M. Night Shyamalan’s take on the superhero genre is one of his best films. Unbreakable is smart and has a jaw-dropper of an ending.

When David Dunn (Bruce Willis) escapes from a train wreck without a single scratch, Elijah Price (Samuel L. Jackson) is convinced it’s because he’s special: the real-life equivalent of a comic book superhero.

Almost all of M. Night’s films are about two topics and the unexpected way they intersect. An alien invasion and a preacher who’s lost his faith. A family stranded on a hostile planet and a son trying to prove himself to his father. A trio of women trying to escape their abductor and the idea that what doesn’t kill you makes you stronger. Same here. While on the surface “Unbreakable” is about a man who might be a superhero (for a lack of a better term) it’s also about a person who finds their purpose in life. I love superhero films, but the first installments are usually my least favorite. I want to see the acts of heroism. I’m less interested in their personal life with the obligatory love interest, the villain whose origin is tied with the hero’s, the development of the costume, etc. Particularly with modern superhero films, it feels as if what we're watching is just the building to something else. Not this time.

While Unbreakable contains elements of fantasy, this is a tale mostly grounded in reality. The characters feel genuine. Elijah is kind of sad, and your heart goes out to him when he finds this person he’s been looking for. David may be invulnerable on the outside but you’re worried for his personal life. There aren’t any big action sequences in the film but you’re captivated nonetheless.

My one criticism is that M. Night clearly wanted to include certain comic books and comic book characters in the story but couldn’t. That was outside of his control. What wasn't was the screenplay, which could've been adjusted accordingly. At a glance, you’d swear that Elijah is holding a copy of Action Comics #1 (the first appearance of Superman) but upon closer inspection, it’s some made-up title with the same font. He couldn’t get Marvel to allow him to show Amazing Fantasy #15 instead? You see Marvel Comic books everywhere else in the background, so why not? I know it seems like a small thing, but this picture is all about superheroes. Elijah collects them, it explores the topic deeply because it knows what we know and expect. M. Night is obviously knowledgeable about the subject which makes this detail stick out.

Unbreakable doesn't get the proper credit it deserves. There have been many superhero movies made since and few have approached their powers and characters with the same insight and self-reflection as this one. It isn’t big, but it feels personal, and that ending... it's one you can't forget. (Theatrical version on DVD, January 31, 2017)

Yes, we're talking about The Avengers again. Someone suggested we watch it. I thought "why not?". Soon after, I was once again gripped by its story and enthusiastically looking forward to what was coming next - even though I knew exactly what would.

Set after Thor, Loki (Tom Hiddleston), suddenly appears on Earth, determined to open a portal that will allow his new-found army to attack. Nick Fury (Samuel L. Jackson) must find a way to united the world’s greatest heroes against him: Iron Man/Tony Stark (Robert Downey Jr.), Captain America/Steve Rogers (Chris Evans), Bruce Banner/The Hulk (Mark Ruffalo), Black Widow/Natasha Romanoff (Scarlett Johansson), Clint Barton/Hawkeye (Jeremy Renner) are soon joined by Thor himself (Chris Hemsworth) and form “The Avengers”.

With a colossal budget of $220 million, top-notch special effects and action sequences were basically a guarantee. There are many throughout and they’re nice and varied. Thanks to Loki’s manipulations we have our heroes fighting each other, then his innumerable minions. That’s nice, but if you just wanted mindless action you could find that elsewhere. It's what's between the fights that make this movie special. On top of the 6 main heroes, we have the villain and important side characters such as Agents Phil Coulson (Clark Gregg) and Maria Hill (Cobie Smulders). That's a lot of people. It could've been too many but it isn't. Despite everything, all the Avengers and their associates are fully developed, well-rounded characters. They are the human anchor amid the out-there alien invasion plot.

They all feel genuine because everyone is given not just time by themselves, but also interactions with each other. You learn a lot about Captain America when he comments to himself on how a situation is, and in the ways he argues or agrees with the others. The dialogue shows the team's dynamics; who is where on the totem pole, what their history is like, where they're going.

While the alien army itself isn’t explored very much - they become mindless drones you can blast away without remorse - Loki makes up for it in spades. Whenever he appears, you're forced to pause and think. Who is playing who? Was he planning on giving away that clue as a way to lure his enemies into a trap, or is it simply a demonstration of how deeply his hatred and arrogance run? Is it even possible to trick the trickster god? Though unassuming when compared to his co-stars, Tom Hiddleston brings to life a magnetic villain whose threat is constant because of his intelligence. With so many characters to juggle and the introduction of the team being a large time-consuming element of the movie, it was a smart move to take advantage of someone we already know and have them start running immediately.

With the ever-expanding Marvel Cinematic Universe, The Avengers could easily be mistaken for just "another one" but it's a special movie. I'll even call it essential viewing. It’s got great re-watch value and works on so many levels. There's a lot of humor throughout but it never cuts the legs under the rest of the film. You don't even necessarily need to have seen the other stories (though you really should) to get have a great time. I love this movie and I can’t recommend it highly enough. When you see it, don't forget to stick around to the end of the credits too, for a bonus scene you won’t want to miss. (On DVD, December 31, 2015)

In a recent interview, Patty Jenkins commented on the ending of Wonder Woman, how the finale was originally “smaller” but that “the studio made me change it”. This prompted me to watch it again. Would I detect what might've been? Instead, I was reminded of how much I love this movie. The conclusion is big and extravagant. This doesn’t make it bad and before then, there’s so much to love in its action, romance, and characters it sweeps you off your feet.

Raised on magically isolated Themyscira, Princess Diana (Gal Gadot) and the Amazons learn of World War I when American pilot Steve Trevor (Chris Pine) crashes on the island’s shores. Convinced that this “war to end all wars” is orchestrated by Ares, the god of war, Diana leaves with Trevor as her guide. Armed with the Godkiller sword, she will fulfill her people's destiny to restore peace.

Origin stories tend to be bottom-heavy with a lot of exposition. That goes double when dealing with mythological adventures. Once the foundation’s established, this tale becomes uniquely empowering. Diana is not of our world. When she’s introduced to it, there’s much she doesn’t understand. At first, the fish-out-of-water scenario is effectively mined for comedy. It’s nice and light. Gadot and Pine have terrific chemistry. You’re excited to see what's next. As the story progresses, the gravity of the situation comes to the forefront. This war isn’t a game. Soldiers return home missing limbs, women and children are killed indiscriminately. Bombs and poisonous gasses kill in numbers an outsider could never imagine. Even when there was combat on Themyscira, the sandy beaches were bright. The glorious choreography of the women on horseback made you go “wow”! This? It’s like the world itself is dying and all color has bled out.

Diana’s unfamiliarity with London’s politics makes her speak out. She’s outraged by generals sitting comfortably in boardrooms talking about casualties in the thousands. Her protests are a wake-up call. The moment she gets fed up and steps into the line of fire is the film’s most powerful scene. It isn’t merely that Diana stops bullets with her bracelets and faces artillery head-on, or her physical strength; it’s that she's a hero by refusing to stand idly by. I found myself filled with unexpected emotions. I marveled at the stunts and choreography. Seeing her smash through pillars and punch through windows shows you what power is because it began as something small and human: her ability to see something wrong and to say “I’m going to do something about it”. Finally, we see Wonder Woman in her full attire. It makes you go “Woah” in ways no female-led superhero or action film has before - or since.

Though the film has several villains - Doctor Poison (Elena Anaya), German general Eric Ludendorff (Danny Huston), and Ares - none are the true antagonists, which is why the film’s conclusion is never as impactful as Diana entering No Man’s Land. The real struggle is internal. It may be naive of Diana to believe that Ares' death will end the war. In a world where magic lives - even if it’s only on a remote island - isn’t it possible? You want it to be, if only so she'll be ok. She experiences the worst we have to offer but the best too. Many superhero films feature romantic sub-plots. Here, it’s crucial to every aspect of the story from the comedy to the drama, all the way to the conclusion.

Wonder Woman is a joy to discover. The film is exciting, sensitive, and romantic. The heroine is beautiful and strong. She’s also human; capable of losing her faith, falling in love, or appreciating ice cream. (On Blu-ray, December 26, 2020)

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)

Do not get discouraged by the overly comic-book beginning of Son of Batman. It gets better from there and wraps itself up nicely.

The supervillain Deathstroke (voiced by Thomas Gibson) has killed Ra's Al Ghul in an attempt to take control of the League of Assassins. Two people stand in his wife, Ra's daughter, Talia Al-Ghul (Morena Baccarin), and her son, Damian Wayne (Stuart Allen). Talia leaves the boy in the care of his father, believing Batman/Bruce Wayne (Jason O'Mara) will keep him safe.

The beginning is where the film is at its weakest. Multiple scenes look good but don’t hold up under scrutiny. No matter how augmented or skilled, I never buy anyone blocking more than one or two bullets with a sword but apparently, no-name ninjas can block them like snowballs thrown in slow motion. Seems Superman's not the only one "faster than a speeding bullet". Until Batman shows up, there are multiple “What?” moments ranging from ninjas preferring ancient weapons to guns, objects who are quiet as long as they’re off-screen, and other action clichés that will make you wonder if Damian Wayne's first movie appearance will be a total bust.

Then, it starts getting good. You’re used to seeing Batman and Robin as partners, friends, and father/son. When the dynamic duo are actually related by blood, they can hardly stand each other. It’s the whole Dick Grayson thing flipped on its head. This Robin has all of the training already. It’s his attitude that needs to be tempered. That's good but what's beneath the surface is even better. You can tell Damian wants to be loved and that a piece of him is missing. He’s been trained to kill from the time he was old enough to walk. He’s never been a kid. He doesn’t even know what a kid is supposed to be like.

Under the Red Hood featured the kind of action that only animated films can deliver balanced with strong themes of guilt and a desire for redemption. The same applies here. Rather than get another appearance by the usual Arkham inmates like Two-Face and the Joker, we get Dr. Kirk Langstrom/Man-Bat (voiced by Xander Berkeley) and it's a new interpretation of the character. That’s what fans want to see; interesting twists on the familiar material that keeps the essence of classic stories but find a way to remain fresh. The side characters are also utilized. Even familiar faces that have just a few lines (such as Nightwing or Alfred Pennyworth) leave a nice impact.

Aside from the opening act, the film's only other weakness is that this could've been more than just one movie. Why not adapt "Son of the Demon" to build up the complex relationship between Batman, Ra's, and Talia? There was no need to rush into it. Then again, this story does stand on its own so you may not share this sentiment.

Though the beginning of Son of Batman tries too hard to be awesome by throwing logic and physics out the window and Talia Al Ghul's design is overly and unnecessarily sexual, you'll be able to move past them. The film delivers the action, compelling story, and the human moments desired by those who have been following the direct-to-video DC Animated films. (On Blu-ray, April 9, 2015)

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