end of 2014 and it's time for the first retrospective list. This one looks at some of Matt's and my favorite albums of the year. To be honest, in my mind, overall, it was kind of a disappointing year for music. But there were a few gems out there we wanted to share. Obviously, we can't hear everything out there, but this list represents that music which we truly loved this past year.

Jay's Picks

"Morning Phase" 

Beck

It's been six years since Beck's last album and he returns here with "Morning Phase," a collection of songs that feel softer and more melancholy when compared with much of his previous work. It really is the perfect record to put on early in the morning when you have that first cup of coffee. It just sets the right mood. Ironic when you think of its title. I find it difficult to not compare it to Pink Floyd's earlier work -- more trippy and psychedelic in tone. Think "Echoes," "Meddle," or even parts of "Dark Side of the Moon." It's a totally different Beck than I'm used to hearing and I was surprised that I've come to like it as much as I have. It's an album that sings of new beginnings after a period of heartache and despair. Sad, hopeful and whimsical all at the same time. 

Favorite Track - "Turn Away"

"Ryan Adams" 

Ryan Adams

Ryan Adams has been doing this for a long time and I feel he finally found the balance between his alt-country ballads and pure rock 'n roll jams in this -- his self-titled album. It's his best since 2000's "Heartbreaker," though that record remains my personal favorite of his discography. It opens with a great pace-setter in "Gimmie Something Good," one of the best Track 1's of the year. It's a simple, yet effective rock song that gets things started strong. I feel this is Ryan Adams' most accessible work of his career. It is mainstream without losing any of his customary alternative feel.

Favorite Track - "My Wrecking Ball"

"Are We There" 

 Sharon Van Etten

New Jersey born singer/songwriter Sharon Van Etten's fourth full-length album was one of my favorite surprises that I discovered this year. I had never heard of her before but her music is soulful and if you give it a chance it will touch something deep inside you, half-remembered and full of longing. I would compare her music somewhat to that of Alison Sudol of A Fine Frenzy, especially her first record, "One Cell in the Sea," but it's more edgier and not as folksy. Van Etten's voice barrels through all eleven songs, most of which are obviously inspired by heartache and lost love. It's a confident record, one certainly created by a woman who has been through the ringer when it comes to turbulent relationships.

Favorite Track -"You're Love is Killing Me"

"Sukierae"

Tweedy

Wilco front man Jeff Tweedy delivers his best album in years and, surprise, surprise, its not with the band that made him famous, but with his 18-year-old son, Spencer. First conceived as a solo project, Tweedy brought in his son to play drums and help flesh out the songs. The result is a fantastic record that feels fresh and fun at times, and more serious in others. With this amount of songs, "Sukierae" is really a double album, and as you listen, it becomes obvious that this is work that is meant to be listened to as a whole. It has pretty obvious breaks in it where the tone and theme of the music changes. It's refreshing to know there are still musicians out there making records that are meant to consumed in their entirety. In the age of hit singles, iTunes and Spotify, this album gives me a little hope.

Favorite Track - "Low Key"

"Lost in the Dream"

The War on Drugs

This is my favorite album of 2014. I knew it was special as soon as I heard the first track, "Under the Pressure." Adam Granduciel formed this Philadelphia-based indie rock band back in 2005 and this is their third studio effort. Again, this is another group that I had never heard of before. Granduciel's vocals immediately bring to mind vintage Bob Dylan or even Tom Petty. You can't avoid the comparisons. The music itself, though, is wholly unique. Complicated arrangements, with sparse lyrics and dynamic melodies. I read that Granduciel conceived this album after a lengthy hiatus from the studio where he battled depression. It further proves the old cliché that often an artist has to suffer for what will be their greatest work. Like most of my other choices for this list, "Lost in the Dream" sets a certain mood. It lives in the netherworld between higher velocity anthem rock and softer, more introspective songs. Put it on at night before falling asleep and you will be transported . . . .

Favorite Track - "An Ocean In Between the Waves"

Matt's Picks

As Jay pointed out, it has been a very disappointing year in music ... and each year seems to be getting worse and worse as the single becomes the ever-important success for most musicians. This is all due to the workings of iTunes, which any music lover can buy a single song, without having to buy the entire album. Because of this aspect, musicians -- and their record companies -- don't worry about an entire album being a success, but, rather, just a few singles.  Nevertheless, I was able to find 10 albums which impressed me in 2014. And here they are ... in alphabetical order:



"Strange Desire"

Bleachers

From the opening track, "Wild Heart," one may think they're listening to a soundtrack from one of their favorite John Hughes 80s teen films. But the album "Strange Desire" is the band Bleachers' debut album. Using synth pop rock, some rollicking guitar riffs and catchy choruses, Bleachers has put out an entire album worth listening either in your car on a night out or in the privacy of your own home, breaking out some of the (in)famous 80s dance moves ... especially with the frenetic "I Wanna Get Better" and the percussion-riddled "Like a River Runs." But there is also a bit slower tempo mood to this album -- such as the track "Take Me Away," featuring Vancouver singer Grimes, and the closing track "Who I Want You to Love." So, while Bleachers has all the sounds of an Orchestral Manoeuvres in the Dark (O.M.D.), Yaz (a.k.a. Yazoo), or 80s Echo & The Bunnymen, the band has the better songwriting to entice any 80s alternative music fan or someone looking for something new in an age of same-sounding rock-pop or dance pop.

Favorite Track - "Wild Heart"

"Favorite Waitress"

The Felice Brothers

When The Felice Brothers' self-titled fifth album -- and first major release -- was released in 2008, I named it one of the best of the year. Even though the band has released four albums since, they haven't come as close to a hit as they have with "Favorite Waitress." But don't go thinking this is some "Felice Brothers Part 2." This album has more jingle-jangle slower tempo songs than their self-titled album, even though lead singer Ian Felice still sounds like Bob Dylan but, this time, sounding more like his legendary album with The Band. "Favorite Waitress" sounds like music to get drunk to, but it's worth a listen any time of the day.

Favorite Track - "Cherry Licorice"



"Get Hurt"

The Gaslight Anthem

New Jersey's own The Gaslight Anthem has had a hit-or-miss career so far. Their debut album, "Sink or Swim," was more punk-rock and failed to get the attention they -- and the album -- so richly deserved at the time. Then came their sophomore album, "The '59 Sound," which proved there was no slump to be found. I consider "The '59 Sound" to be one of the best albums of all time! Then came "American Slang," which promised to be a more hard-sounding album -- in the vein of The Clash. While I did place that album on the 2010 Top Albums list, it barely made the cut ... with a majority of forgettable tracks. Then came 2012's amazing "Handwritten" album, which returned their sound to the likes of their hit album "The '59 Sound." This year, the band first released an album of their B-sides, which was good enough to hold off fans until their latest release, "Get Hurt." Although not as catchy as "Handwritten," "Get Hurt" captures more of the poignant, bittersweet emotions found in those previous albums and fills this whole album with them. And while the band still slightly channels sounds of Bruce Springsteen, they also touch upon sounds of Pearl Jam (especially in the second track "1,000 Years") and Alice in Chains (on the opening track "Stay Vicious"). For a band that tries out so many different influencing sounds, they never fail to disappoint.

Favorite Track - "Get Hurt"



"Twist is the New Twerk"

Postmodern Jukebox

Classically-trained jazz and classical musician Scott Bradlee decided to take contemporary songs by artists such as Pitbull ("Timber"), Miley Cyrus ("We Can't Stop"), Robin Thicke ("Blurred Lines"), Carly Rae Jepsen ("Call Me Maybe"), Lana Del Rey ("Young and Beautiful"), and Guns n' Roses ("Sweet Child O' Mine") -- just to name a few -- and adapt them into jazz, blues, doo wop, and ragtime standards. I love 'em all! Especially the 60s girl group adaptation of Ellie Goulding's "Burn," which is featured on the album "Clubbin' With Grandpa." Bradlee has had quite a year, releasing four albums -- three regular albums and one Christmas album. Of course, it doesn't hurt that Bradlee and his talented posse of musicians (which have featured guest appearances by Dave Koz, Morgan James, American Idol's Casey Abrams, and Marie Digby) have utilized social media to their advantage, recording and releasing a new song almost every other week. You don't have to like any of the songs or their original artists to fall in love with these songs. That is Bradlee's success.

Favorite Track - "Timber" and "Burn"



"Historical Misappropriation"

Postmodern Jukebox

Bradlee's third release, "Historical Misappropriation," had more favorites for me as opposed to the second release ("Clubbin' With Grandpa"). The song choices -- and their adaptations -- were all well done ... with remakes of songs by Britney Spears ("Womanizer"), Sam Smith ("Stay With Me"), Cyndi Lauper ("Girls Just Wanna Have Fun"), Radiohead ("Creep"), Meghan Trainor ("All About That Bass"), and Bon Jovi ("Livin' On A Prayer"). Postmodern Jukebox may not be for everyone, but, in an age of same-sounding pop, rock and rap, they're a welcome extravagance.

Favorite Track - "All About That Bass"



"They Want My Soul"

Spoon

Out of all the albums I've heard released this year, I was most surprised by how much I liked this one. I've only really ever heard one Spoon song, which I love: "The Underdog" (off their 2007 album "Ga Ga Ga Ga Ga"). "They Want My Soul" sounds like The Black Keys and sometimes early rockin' David Bowie (although, "New York Kiss" sounds like Elvis Costello!) -- with Spoon showing some noteworthy guitar riffs. While I was not impressed with The Black Keys' 2014 release ("Turn Blue"), Spoon put out one good album. Every song leads into the next quite nicely and it's nice to have a nice rock n' roll album to listen to in one sitting.

Favorite Track - "Rent I Pay"

 

"High Hopes"

Bruce Springsteen

This shouldn't be a surprise to anyone who truly knows me. I'm a major Springsteen fan and it goes without saying that there's a major possibility of his albums making my top list of the year. While "High Hopes," in my opinion, is not the best contemporary Springsteen album (that goes to 2007's "Magic" and 2012's "Wrecking Ball"), it still has a lot of previously unreleased material and some real hidden, underrated gems -- such as the studio version of the previously released live song "American Skin (41 Shots)" (which is originally based on the 1999 police shooting death of Amadou Diallo, but has even more meaning now with the recent mass media coverage of police shootings), "Just Like Fire Would," "Hunter of Invisible Game" and "The Wall." Plus, the album is bookended by covers of under-the-radar songs, such as "High Hopes" (originally performed by The Havalinas) and "Dream Baby Dream" (originally performed by Suicide). Then there's my personal favorite on here -- "Frankie Fell in Love," which, if you listen to the lyrics, has so much going on and it all flows together with the music so seemingly effortlessly, it reminds me of his early songwriting. Springsteen proves with each release that he does have a certain sound but he can take that sound and make the songs something unique. While not as good as "Magic" or "Wrecking Ball," "High Hopes" betters "Working on a Dream." Add that along with his previous reissue of his first seven albums, remastered, and he's having one hell of a year!

Favorite Track - "Frankie Fell in Love"



"Rudderless Original Motion Picture Soundtrack"

Various Artists

Definitely one of the best films of the year! And the soundtrack follows suit. Featuring both the orchestral score by Eef Barzelay and the songs performed by the band Rudderless (Billy Crudup, Anton Yelchin, Ben Kweller, and Ryan Dean), this soundtrack has songs better than most anything found on the radio nowadays. My only complaint is that the songs aren't a bit longer but they work nicely. I prefer the band songs to the score, but the music -- as a whole -- is great! I can't recommend the soundtrack, or the movie, enough. If you're not into instrumental music, just download the band songs. Trust me. You'll be happy you did.

Favorite Track - "Stay With You"

"Everything Will Be Alright in the End"

Weezer

When I listen to Weezer, I instantly think of the mid-1990s because that was when the band first hit the music scene, and I remember how integral they were to my high school experience. I have to admit that I'm not a big fan of "The Sweater Song," but I loved their other hits and their sound just correlates to that time. Most critics and haters pan the group for sounding the same. And while a majority of the group's songs do have that quality, all I can ask is: Who cares? If you're a band who has a trademark sound and you produce great songs which that sound good and fun, then what does it really matter in the long run? I've heard bands in which I've loved a particular sound and then they tried something different and fell flat ... several times! Weezer returns to the alternative rock which made them famous with albums "The Blue Album" and "Pinkerton" (one of the best albums ever!). In this album, former The Cars frontman Ric Ocasek produces some great songs with guitar riffs heavily reminiscent of Queen's Brian May -- particularly in the track "I've Had it Up to Here." Other songs such as "Ain't Got Nobody," "Eulogy for a Rock Band," "Da Vinci," and "Cleopatra" are also impressive and will perk up the ears of any 90s Weezer fan. 

Favorite Track - "Foolish Father"

"rose ave."

You + Me

I just heard this folk-country-pop duo -- consisting of singer-songwriter Pink (a.k.a. Alecia Moore) and Canadian rocker Dallas Green (a.k.a. City and Colour) -- as they performed live recently on a cable music channel. And to say I was impressed is an understatement. Sure, some may think this is the same idea as actress Zooey Deschanel's and M. Ward's group She & Him, but the style of music couldn't be more different! You + Me are completely grassroots-folk-bordering-on-the-very-slightest-bit-of-contemporary-country. And you don't have to like country music in the slightest to enjoy this album -- especially since the sound is 99% folk ballad. The album's sound is very intimate and, at times, melancholy; the pairing of Pink's beautiful voice and Green's melodic voice work very well together. The album sounds like two best friends whose love transcends romantic love, just getting together one day and having a marathon jam session. I've always loved Pink -- especially her voice -- and she shines here! Plus, the discovery of Green makes me want to rush out and hear what he's all about. My favorite song on here is "Open Door," a song which hit me like a sledgehammer with its poignancy and reflection of close relationships and how they affect us. "rose ave." is one of the best surprises of the year!

Favorite Track - "Open Door"

The Best Hand-Drawn Animated Films of All Time

Jay here.

Matt and I present you with what we both feel are the best traditionally animated films. After my previous column I became nostalgic for the simpler times of classically hand-drawn movies. This list represents a nice variety of the pinnacle of the genre.

Jay's Picks

The Little Mermaid (1989)

Directed by Ron Clements and John Musker

This is the movie that resurrected Disney's animation department, which had been spending most of the 80's churning out forgettable pictures like The Black Cauldron (1985), The Great Mouse Detective (1986) and Oliver & Company (1988). The primary force behind its creation was producer Jeffery Katzenberg, who would go on to lead the studio into a renaissance throughout the 90's, which included the release of modern-day classics like Beauty and the Beast (1991), Aladdin (1992) and The Lion King (1994). He would leave Disney to start DreamWorks with Steven Spielberg and David Geffen, but his work during this period would be what he is remembered for the most. It may be met with criticism but I've always felt The Little Mermaid was the best film of this period. Adapting from the classic Hans Christian Anderson story (they avoided the original's sad ending where the mermaid dies), the movie tells the story of Ariel, a mermaid princess and her desire to become part of the human world. She makes a deal with the evil sea witch, Ursula (one of the very best Disney villains of all-time), and gives up her voice in order to gain legs so that she may meet the man of her dreams, Prince Eric. A lot of success should be attributed to the brilliant songwriting of Howard Ashman and Alan Menken. They brought a musical theater element back into the Disney wheelhouse. Songs like "Part of Your World," "Under the Sea," and "Kiss the Girl" are showstoppers. The mold they created with this movie would serve as the template for most of the films that would follow.

The Iron Giant (1999)

Directed by Brad Bird

By the late 1990's, with the huge success of Pixar's Toy Story just a few years earlier, Hollywood had officially jumped onto the computer animated film bandwagon with both feet. The cost and time that was needed to be spent on classically animating hand-drawn features had already signaled the death of this medium. Studios would no longer invest money into these ventures and instead these traditional methods would be reserved for more independent or niche animators, mostly from foreign studios. Hayao Miyazaki and Sylvain Chomet (The Triplets of Belleville, The Illusionist) would be the most notable of these. But, in 1999, Brad Bird (The Incredibles) would give us The Iron Giant, a movie that has attained its own beloved cult following for not only being a last swan song of sorts for classically animated movies, but also a smart and thoughtful exploration of the Cold War era. Young Hogarth Hughes discovers and befriends an alien robot, stranded on earth. The robot is a dangerous weapon, obviously created for widespread destruction, but the boy teaches him compassion and how he can change the violent nature that lies within him. The film is full of the atomic paranoia of the time as the U.S. government sends an FBI agent to find the robot and eventually the military gets involved. Everything culminates in an emotionally powerful ending that rivals the catharsis of many Oscar winning live-action movies. The Iron Giant is a beautifully animated film and Bird's direction is flawless.

Spirited Away (2001)

Directed by Hayao Miyazaki

Like a Japanese version of Alice in Wonderland, master animator, Hayao Miyazaki's masterpiece, Spirited Away, is a strange, whimsical trip down a different kind of rabbit hole. Little Chihiro is moving to a new town with her parents when they take a wrong turn and happen upon an abandoned amusement park. Unfortunately for them, it's actually a bath house for the spirit gods, and when her parents are transformed into pigs after eating the gods' food, she must beg for a job there in order to save them. The witch who runs the bathhouse, Yubaba, holds sway over Chihiro and all of the workers there, and she gives the young girl a job in exchange for her name. Now called Sen, our little heroine turns to the only one who can help her -- a mysterious boy named Haku, who has a secret of his own. It was tough singling out just one Miyazaki film for my list as there are so many great ones to choose from, each a work of genius in their own right. I honestly could have made this top five just be all movies made by him, but that would be a little ridiculous. My Neighbor Totoro, Princess Mononoke, and Howl's Moving Castle are all so unique and gorgeous works of art with stories that resonate with both children and adults. But Spirited Away is his most accomplished work. It won him an Academy Award for Best Animated Film, beating out the much more commercially successful DreamWorks movie, Shrek. Miyazaki remains one of the titans of animation and I would argue is as important as Walt Disney himself to the genre. Despite Matt's assertion that it is "too weird and freaky," Spirited Away is one the very best animated pictures . . . . ever.

The Secret of NIMH (1982)

Directed by Don Bluth

I think I've made my thoughts pretty clear on this movie in my previous column here. Read it to get all my thoughts on why it is so good. During a time when animated features were not seen as money-makers for the studios, The Secret of NIMH was a long shot. While it flopped at the box office, it found its audience on TV and VHS. It's a dark and beautiful film that didn't pander to kids. Groundbreaking techniques were employed to animate it and it's clear to see it was a labor of love for Don Bluth and his team of former Disney artists. It's the perfect combination of craft, story and performance. It still remains an underappreciated work of genius.

Pinocchio (1940)

Directed by Norman Ferguson and others

Walt Disney produced probably the most important movie in the history of animation when he released Snow White and the Seven Dwarfs in 1937. But it would be his second feature, Pinocchio that would be his best. Actually a disappointment at the box office when it was first released, now Pinocchio is pointed at by many to be Disney's crowning achievement. You won't find me disagreeing. The timeless tale of the puppet that longs to be made a real boy, so he can truly be loved as a son by Gipetto, the toy maker who built him, is a fable that all can relate to. Pinocchio's journey through "real life" and the temptations that threaten to lead him astray from being a good boy is still spellbinding today. The influence of the film on many of today's modern filmmakers can't be quantified. It would also establish many animation techniques, like the use of the multi-plane camera, that had not been attempted before but now are staples in the industry. For those who think Pinocchio is just a simple cautionary tale for children about not lying and being well-behaved, you are missing a big part of what makes this story resonate so much. Like the little cricket that is the puppet's companion, this movie is our conscience, projected right on the screen for us to see. From Pleasure Island to the belly of Monstro the whale, Pinnochio's adventure is immortal and reflects both the innocence and realities of youth in every gorgeous frame.

Matt's Picks

Matt here! Jay picked really good ones, and, in the tradition of me trying to make some different picks, here are my five (in no particular order):

 

Ponyo (2008)

Directed by Hayao Miyazaki

 

I will reiterate Jay's previous statement made about my lack of love for Hayao Miyazaki's Academy Award-winning Spirited Away. To say I dislike the film is an understatement, but I do like other films of his -- particularly Howl's Moving Castle. But that one falls just under Miyazaki's take on Hans Christian Anderson's (and Disney's) The Little Mermaid: Ponyo. Like with most Miyazaki films, the animation is breath-taking. But what I enjoy most about this particular film is how Miyazaki strips away all of the Disney-esque traps -- a handsome prince, a deal with a sea witch, a true love's kiss, etc. -- and focuses merely on the friendship between a five-year-old human boy, Sosuke (Frankie Jonas), and a goldfish princess, Ponyo (Noah Cyrus), who breaks away from her overprotective father to explore life above the shorebreak. Now, don't get me wrong, I have deep love for Disney's 1989 classic, and I agree with Jay and his assessment of that film and its place in animation history. But I wanted to not only show that I too have much love for Miyazaki, but also wanted to pick the film that I really unequivocally love to sit down and watch. Howl's Moving Castle is a really good film, but I wouldn't just think, "Oh, let me pop that one in and watch it." With Ponyo, however, I find myself enjoying that film every time it's on. The music is phenomenal -- even with tones of "Part of Your World" in the main suite. The voice acting correlates the closest to what is occurring on screen -- compared to other films of its ilk. And, most importantly, with the widest distribution of a Miyazaki film, this film introduced a whole new generation to Miyazaki's animation. His attention to detail on the aquatic life is outstanding, and the sweet simplistic relationship between a boy and a girl is sweetly portrayed.

 

 

Peter Pan (1953)

Directed by Clyde Geronimi and others

 

One of Jay's picks was Pinocchio and when I thought of animation and themes, I was close to choosing Disney's take on the King Arthur legend -- the 1963 film The Sword and the Stone. However, after careful contemplation, I decided that my important Disney film is the adaptation of J.M. Barrie's classic 1911 novel Peter and Wendy. I do remember when I first watched this film on VHS and thinking I was watching two different movies, which, at the time and today, feels like a great form of entertainment. There's the main story of Peter bringing Wendy and her brothers to Never Land, but there was also the breakaway plot where Peter has to rescue Princess Tiger Lily. Of course, I'm a big fan of Mr. Barrie's work because I love the characters: Peter, the boy who never wants to grow up and is confused by our world; Wendy Darling, the motherly daughter who teaches Peter and the Lost Boys while also developing a crush on Peter; Tinker Bell, the pixie who loves Peter and grows jealous of his affection for Wendy, but also plays an integral part in the story as well as representing the imagination of childhood; Captain Hook, (brilliantly portrayed in the stage play by the same actor who portrays the Darling's father) the grown-up pirate who appreciates "good form" but will do everything he can to destroy Peter, all whilst avoiding the crocodile Tick Tock, who still remembers the taste of Hook's hand and wants to taste the rest of him! There are themes of love, death, bravery, loyalty, and betrayal throughout a story where adults are pirates and happy thoughts can bring about the unthinkable. Peter Pan is -- still to this day -- a sweeping, imaginative, entertaining adventure and one of Disney's best.

 

 

Transformers: The Movie (1986)

Directed by Nelson Shin

 

Before all the CGI, Michael Bay action and Megan Fox, the only way my generation could see transforming robots was via animation. Spinning off from the Hasbro cartoon (taking place in 2005, 20 years after the end of the TV series' second season), Transformers: The Movie was released right when I was turning ten-years-old and I remember forcing my mom to take me and my closest friends to go see this for my birthday. In an age before the internet and spoilers, all we had was the movie poster. Gazing upon these strange-albeit-cool-looking characters, all one could wonder was, "Who the hell are these guys!? Who's the guy in the middle? A new Optimus Prime?" While some may look back on this film and just roll their eyes and think of the cheesy dialogue or the Stan Bush classics "You've Got the Touch" and underrated "Dare," I am proud to remind people that this film came along at a time when kids my age still had innocence in animated films. But that innocence was dashed when going and seeing this film, and watching as heroic Autobot favorites such as Ironhide, Prowl, Ratchet, Brawn, Windcharger and Wheeljack are killed as if they were some "red shirt" on an episode of Star Trek. Even the slimy, villainous Starscream gets annihilated. There's a planet-eating monstrosity of a transformer named Unicron (the legendary Orson Welles in his last "acting" role), which not only devours planets but every living thing on it. And Megatron and some of his Decepticons get a major, game-changing overhaul. However, none of these can hold a candle to the traumatizing scene in which the heroic Autobot leader, Optimus Prime -- who every kid had come to love, admire and look up to -- dies. And not just a quick death, but a long, drawn-out dramatic death. I seriously remember seeing a couple of kids leaving the theater, crying! I pick this one not just because of its introduction to killing off major characters, but also because the animation (for the time) was impressive! Transformers: The Movie may be looked upon now as some long-forgotten, cheesy kids movie, not as good as other major released animation films that have come along since -- and lost to the wham-bam-popcorn live-action saga -- but I think it is a revolutionary animation film that is still fun to watch.

 

 

The Princess and the Frog (2009)

Directed by Ron Clements and John Musker

 

Probably one of the most underrated Disney films, The Princess and the Frog -- loosely based on the E.D. Baker novel The Frog Princess, which is based on the Brothers Grimm fairy tale The Frog Prince -- has to be one of its best hand-drawn animated films. What I love most about this film is how it takes Disney's usual "princess/girl-meets-prince/boy" storyline and turns it on its head. First off, the protagonist of the story, Tiana, has no interest in the vain Prince Naveen. She has goals (picture that!) -- notably, opening and managing her own restaurant -- and she is not some mere damsel-in-distress who needs saving. If anything, she's the one who has to save Naveen ... from his selfish ways. And she doesn't do this because she loves him. What starts out as merely a journey to break a curse and become human once again, Tiana and Naveen learn there is more to the other than what they can gleam at first glance. From the same directors of Disney's 1989 megahit The Little Mermaid, Ron Clements and John Musker proved that even though Disney had not released hand-drawn musical animation films in years, the company and its artists could still produce a great-looking (from the streets of New Orleans to the swamps of Louisiana's bayou), as well as inspiring and entertaining, product.

 

 

Batman: The Dark Knight Returns (2013)

Directed by Jay Oliva

 

Based on the legendary graphic novel by Frank Miller, Batman: The Dark Knight Returns was so massive in its scope, DC Comics films had to originally release it in two parts. Thankfully, it was eventually released with the two parts combined into -- what I think is -- one of the best contemporary animated films made. Of course, being a big Batman fan, it's easy to make that claim. But I am not biased when I say DC Comics' current animated films (Justice League: The Flashpoint Paradox, Batman: Assault on Arkham, etc.) are some of the best ones out there; and if you think these are some "cartoons for kids," you'd be sorely mistaken. With graphic violence and plenty of adult situations, these films are for the fanboy and fangirl in all of us! The film follows Miller's magnum opus to a tee, with Bruce Wayne/Batman (Peter Weller) now old and retired from his crime-fighting ways. However, he is forced to come out of his retirement exile with the rapid emergence of a criminal group known as the Mutants and the disappearance of a supposedly reformed Harvey Dent, a.k.a. Two Face (Wade Williams). With Batman's return comes a stream of ripple effects across Gotham City -- notably the "awakening" of the Joker (Michael Emerson), inspiring a new "Robin" in 13-year-old Carrie Kelley (Ariel Winter), and vigilantism spreading across the city, leaving the Reagan-like president of the U.S. to send Superman (Mark Valley) to confront his former ally. What made the graphic novel so wonderful also makes this film just as great. For instance, Miller was almost frighteningly prophetic when it comes to his portrayal of the TV news' talking heads and their bumbling, instigative giving of opinions -- a plot device which has sadly come all too true nowadays (since the story was written in 1986). The iconic images are there (Batman leaping throughout the lightening night), the voice acting is on target (Lost's Emerson oozes out the creepy-almost-sexual voice of Joker with every word), and the story is an interesting take on aging superheroes and how a man can make a difference. Best of all, the animation is really well-done and serves as proof that DC animation is a rising force to be reckoned with.