Justice League: Gods and Monsters (2015)

Justice League: Gods and Monsters (2015)

Dir. Sam Liu

An alternative universe story in which the League's primary members, that's Superman, Wonder Woman, and Batman, are superpowered killers, autonomous but sanctioned by the government - for as long as it suits either party to keep the association. Superman's idea of leadership is to respect his fellow League members and to trample all others who may be in his way. Feared by a vast percentage of the populace, he looks upon himself as a God among ants.

The last son of Krypton's origin story has been shown many times in DC's output. Gods and Monsters does it yet again, but with a difference, one that explains his domineering and militaristic attitude. There's a similarly flashbacked origin story for the other two members, too. It's not just their costumes that differ from those of the usual Justice League world.

Superman: Red Son (2020)

Superman: Red Son (2020)

Dir. Sam Liu

An Elseworlds tale that explores what the Man of Steel might have become if he'd been raised and come of age in a post-World War II Soviet Union locale instead of a 'friendly' US state.

The one and only time I read the comicbook miniseries that Red Son is based on was about twenty years ago, so, naturally, I remembered absolutely nothing about it. I hoped the movie's story might attempt a meaningful exploration of how much a location's dominant system of beliefs and cultural identity might influence the cognitive development, moral standing, ethical mindset, psychology, etc, of its citizens.

Or, to put it another way, the nurture vs nature debate, which could've critiqued or commented on the accepted, overused norms of the US version of the costumed superhero and his alien origins, through reflection at the very least. Otherwise, what would be the point of shifting the protagonist's all-important location?

Justice League: Doom (2012)

Justice League: Doom (2012)

Dir. Lauren Montgomery

Batman is a notable and valued part of the Justice League collective, but he's never really been what one would call a 'team player'. He'd much rather be alone, doing things his way, accountable to no one but his his own (troubled) conscience.

But it's while alone that each member is most vulnerable. Ergo, if a megalomaniac with strategic knowledge and the proper resources was to target each of the individuals while they were divided…

JL: Doom is an exciting animation that's loosely based on author Mark Waid's four-issue Tower of Babel story that ran in the JLA comics in 2000.

The pacing is excellent, the action is plentiful, and there's a decent level of subtext in play. It's so well assembled that you might not even notice until afterwards that the villains are mostly blank slates who exist to facilitate the main antagonist, himself a character who gets some back-story but doesn't actually do very much. A more devastating threat comes from a less obvious place, and isn't as straightforward as it might sound.

Superman: The Last Son of Krypton (1996)

Superman: The Last Son of Krypton (1996)

Dirs. Dan Riba / Scott Jeralds + Curt Geda / Bruce Timm + Dan Riba

The Last Son of Krypton — not an adaptation of Superman: Last Son of Krypton, which is a 1978 novel by Elliot S. Maggin — is episodes 01-03 of Superman The Animated Series merged together into a one-hour TV Movie. The join could've been better, but the pacing is pretty good.

It's the now-familiar origin story of Krypton's finest son, but familiarity doesn't dull it. In fact, the scenes on the doomed planet are the best part. So too is the voice work; the Earth cast are good, too, but not as impressive as Krypton's.

Clark / Superman's (Tim Daly) adolescence feels a little hurried, but the key players do each get some time in the spotlight. So too does the main villain of the series proper, Superman's nemesis, the bald billionaire Lex Luthor (Clancy Brown).

Being sold as a pick-up-and-watch movie makes the open ending feel a little awkward, so you might want to get TAS afterwards for the rest.

Justice Society: World War II (2021)

Justice Society: World War II (2021)

Dir. Jeff Wamester

An animated tale that's set mostly during WW II, unsurprisingly. In addition to forcibly occupying as much of Europe as they can, Hitler's Nazi forces also hunt for magical items that could sway the tide of war in their favour; e.g., things like the Lance of Longinus, or the Ark of the Covenant, etc. But America send a group of skilled and/or superpowered US citizens under the radar to prevent that from happening.

[If they thought they could feasibly get away with it, I sincerely believe that the US military would want the rest of the world to think that they won that war all by themselves.]

Like the superior JL: The Flashpoint Paradox (2013) movie, the events in JS:WWII occur because of Barry Allen / Flash's unique abilities.

Superman: Man of Tomorrow (2020)

Superman: Man of Tomorrow (2020)

Dir. Chris Palmer

As soon as the DCAMU was ended, the Tomorrowverse continuity was launched. The Adam Strange DC Showcase short (on the JLD: Apokolips War disc) is its beginning, but the first feature-length movie was the aptly named Superman: Man of Tomorrow (2020).

It explores the Kryptonian's early years, firstly as a youth in Smallville and then as a twenty-something adult in Metropolis working as an intern at the Daily Planet newspaper. The latter period is a modern 'smartphone' era. In ways that are both subtle and not, we see his pain at feeling alien and misunderstood.

Things thereafter descend into mostly mediocrity and blandness, with some very uninspired directing choices. It was the director's first feature film, so some allowances must be made, but even with those in place some scenes — such as the one wherein a costumed Supes first meets Lex Luthor — are amateurish at best. I don't mean that to sound unkind; it's simply an opinion.

Superman vs. The Elite (2012)

Superman vs. The Elite (2012) 

Dir. Michael Chang

A rather strange work in which a small group of new 'heroes' arrive in Metropolis and help cut down the Big Blue's workload, but their methods aren't sympathetic with his impossible ideals.

It's based on Joe Kelly's What's So Funny About Truth, Justice & the American Way? (2001) storyline. I've not read the source text, but after watching the film, I definitely want to, which is not my usual response to DC's adaptations.

It doesn't just use the medium as allegory, it includes real world concerns in a fictional setting. It initially distances the origins of the unfavourable actions from American soil so that it can use them as a critique of home, but by the end shrewd viewers will be in no doubt as to what the message is, while at the same time being left with a shaky moral platform from which to soapbox.

Justice League: Crisis on Two Earths (2010)

Justice League: Crisis on Two Earths (2010)

Dirs. Sam Liu + Lauren Montgomery

After an intriguing introduction we join the primary Justice League members as they build a new HQ in space; regular fans will know it as the Watchtower.

Construction is halted, however, when an intruder alarm is triggered, which is the precursor to a situation that requires their special talents; namely, a collective of evildoers who threaten to destroy everything that the League hold dear, and more.

The DC Multiverse has been used more in the comic book medium than in the animation one, but you won't need any special knowledge of the 'cosmic construct' concept to enjoy CoTE, and nor does it get too heavily into the science behind the phenomenon.

It focusses on action and adventure, mixing up expectations just enough to keep things feeling fresh.

Justice League: The New Frontier (2008)

Justice League: The New Frontier (2008)

Dir. Dave Bullock

A voiceover in the deep tones of Keith David is a good way to open any animation, but coming as it does before a title sequence that captures the aesthetic of the Atomic era as it might be seen through the expert eyes of Saul Bass is a hell of a good start! And yes, I feel that exclamation mark is fully warranted.

It then establishes the mindset of a few of the heroes by having them placed in various parts of the world during times of great social and/or political upheaval. For fighter pilot Hal Jordan (David Boreanaz) that translates to his having to make some very difficult decisions whilst in a life or death situation.

For Superman (Kyle MacLachlan) and Wonder Woman (Lucy Lawless) the level of mortal danger is significantly less, given their near-invincibility, but thematically their challenges are also demanding.

All-Star Superman (2011)

All-Star Superman (2011)

Dir. Sam Liu

An animation based on DC's twelve-issue comic book series of the same name. In both instances it features a change in Superman (James Denton) after he rescues a crew of fearful scientists on a space vessel that's plummeting towards Earth's Sun. It relies on elements and lore from the series past, but is itself separate from the wider Superman continuity.

Character designs are faithful to Frank Quitely's work on the original comic. It's admirable that they weren't made more cartoony, but, strangely, they're not as pleasing to look at onscreen as they are on the page.

The story feels episodic, with obvious breaks where events in one comic issue would've ended and weeks later another began. That unevenness isn't helped by some intrusive wild science that sometimes feels like a teenager has taken over the writing duties.

Justice League Unlimited (2004-06)

Justice League Unlimited (2004-06)

39 episodes, approx 22 minutes each, split over 3 seasons.

A continuation of the excellent Justice League (2001-04) animated series, set approximately two years after its end.

As you'll see in the accompanying image, while the core team remain Batman, Superman, Wonder Woman, etc, there are a lot more supporting characters than before. And that's just a sample. There's even more in the series proper, some that are obvious choices and some that certainty aren't.

The extended roster is both a good and bad thing. It's good because with new faces come new challenges, which can open the door to new types of story, that can in turn give rise to internal conflicts and additional depth.

Some examples are the stories involving The Question (Jeffrey Combs) and Huntress (Amy Acker); and the love triangle that revolves around Green Lantern John Stewart (Phil LaMarr), Vixen (Gina Torres), and Hawkgirl (Maria Canals-Barrera).

Justice League (2001-04)

Justice League (2001-04)

52 episodes, approx 22 minutes each, split over 2 seasons.

Seven unique heroes fighting as one unit, with each one bringing individual strengths and weaknesses, creating opportunities and anticipating reactions, kicking villainous ass in dramatic set-pieces that give way to relatable human drama is what made Justice League one of the best cartoons that I've ever seen, especially Season 02.

It's often the City of Metropolis under threat, but, while not explicitly stated, the War of the Worlds style attacks in the very first arc make it clear that the danger isn't just going to be of global origin, it'll be intergalactic.

The typical focuses are there, of course, such as the folly of those with power, the corruption of the weak-willed in the face of that same power, and the way in which good intentions ill-conceived can be catastrophic to all, but like the comic from which the show took its name the stories aren't unwilling to stray into surreal situations in its exploration of such things. JL is storytelling without constraints.

Superman: The Animated Series (1996-2000)

Superman: TAS (1996-2000)

Dirs. Various | 54 episodes (split over 3 seasons), approx 22 mins each [1]

Devised and produced by many of the same creative team that made Batman: TAS (1992–95), Superman's animated series looked familiar but also different. Metropolis is brighter than Gotham, with a different kind of art deco influence, one more inspired by Streamline Moderne. Giving each city its own visual identity is a positive change, but the less textured aesthetic of Metropolis looks cheap and sparse by comparison.

Likewise, and the first indication that what you're watching might be a step down in quality, the opening credits, which are a montage of episode scenes in roughly chronological order, feel tawdry and lazy compared to the dramatic excellence of Batman's. Superman's are spoilery, too, for anyone who's not seen the series before.

And subjectively speaking, Shirley Walker's accompanying theme music is also less memorable.

Reign of the Supermen (2019)

Reign of the Supermen (2019)

Dir: Sam Liu

NOTE: SPOILERS AHEAD

A sequel to The Death of Superman (2018), set six months after its predecessor's end. 

Rather than show us what a world without Superman is like, it instead quickly fills up the necessary spaces with four new supermen, each with their own (initially secret) reason for wanting to protect Metropolis from itself.

A lack of faith in either script or viewer means we're told outright that in order to heal emotionally, Lois needs to solve the mystery of the four. The journey that should follow that realisation is a solid basis to build a sequel on, but the story has even more problems than The Death of Suprman and I lost interest.

If that hadn't been the case, however, I'm confident that the absurdity of the resurrected Super-Jesus and his three disciples hurtling toward a fisticuff finale would've been more than enough to ultimately kill it for me.

The Death of Superman (2018)

The Death of Superman (2018)

Dirs: Sam Liu + Jake Castorena

TDoS starts badly, with 'millennial' dialogue that made me cringe. Unfortunately, that aspect of it doesn't get much better as it goes on, and the voice casting is mostly weak, meaning even the well-written lines are often delivered without gravitas and with little in the way of real conviction from the speaker.

The strained romantic relationship between Clark/Superman (Jerry O'Connell) and Lois Lane (Rebecca Romijn) is a major concern in the story. Quite often that kind of thing can feel rushed or under-developed in DC movies, but it's given a respectable amount of time to develop. That alone could've been something to celebrate, if not for the aforementioned weak dialogue and lifeless voice of Superman.

Justice League vs Teen Titans (2016)

Justice League vs Teen Titans (2016)

Dir. Sam Liu

While the 'heroes vs other heroes' thing isn't a new concept for DC, it was pleasing to see the Teen Titans included in the continuity of the DCAMU movies because, while I'm not as familiar with the group in comic book form, I loved the 2003-06 animated series. And  their involvement gave the writers an opportunity to address concerns that the Justice League might not be best equipped to tackle alone.

A connection to the Titans is made when Batman, tired of Damian's pissy attitude, sends the boy to Titan Towers in the hope that time spent with crusaders of his own age will help him to learn the value of teamwork. (And secretly he maybe just wanted some time away from the little turd for a while.)

Justice League: Throne of Atlantis (2015)

Justice League: Throne of Atlantis (2015)

Dir. Ethan Spaulding

It surprised me to learn that Aquaman made his comic book debut in 1941. I'd not given his genesis any thought before now, but if asked I would've guessed that he was a product of the Silver Age. I don't know if the DC universe would be much worse off if he wasn't in it, but the modern (internet) age hasn't improved his profile much. The Throne of Atlantis movie doesn't help his credibility, either.

Before he dons the orange and green duds, he's dry-land dweller Arthur Curry (Matt Lanter). Arthur's father has recently died, leaving the young man lonely and angry as he moves through the stages of grief.

Besides loss and anger, the story explores yearning, belonging, belief, and teamwork, among other things, as Arthur uncovers his true heritage.

Justice League: War (2014)

Justice League: War (2014)

Dir. Jay Oliva

The first Justice League animated movie to be based on the New 52 reboot in the comics is itself a reboot of the DC animated world, picking up the continuity reset of The Flashpoint Paradox (2013). It doesn't waste time giving backstory for most of the heroes. It starts instead in the middle of a chase and goes steadily downhill from there.

It earned my respect for addressing certain criticisms of failings that are almost inherent in superhero stories and for turning them into strengths, but the characters are mostly awful.

None of the protagonists have met one another at the movie's beginning, so it's essentially a League origin story that strives to establish rebooted attitudes and relationships, and lay the groundwork for bonds of friendship that are not yet forged.

Justice League: The Flashpoint Paradox (2013)

Justice League: The Flashpoint Paradox (2013)

Dir. Jay Oliva

An alternative universe tale of sorts that can be viewed as a single movie in itself, but also functions as the beginning of a major continuity shakeup for the animated DC Universe. I'll refer more to the second part of that sentence at the end of the post. [1]

It's a gritty and violent adventure packed with DCU heroes and villains; some of whom have very little impact on the story, but it's fun to see them included.

A knowledge of the Justice League is required, however, in order to fully appreciate how different things are in the featured timeline - to understand the extent of the contrast, you'll need to have some knowledge of how things ought to be normally.

The primary protagonist is Flash, the Barry Allen version, as seen front and centre on the cover art.