Directed
by Aaron Schoenke
Written
by Aaron Schoenke and Sean SchoenkeBased on the DC Comic Characters Created by Bob Kane and Bill Finger
Produced
by Sean Schoenke and Aaron Schoenke
Cinematography
by Aaron SchoenkeMake Up Effects by Jeff West, Anthony Grow, Paul Molnar and Aaron Schoenke
Costume Design by Mekhell Cassagnol
Visual Effects by Chase Langely and Brian Ramirez
Editing by Aaron Schoenke
Sound Design by Sean Schoenke
Original Songs written by Sean Schoenke
Original Motion Picture Score composed by Sean Schoenke
Kevin
Porter ... Bruce Wayne/Batman
Paul
Molnar ... The Joker
Madelynn
Rae ... Harleen Quinzel/Harley Quinn
Jay
Caputo ... Arnold Wesker/The Ventriloquist/Scarface (Voice)
Katie
Joy Horwitch ... Detective Renee Montoya
Christopher
Parker ... Detective Crispus Allen
Dylan
Voorhees and Hunter Gordon ... Johnson Boy
Guy
Grundy ... Victor Zsasz
Tess
Kielhamer ... Dinah Lance/Black Canary
Carlos
Baca ... Arkham Guard
Nicole
Klepper ... Arkham Nurse Rebecca White
Jason
Koesema ... Arkham Doctor
George
Meyers ... Gotham Police Officer
A.C.
Carter ... Ferris Wheel Henchman
Joe
Allen Price ... Councilman Johnson
David
Chan ... Drug Hustler
Nathan
Lee ... Drug Hustler’s Friend
Cody
Cloe ... Frozen Guy
Sayo
Haraiski ... Dancer Lisa
Anne
McDaniels ... Dancer Candy
Laurie
Ann Young ... Dancer Angel
Ashley
Semerc ... Dancer Raven
Jessica
Mayorga ... Dancer Rose
Kassandra
Grace ... Dancer Sage
Cassie
Wanda ... Dancer Cherry
Kellie
Christensen ... Dancer Houston
Mary
Zenani ... Dancer Krystal
Xango
Henry ... Club Brawler
After
the Joker escapes from Arkham Asylum yet again, Batman is posed a question both
by society and his own internal demons; how much longer will the people of
Gotham suffer for his decision not to kill the Clown Prince of Crime? Racing to
save a young boy from the Joker’s scheme of destruction, Batman is also faced
with the reality of his impact, both positively and negatively, on Gotham and
her people.
---------------------------------------------
The
city becomes battleground, giving way to a war zone where average citizens must
suffer the spoils of the violent debate raging between these psychotics in the
fight for supremacy.
Wayne
is as much a complex and enriched character and I’d argue even more so on the
principle that it’s his tragedy, his vow and his life-changing decision that
acts as catalyst to everything else that transpires after the fact.
Bearing
this idea in mind, 2010’s “City of Scars” seeks to honor the man himself with a
look into his psychological hang-ups and Gotham’s own beliefs on their proposed
hero.
After
years of conflict and crime fighting, the dark knight (Kevin Porter) finds
himself in a reflective state as word spreads of the Joker (Paul Molnar) making
yet another escape from Arkham Asylum. This breakout, along with the poisoning
of and newly arrived nurse, symbolizes to Batman the back-and-forth he and his
most dangerous foe partake in continuously with no end in sight.
As
the police question Batman’s choice not to put to stop to the Joker once and
for all by killing him, Batman himself begins to have doubts about his morality
and its ability to allow such suffering to continue.
And
what begins as just one of several encounters they’ve had before becomes a test
of Batman’s character and a testament to his refusal to compromise.
The
very definition of why he’s endured for decades.
“City
of Scars,” in terms of a straight-forward narrative, is Aaron Schoenke’s best Batman
film to date. I say straight-forward because should we allow for the bending of
rules, “Patient J” owns the day.
But
as far as a three-act adventure that places focus on Batman himself, this is as
good as it gets.
The
story is well paced, although slightly redundant for those who’ve seen things
like the “I Am the Night” episode of the Animated Series. Conceptually, putting
Batman into a personal crisis of doubt provides a wrinkle of difference among
stories that mostly cast the character in a light of unshakeable resolve and
confidence.
Of
course the pitfall comes when one realizes that Batman is a character that, in
spite of being presented with opportunities to change or give up or end his
crusade, never steps over that narrative line and compromises.
Because
of that, one has to wonder if there’s any point to having Batman question
himself at all if all he’s going to do is go right back to square one.
Is
that really character development?
I
suppose that in the end, it’s less about seeking to contort the character and
more about celebrating the character’s refusal to be bent or broken.
Personally, I’d like to see the former happen in a future story of this type
but until then, I can celebrate as much as anyone.
We
live in a world built upon compromise and settlement. To see someone, fictional
or not, that can stake their claim in live and feel completely fulfilled in
their identity and purpose is something to look up to and aspire to. Batman’s
just one of those characters whom change must elude, for the sake of Gotham’s
safety.
Batman
is fleshed out to best of ability and Porter’s grounded, authoritative
portrayal in the piece commands attention even when coupled with Molnar’s Joker.
It’s one thing to set out and make a focal point out of Batman but the actor in
the role needs to do his part to assure that the audience will take the journey
with them.
For
a fan production and, in my opinion, Porter pulls it off with genuine presence
that can’t be shortchanged in skill. It’s pretty remarkable to look through a
laundry list of the fan actors who’ve portrayed the character and to find one
amongst them that can arguably stand beside the likes of Keaton and Bale.
In
a more developed piece, Porter may reach that level. But even in this, he proves
himself capable.
Paul’s
turn as the Joker isn’t as psychologically clever as “Patient J,” but that’s
just a matter of him not being the central figure as he was in that film. The
menace is still there, the threat is still there. His best moment is also his
debut, speaking to himself in maddened mumbling as he constructs his bomb and
gets himself ready for the show he’s planned for Batman.
The
production is as tremendous as it’s ever been in a ‘Bat in the Sun’ project.
The
carnival is the biggest set piece of the film and rightfully so; the project was
budgeted at $27,000 dollars and it shows. The location is used to great effect and
provides some true scope to this depiction of Gotham City, which finally looks
like a city rather than a small patch of alleyway in a suburb (guilty as
charged on my part).
And
Schoenke even gives us a taste of another aspect to the mythology often
overlooked in fan films due to limitations; he gives Batman one of his
vehicles, this time in the form of a supped-up Batcycle, which is a treat to
see.
“City
of Scars” also doesn’t skimp on its sense of action.
The
night club royale is a great sequence as Batman takes on everyone from numbskull
brawlers to Victor Zsasz to a refreshing appearance by none other than the Ventriloquist
and Scarface, who make their live action debut in the film. How Schoenke shoots
and edits the fight sequences are very well crafted in combining Batman’s
prowess and discipline with his speed and reflex.
Arnold
Wesker is just a joy to see in this movie. The presence of he and Scarface in the
film reminds us that there are still so many great villains that haven’t seen a
silver screen and I loved Jay Caputo’s performance, especially as Wesker when
he’s in hysterics over Batman threatening his wooden companion.
We’re
also given a more emotionally raw depiction of Harley Quinn; her zany screwball
antics toned down in favor of the exhaustive anguish and fracture that must
come with being aware that you’re in love with a murdering sociopath.
The
film also renders wonderful moments of introspective characterization for
Batman.
One
of my favorite moments is when Batman is confronted with the young son of
Councilman Johnson. The boy asks Batman why he didn’t save his parents, who
were murdered by the Joker.
On
the surface, it contributes to Batman’s personal dilemma.
Dig
deeper and it becomes a tragic parallel between the boy’s loss and Wayne’s when
he was the child’s age.
Go
even further, and it becomes a metaphysical confrontation within Wayne’s own
mind between young Bruce Wayne, the boy who never grew up beyond that night,
and the Batman persona that resided within him in dormancy until it was
triggered by the murders.
It
can be interpreted as young Bruce asking the creation of ‘Batman’ why he wasn’t
strong enough to manifest at the critical point where he could’ve made a
difference in saving Thomas and Martha Wayne.
VERY
clever and intriguing stuff!
“City
of Scars” is an A+ in all other points of production, from Batman’s
impressively crafted Batsuit to the cinematography in the Joker’s lair and
Arkham Asylum to the editing of the night club brawl and when Batman makes the
attempt to save the carnival patrons from a bomb.
It’s
all capped by a wonderfully poignant title song performed by Ms. Harley Quinn
herself, Madelynn Rae. Her tender vocals provide the gravitas the song requires
and it’s a great fit into the tone of the film.
In
a sea of lesser attempts, the film is the culmination of what someone with
weight to their body of work can do when given resource. Schoenke’s talent has
come into its own with “City of Scars” and it’s great to see him give back to
his passion for the character with a film that put the villains aside long
enough to concentrate on the hero.
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