Written
and Directed by Sandy Collora
Based on Creatures Created by Dan O’Bannon, Ronald Shusett, H.R. Giger, Jim Thomas, John Thomas and Stan Winston
Produced by Simon Tams and Daren Hicks
Executive Produced by Jo Vogelbacher, Ron Brinkmann and Sandy Collora
Cinematography by Vince Toto
Production Design and Art Direction by Sandy Collora
Costume Design by Mike MacFarlane
Visual Effects by Dennis Manske, Simon Tans and Ron Brinkmann
Editing by Toby Divine
Sound Design by Al Samuels and Jeff Sliney
Music Composed by Elliot Goldenthal, Alan Silvestri and Shirley Walker
Clark
Bartram … Batman
Andrew
Koenig … The Joker
Kurt
Carley … Hero Predator
Jake
McKinnon … Hero Alien
Dragon
Dronet … Predator 2
Patrick
Magee … Predator 3
When the
Joker escapes once again from Arkham Asylum, Batman sets out and corners him in
an alley. But the shadows of Gotham hide more than even the dark knight
detective could’ve imagined.
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Being a
fan of a character like Batman instills one with a sense of passion and
creative expression. It’s imprinted on us from the beginning, drawing little
doodles of the caped crusader and putting our action figures through dazzling
adventure scenarios during play time.
As those
of us artistically inclined grow older, we still have it within us to invest creativity
into our fandom, eventually allowing the two to feed off of one another.
Thus the
advent of the fan film was truly born in essence.
And the
explosion of Batman fan films began with an 8 minute, $30,000 firestorm called “Batman:
Dead End.”
Helmed
by visual effects artist and former Stan Winston employ Sandy Collora as a
sizzle reel to promote his directing ability, the 2003 short follows the dark
knight (Clark Bartram) as he swings into action after news spreads like
wildfire of the Joker’s (Andrew Koenig) most recent escape from Arkham. However
there’s more to this latest confrontation than meets the eye as Batman is faced
with extraterrestrial monstrosities; a deadly Xenomorph and a bloodthirsty Predator.
Dubbed
by Kevin Smith at the time as “the greatest Batman movie ever,” “Dead End”
certainly has the visual style to account for it; it looks incredible for such
a modest budget and running time, specifically the few minutes of pure-Batman
action before things take a turn into the cinematic surreal.
Vince
Toto’s cinematography is absolutely gorgeous in this display; particular shots
like the one with Batman crouched on a rain-soaked alley floor with his cape
spread around him are simultaneously iconic and effortless and the graphic play
with both shadows and light throughout the entire short is spectacular.
The
opening montage is the suit up to end all suit ups as Batman gears up with the
news playing in voice over; it’s very moody so early on and it’s awesome to see
little highlights like the bandages on Bruce’s hand and the texturized nature
of the Batsuit (LOVE the bits when he snaps the clip on his boot and clenches
his gloved fists; the sound effects work is great here).
Clark
Bartram has a commanding presence in the role and that’s certainly the priority
given the lack of anything else to do; it’s one giant fight scene and in that
respect, the bodybuilding actor fills out the costume and fits right in.
There’s
one line I do like of his:
In the
time since the film Andrew, the son of “Star Trek” star Walter Koenig, had
disappeared and, tragically, was later found dead by his own hand. Also known for his role as
Boner on the television show “Growing Pains,” it’s so unfortunate to see a
young, promising actor be taken prematurely; a moment of utmost sympathies to
his family.
Of course
the most talked about aspect of “Dead End” literally comes out of nowhere as
one of H.R. Giger’s conceptualized Aliens descends from a roof and captures the
Joker.
Huh
after all this time and all these interpretations, turns out Batman just had to
wait for a new species with a convenient lack of morality to come around and
resolve the issue of the Clown Prince of Crime. Kind of a chump way for Joker
to be taken out...though I guess it’s also a chump that would refer to punching
someone with brass knuckles as a ‘joke.’
Since there’s not a whole lot narratively speaking, it’s all in the moments...the visual details and the attention brought to them.
When
Batman smacks Joker away and takes a second to spit a wad of blood before
flapping his cape and delivering a body blow is great stuff.
I
suppose Bartram’s physicality has a lot to do with the fact that, unlike his official
live action predecessors, he was fitted into a spandex costume born more out of
the character’s appearance in the comic books rather than the movies and I have
to say it actually works. A lot of what can work on a comic page might not
necessarily translate to a screen and Batman’s costume is certainly debatable
to this day but through a combination of Collora’s tight close ups, Toto’s
lighting and Toby Divine’s editing a great depiction is created for the iconic
cape and cowl.
With his
background, Collora does a great job of both conceiving of and creating the
Aliens and Predators. Their presence seems odd at first glance but given both
said background as well as the “Batman vs. Alien” and “Batman vs. Predator”
comic books, it’s certainly a valid angle to take on the character.
Extending
the involvement of these movie monsters is the score of the short, which is a
combination of previously composed music. Collora and his post-crew utilized
and manipulate the tracks to their advantage very well, particularly in the
scene where Batman spots the Joker and descends into the alleys. That moment is
underscored with “Agnus Dei,” which opens the main titles of 1991’s “Alien III.”
The chorus fits the bill for this Batman.
All in
all a solid effort, “Batman: Dead End” is a fun take on Batman visually. It’s
all it can be so it doesn’t try to be what it’s not.
Great
fun to watch!
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