![]() Whereas the twist of the Red Hood’s identity is obvious, the substance and atmosphere of the mvoie prevails. Who is this mysterious figure? How does he seem to know Batman’s methods front and back? And what does this have to do with The Joker, Ra’s al Ghul (voice of Jason Isaacs), and Jason Todd, the second young orphan to don the Robin mask and who was murdered by The Joker? Though Batman tracks down the Red Hood with the help of Dick Grayson, his first Robin known now as Nightwing (voice of Neil Patrick Harris), the villain easily escapes. The established kingpin known as The Black Mask (voice of Wade Williams), a Scarface-like gangster with a black skull-face, hires everyone he can to take down his new competition, but the Red Hood anticipates every move from both Batman and Gotham’s criminal element. The story follows Batman as he attempts to discover the identity of a new villain called “The Red Hood” (voice of Jensen Ackles), who has bribed or killed most of Gotham City’s criminal underworld. But their voices are also less iconic, or simply less known as those characters, creating a minor distraction as the movie begins. They’re replaced, respectively, by Bruce Greenwood and John DiMaggio, whose voices are both more gruff and serious, aligning with the Christopher Nolan approach to Batman. Though producers Bruce Timm and Alan Burnett and voice director Andrea Romano are behind the project, alas, fans will miss the aural appearances of Batman voice actor Kevin Conroy and Mark Hamill’s signature Joker. With this objective, Warner has failed to meet their high aspirations in most cases, but their latest effort reminds us why this studio should be considered one of the great animation studios in the business.īased on the comic storylines “A Death in the Family” and “Under the Hood”, the movie is separate from the continuity of The Animated Series, much to fanboy chagrin. Watch Superman/Batman: Public Enemies or Justice League: Crisis on Two Earths and you notice that they feel no different than Nickelodeon cartoons, whereas the company has avowed to elevate its comic stories above typical cartoons through their generally superior storytelling. Though starting strong with Justice League: The New Frontier and Wonder Woman, the animation in their recent releases has faltered. Animation’s Batman: Under the Red Hood comes from Warner Premier, which debuts DC Comic-centric features, (usually) PG-13-rated, on home video for cheap, often resulting in a hefty profit and appealing primarily to the apologist fanboy crowd. The show’s creators have gathered once more to make another animated Batman epic, this one unrelated to their previous series. But the 1990s television show Batman: The Animated Series stands as possibly the best amalgamation of the character’s dark tone and comic style. ![]() Some may look no further than Batman Begins and The Dark Knight, an approach that’s hard to dissuade. With the campy 1960s television show, four underwhelming movies, and comic books that seldom grasp the depth of the character, finding great Batman stories is a rare luxury. This is the sad truth of most iconic superheroes their legacy outperforms the material that constructed it. Batman has always been a character whose storytelling prospects more often than not overshadow his appearances in comics, movies, and various other pop-culture.
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