Teen Titans: The Judas Contract (2017)

Teen Titans: The Judas Contract (2017): adapted by Ernie Altbacker from the graphic novel by Marv Wolfman and George Perez; directed by Sam Liu; starring the voices of Stuart Allan (Damian Wayne), Jake T. Austin (Blue Beetle), Taissa Farmiga (Raven), Sean Maher (Dick Grayson), Christina Ricci (Tara), Brandon Soo Hoo (Beast Boy), Kari Wahlgren (Starfire), Miguel Ferrer (Deathstroke), and Gregg Henry (Brother Blood):

Enjoyable DC Animated film adapts the 1980's Teen Titans story arc The Judas Contract with a few character additions and subtractions mostly centered around the addition of Bruce Wayne's son Damian as Robin (with the original Robin here too as Nightwing) and the baffling newish Blue Beetle. 

Beast Boy's pursuit of new Teen Titan Tara/Terra now plays a lot like sexual harassment and stalking, and really needed to be toned down for a contemporary audience. Kevin Smith (voice) cameos as himself. Lightly recommended.

Bears

Crooked Tree by Robert C. Wilson (1980): I'll buy almost any horror paperback with a lurid cover if the price is right. At 50 cents, and with the luridness hidden inside the cut-out cover (and a cutout cover with a full-page illustration inside just screams 1970's and 1980's), Crooked Tree fit that bill. I also thought it was an early novel by Canadian SF writer Robert Charles Wilson, but it wasn't. This Robert C. Wilson is a Michigan lawyer with three published novels over the last 35 years.

Well, would that he published more. This is really a terrific little horror novel. Set in and around the Crooked Tree State Park in the northwestern part of Michigan's Lower Peninsula, Crooked Tree sees ancient evil resurrected and set loose. Yes, this actually is the 'Indian burial ground' trope in action. It works here -- as does any tired trope -- because Wilson invests time and sensitivity in exploring the Native-American culture of the Ottawas whose burial ground it was, and in making Native Americans non-stereotypical characters in the drama.

For the most part, the novel's descriptions of the natural landscape work, with only a few slips into the purple. A real sense of menace builds, and the supernatural menace, once revealed, is fully worked out and logically combated within the rules Wilson has created for this particular manifestation of the supernatural. The tiredness of the Indian burial ground trope also loses its exhaustion by making the unburied menace something that once threatened the Ottawas as well. This puts the whole thing more in line with the mainstream of supernatural literature, in which danger comes from Something Awful that was buried, and not from the vengeful spirits of once peaceful beings.

Wilson doesn't go as far as Martin Cruz Smith did in the excellent, nearly contemporaneous Nightwing: Crooked Tree's protagonist is still a white American and not a native. But the plethora of well-realized native characters makes the novel something special. So, too, the sensitive use of black bears as the main weapon in the menace's revenge: the novel explains many of a black bear's more dangerous attributes while also making it clear throughout that their danger to humanity in this novel has also been caused by humanity. Or the once-human, anyway. The bears, unlike the shark in Jaws, explicitly are described as acting against their nature in their attacks on humans. Naturally, they are shy and only dangerous in very specific interactions with human beings.

There are flaws. The climax could use a few more pages. As in many Stephen King novels, characters with viewpoints contrary to the author's -- in this case pro-leisure-hunting white men -- are drawn as gross, completely unlikable caricatures who meet their just rewards in being killed. They're as bad as the hillbillies in Deliverance, but the hillbillies in Deliverance were at least competent and sketched-in as being resentful of these rich(er) suburbanites vacationing in the place they called home. And Wilson's protagonist travels around so much in the concluding pages to assemble the necessary information to combat the evil that these pages start to feel like a Michigan travelogue.

However, despite its flaws, Crooked Tree is a surprisingly good horror novel from a little-known writer. It skilfully weaves together supernatural horror with natural horror (the menace must work through living beings to get its vengeance). Some segments suggest Jaws on land, but with animals that have become much more dangerous with a human will guiding and manipulating them. And a couple of the carnage-laden set-pieces are startlingly well-done and refreshingly unsentimental about who will die without being exploitative. Recommended.

Rats and Bats and the Third World War

Domain by James Herbert (1985): Technically, this is the third novel in Herbert's Rat Trilogy, following The Rats and Lair. But you don't need to have read the previous novels to enjoy this one -- I haven't, and there's nothing difficult to follow here.

Herbert's really great at excruciating physical horror. Domain hits the reader with two horrors for the price of one: nuclear strikes on London, England, followed by the rise of giant mutant rats from London's sewer systems. Come for the nuclear apocalypse, stay for the rats!

And boy, these rats are bad news. After an intense and detailed description of the nuclear devastation of London, Herbert follows some of the survivors into the sewers as they head towards a governmental bomb shelter disguised as a subterranean telephone relay station. Will order be restored? Hey, where did all these giant, super-intelligent rats come from?

If you enjoy scenes of visceral horror, rats, and nuclear war, then this novel is for you. It's one of the two or three strongest Herbert novels I've read. The science gets wonky at times, but hey, giant rats! Recommended.

　

Nightwing by Martin Cruz Smith (1977): This early Cruz novel, written before Gorky Park made him a break-out star, is a terse, thrilling account of the present-day descent of a colony of Mexican vampire bats onto the New Mexico region inhabited by the Hopi.

An Ahab-like bat researcher and a somewhat aimless, hopeless Hopi Deputy will ultimately be the only people who can save the area before, as the researcher notes, the United States is forced to remove New Mexico, Utah, and Arizona from the map.

The novel combines compelling exposition (yes, compelling exposition) on Hopi mythology, vampire bats, and Black Plague transmission with a tense, exciting disaster narrative. There's more than one ecological narrative at work here: the bats have been chased out of their natural habitat, and this makes them much, much more dangerous than they were before, while the quest to contain them, and the plague they carry, is fatally compromised by the attempts of a Navajo leader to sell oil rights to portions of Navajo and Hopi land.

Smith creates winning, sympathetic characters under pressure, and also manages the difficult feat of positing a rational, natural apocalypse which may or may not also have supernatural origins. The portrait of the Hopi people is fascinating throughout. So too the vampire bats, a predator with no fear of humanity, and with an awful lot of similarities to humanity: they come, and they strip an area bare of life both through their predation and through the diseases they carry, diseases that don't affect them because bats have the strangest mammalian immune systems on the planet.

Bats in their entirety are the most successful mammal on the planet besides humanity. Here, Smith turns them into a natural force worse than any hurricane or earthquake. They make for a terrifying antagonist, rendered in full horror but with full honors to their biological distinctiveness. When Charles Darwin first saw a vampire bat feed, he was left speechless. One feels that way for awhile after the explosive, somewhat hallucinatory finale of this novel. Highly recommended.

Red Helmet

Batman: Under the Red Hood, written by Judd Winick, directed by Brandon Vietti, starring the voices of Bruce Greenwood (Batman/Bruce Wayne), Jensen Ackles (Red Hood), Neil Patrick Harris (Nightwing), and John DiMaggio (the Joker) (2010): There have been four 'in-continuity' Robins in Batman history, with Jason Todd being the second, following Dick Grayson after Grayson graduated to college and became the costumed hero Nightwing.

Todd's history was bizarrely twisted. DC's post-Crisis revamp of continuity in the mid-1980's turned Todd from a circus kid like Grayson before him to a surly street punk. Looking back, it seems obvious that Todd's ultimate fate was years in the making post-Crisis, thanks in part to a bit in Frank Miller's ostensibly out-of-continuity The Dark Knight Returns in which Todd's death is one of the defining moments of an aging Batman's retirement from crime-fighting.

And so, in the late 1980's, DC held a phone poll to decide whether or not Jason Todd would be killed by the Joker. By a vaguely suspicious margin of 72 votes, death won, and Todd got bludgeoned and exploded to death in A Death in the Family, a horrifyingly bad story arc in which Iran names the Joker as their ambassador to the U.N. because...well, because it's a really stupid storyline.

Either that or we were about to find out that the Joker had been a Muslim terrorist all those years.

So the Joker, in his new role as U.N. ambassador, brings a nuclear missile to the United Nations and threatens to blow it up. Yes, the Ayatollah Khomeni was even loopier in the DC universe than in ours. A couple of years later a new, more loveable Robin -- Tim Drake -- debuted, and Jason Todd seemed to be consigned to the dustbin of Bat-history.

Cue the mid-oughts. Todd returns. And from that return comes this animated movie, well-made but depressingly similar to the depressing, doom-haunted Batman comics of the late 1980's and early 1990's. The animation, voice-work and writing are all solid, and writer Judd Winick wisely drops the whole Iranian connection for a slightly more workable plot involving super-terrorist Ra's Al Ghul's bone-headed decision to hire the Joker to distract Batman. The overall effect of this dark, violent movie, though, is pure Debbie Downer.

The Red Hood also offers one of the more curious naming choices in comic-book history -- in this new incarnation, as in his original 1950's first appearance, he doesn't actually wear a hood. It's a red helmet. I guess Red Helmet sounded too goofy even in the 1950's, though no goofier, ultimately, than Green Lantern. Or Animal-Vegetable-Mineral Man. And would someone just kill the Joker already? Lightly recommended, and not for kids.