Director Biography – Ronnie Henry (THE CONFESSIONS OF THE BAT)

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An award-winning Writer & Director who loves film and creating a good story at the same time. His main ambition is to become either a film writer/director/editor because all aspects of media are huge personal passions of him. This is why he has decided to combine his love for stories and the art medium of film in order to make his own amazing stories.

I have worked on music, corporate and promotional videos in different roles – camera operating; editing, and storyboarding. I’ve directed short films (live-action/animation) some of which have won awards and been selected at prestigious film festivals around the world.

Director Statement

I know the art of filmmaking will demand a lot from me and I believe I can maintain high standards in my work. My aim is to work in the film industry, more specifically directing and editing. I see it as a new media form that is relevant to today’s society and worthy of study.

Director Biography – Rob Ayling (LIVING IN CRIME ALLEY)

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An award winning Writer & Director with a background in Art and Film Philosophy, Rob graduated with a BA Hons from UWE Bristol during which time he started the first film based radio show for Hub Radio. This led to him being commissioned to write film reviews and articles for Intuition Magazine. In 2014, Rob graduated from the Met Film School with a Masters in Film Directing.

He has worked on television, corporate videos and feature film productions in different roles – camera operating; editing; and storyboarding. Rob has directed short films (live action/animation) some of which have won awards and been selected at prestigious film festivals including BAFTA qualifying film festivals. In March 2017, Listen To Me won Shooting People’s Film of the Month competition. In 2018, Being Wild a short film made in 60 hours won awards for Best Short Film and Best Director at the Royal Wolf Film Awards in Los Angeles, USA. In March 2018, a web series called Dreaming Whilst Black was released online, Rob directed the 4th episode titled; “Family Dinners”, which went on to win Best UK Series at UK WEB FEST 2018 as well as many others.

In 2019, Rob brought his award winning screenplay Living in Crime Alley (A Batman Story) to life and it screened at the British Film Institute (BFI). The film was released online in December 2019 and since then has screen and won multiple awards at film festivals around the world.

Rob’s favourite and influential filmmakers are Christopher Nolan, Billy Wilder, Stanley Kubrick and Alfred Hitchcock. On a personal note, he is also a former Starbucks Barista champion.

Director Statement

I am not only a huge lover of cinema, I am a massive Batman fan. In 2017, I wrote Living in Crime Alley after having gone through one the worst financial periods in my life. The screenplay was not only a way to escape my own problems, but also to express my frustrations in a creative way. When the screenplay was gaining more and more attention, I soon realised that this resonated with audiences and that despite Batman having been created in the late 1930s, Living in Crime Alley shows that this character has a resonance with the life that people live today. The film brings the dark knight and everything that he brings with him into the sharp focus of todays recession and the reality of everyday struggle.

FAN FICTION Screenplay Reading: BATMAN: Beyond the Cowl, by Reginald Johnson

Batman works to uncover a new sinister crime wave and realizes Bruce Wayne must rise to be the hero that Gotham needs.


Various: Val Cole
Sebastian Hady: Ron Boyd
Alfred: Wyatt Lamoreaux
Narrator: Sean Ballantyne
Bruce Wayne/Batman: John Fray
Candace Collins: Weronika Sokalska
Lonnie Machin: Caleb Jacques

Producer/Director: Matthew Toffolo

Festival Moderators: Matthew Toffolo, Rachel Elder

Casting Director: Sean Ballantyne

Editors: Kimberly Villarruel, Kyle Drier, John Johnson

Festival Directors: Rachel Elder, Natasha Levy

Camera Operators: Denissa Palmer, Temitope Akinterinwa, Efren Zapata, Zack Arch

Short Film: BATMAN: INJUSTICE FOR ALL, 20min., USA, Fan Fiction/Horror

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Reimagined origin story, steeped in darkness, for the Joker and Harlequin, two of comics most notorious villains.

News & Reviews


Genre: Action, Drama, Crime, Thriller

A single father struggles to live and provide for his young son in downtown Gotham City.


Narrator: Carina Cojeen
Father: Nick Baillie

Get to know the writer:

What is your screenplay about?

Living in Crime Alley is about a single father in downtown Gotham City struggling to live and provide for his young son. The son is a huge fan of Batman. Living in Crime Alley raises questions of morality and justice from the points of view of a father, the child and the dark knight himself.

What genres does your screenplay fall under?


Why should this screenplay be made into a movie?

This screenplay should be made into movie because it brings the dark knight and
everything that he brings with him into the sharp focus of todays recession and the reality of everyday struggle. The perspective of a ground level citizen living in Gotham City is something that hasn’t been fully explored in film. Despite Batman having been created in the late 1930s, Living in Crime Alley shows that his character has a resonance with the life that people live today.

How would you describe this script in two words?

Conflicted, Justice.

What movie have you seen the most times in your life?

Billy Wilder’s The Apartment. Its simply one of the best movies ever made. Great
writing, great direction and masterclass acting from Jack Lemmon. A funny, dramatic,timeless movie that I’ve re-watched many times for inspiration and entertainment. But Hitchcock’s Rear Window runs at a close second.

How long have you been working on this screenplay?

I’ve been working on Living in Crime Alley for the the last 6 months. I started writing the screenplay after having gone through one the worst financial periods in my life. Instead of sitting around helplessly, I wrote Living in Crime Alley not only as a way to escape my own problems, but also to express my frustrations in a creative way.

How many stories have you written?

I have written several original short stories for films, but this is my first fan fiction short screenplay. I’m a huge fan of the Batman character and I’ve always wanted to write or direct a Batman story.

What is your favorite song? (Or, what song have you listened to the most times in your life?)

One of my favourite songs and one I listen to all the time is Sinnerman by Nina Simone. Or any Nina Simone songs in truth.

What obstacles did you face to finish this screenplay?

The biggest obstacle I had to finishing the screenplay was the ending. As a writer, I think its important to raise questions within your work. The final moments of Living in Crime Alley is very much a question on justice and morality. From another perspective, the ending could’ve gone for a more sympathetic route or perhaps an even more darker turn. I leave it to the audience to make their own judgement.

Apart from writing, what else are you passionate about?

Besides from writing, I’m passionate about making films. I have directed several short films, some of which have had screenings at BAFTA recognised film festivals. I also love to draw, read, travel and eat good food.

You entered your screenplay via FilmFreeway. What has been your experiences working with the submission platform site?

This is the first time I’ve entered a screenplay on FilmFreeway. In my experience, it’s by far, the easiest way to submit your work to festivals.

What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I submitted Living in Crime Alley to Fan Fiction Festival to gain constructive feedback on my work and progress as a writer. I never expected the screenplay to be a winner and for that I am very grateful. The feedback was extremely valuable in helping me hone my craft. They pointed out particular screenplay formatting issues I had made, in terms of introducing characters, dialogue etc. As well as making creative suggestions on how to improve the story. I’ve never really been a confident writer, but the feedback they gave me on my screenplay was a validation on my skills.


Producer: Matthew Toffolo

Director: Kierston Drier
Casting Director: Sean Ballantyne
Editor: John Johnson

Camera Operator: Mary Cox

Get to know the Fan Fiction Short Film: ARKHAM’S JOURNAL, 7min, Canada, Fan Fiction/Mystery

Playing at the Thursday January 26, 2017 Sci-Fi/Fan Fiction Film Festival

ARKHAM’S JOURNAL, 7min, Canada, Fan Fiction/Mystery
Directed by Matthew P.H Rea

Based on “Batman” DC Comics. Filmed in and around Toronto, this short proof-of-concept film provides a small insight into the untold stories of Gotham’s darkest hour. With the timeline loosely based around the batman comic, “Knightfall”, Arkham’s Journal is told through the words of Dr. Arkham’s Journal, detailing the lives of all the Arkham Asylum patients.

Film Type:Short

Runtime:7 minutes 1 second

Completion Date:July 4, 2016

Production Budget:20,000 USD

Country of Origin:Canada

Country of Filming:Canada

Film Language:English

Shooting Format:RED Epic-X

Film Color:Color


Producer: Thao Nguyen

Writers: Stas Simon, Matthew Read

Key Cast: James Levesque

Key Cast: Aleksandra Kimaeva

Key Cast: Dave Walpole

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short films short films short films


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Movie Reviews

Directed by Lauren Montgomery, Sam Liu

Voices: Mark Harmon, Alyssa Milano, William Baldwin, James Woods, Chris Noth, Gina Torres, Gary Cole,
Review by Evan McCaffrey


When an alternate universe of evil superheroes threatens to destroy their world, The Justice League must team up with Lex Luthor in order to save the day.


For the past few years, DC Comics and Warner Brothers have combined forces to deliver a slew of direct-to-video comic book adaptations to the market. It is a series of films that deals with the source material faithfully, and respects its viewing audience. These are not a watered down kids film. Each one is filled with level of emotion and intensity one would expect from the source material. “Justice League: Crisis on Two Earths” is no exception.

Often, when lesser-known entities of the comic book world are given feature film franchise, they are treated with less respect than they deserve, (i.e. ‘Daredevil’, ‘Ghost Rider’ to name a few.) The companies will take the name of the franchise, throw on a director who does not have the vision to fully realize these films, and then attach a star with little or no regard to how he fits in with the actual character. Fortunately, this film does not fall into that category. Though it is animated movie, it still contains everything you could want out of a Justice League film

As the movie begins, Lex Luthor and the Jester, an alternate universe Joker, have stolen a device of immense power. However, in doing so, they trip the alarms, and are quickly set upon by a mysterious and powerful force. It becomes quite clear at this point that this is not the Joker and Luthor we have grown to hate. In order to save his friend, the “Jester” sacrifices himself in order to give Luthor a head start, (something the Joker would never do.) Luthor’s head start is brief, and in moments, he is quickly surrounded by what appears to be a group of superheroes. Knowing he has no choice, he flicks on the device, and in a flash of light, he vanishes.

The story quickly shifts to our universe, where Luthor suddenly appears. Turning himself in to the Justice League, he convinces them he is not the Luthor this world despises so well, but from an alternate dimension where he is good and they are bad. On his planet, alternate versions of the Justice League have gone rogue and are creating a bomb that, if ignited, will destroy the entire planet. With little hesitation (the movies one quick and forgivable fault), the Justice League takes up Luthor’s cause, and joins forces to save his world from utter annihilation.

This is a fun movie. It provides roughly 78 minutes of solid entertainment. It never gets bogged down with too much exposition. It understands the audience watching this film, and it knows you already have an idea who most of the main characters are. Only once does it revert to a flashback, and that flashback is done in a way in which does not hinder the main story, but fleshes out one of the only characters I was slightly confused about. That is a testament to the writing abilities of the screenwriters. They know we have a solid foundation on most of the main characters. No one watching this film is going to be clueless about the motivations of either Superman or Batman. And most people have some sort of understanding of the Green Lantern, The Flash and Wonderwoman. It is this one character, J’onn J’onzz (The Martian Manhunter), that people will be confused about. Since the writers know this, he is the only character given a, if small, fleshed out backstory. I truly appreciate the respect and admiration these films have for their audience.

Now, as a story, does the film work. Yes. Absolutely. You will not go into this movie expecting the caliber of Christopher Nolan, but you will still get something immensely enjoyable out of this viewing. Not only is the story interesting, it is incredibly fun to watch. It is also very intense. People die, and, towards the end, the movie takes a dark turn reminiscent of “Watchmen.” It is a short movie, but one that delivers on all levels it intends to.

Studios take note; this is how you make a superhero movie. You do not need to always make an origin story. This is a movie that respects the audience and takes risks with its story. It knows what the fan base wants to see, and it delivers on all fronts. I can’t wait for the day that some company decides to stop playing the safe route, and to make comic films that deal with some of the more extreme stories in their universe. Until then, this movie more then satisfies that desire.



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Movie Reviews

Directed by: Sam Liu

Starring: Tim Daly, Kevin Conroy, Clancy Brown, Xander Berkeley, Corey Burton

Review by Travis Seppala


When Lex Luthor gets elected US President, he uses the threat of an oncoming Kryptonite meteor striking Earth as a rationale to frame Superman. Superman and Batman must team up to put a stop to Luthor’s tirade and to save Earth from impending doom.


Oh. My. God! Now THIS is how you make a superhero/comic book movie! The only way “Superman/Batman: Public Enemies” could have been any more epic is if it would have been live action. And even then, I’m not sure it could beat this, because some of the fantastic fight scenes probably wouldn’t be possible in a live action film even with the immense amounts of CGI that turns up in Hollywood films now a days.

During the economic downfall in the United States, Lex Luthor is voted in as the new President. His first act in office is to create a government operated team of superheros including Captain Atom, Major force, Power Girl, Black Lightning, Starfire and Katana. The new hero team catch up with Superman while he’s in pursuit of a criminal in a high speed chase and try to recruit him. Superman tells them he will not join their team because he is un-trusting of Luthor, especially now that he’s the most politically powered man in the country. Captain Atom pleads with Superman that Luthor has changed his ways, and the two almost fight before Superman finally flies away.

The U.S. Government discovers a giant Kryptonite meteor hurtling toward Earth. Rather than asking the many superheros at their disposal for help, Lex decides to destroy the meteor with nuclear missiles and says he’ll even do all the calculations himself. He arranges a meeting with Superman to arrange a pact.

The meeting between Lex and Superman doesn’t go very well and Luthor goats Superman into a battle with his “bodyguard” Metallo. Luthor flees the scene as Superman and Metallo engage in an epic fight. When Metallo proves to be more than a match for the man of steel, Batman shows up to help. Superman and Batman escape to regroup. When Metallo regains consciousness from Batman’s sneak attack, he is killed by an unseen assailant.

Lex Luthor pins the murder of Metallo on Superman, saying that the approaching Kryptonite is causing Superman to lose his reasoning due to the radiation. He claims Superman is a threat to the country and possibly the world and puts a $1billion bounty on Superman’s head.

In an attempt to find out what really happened to Metallo, Superman and Batman break into S.T.A.R. Labs and find his remains, determining that the Kryptonite powered cyborg was killed due to an intense amount of radiation. When the World’s Finest duo leaves, they are attacked and find themselves in a battle royal against more than 20 of the world’s most powerful super-villains. After the single most epic battle ever in a movie, they manage to defeat nearly all their opponents. The rest are beaten by Captain Atom when he and his team show up to arrest Superman. Not willing to be taken, Superman and Batman engage in yet another fight which ends with them fleeing with Power Girl in tow.

Luthor’s scientists fire nuclear missiles at the on-coming meteor, but they do no damage to the lethal space rock. Lex is furious, saying his calculations were perfect until it’s pointed out that it would have worked except that the meteor is outputting so much radiation it acted as a type of shield- the missiles blew up before they ever made contact with the Kryptonite itself. Luthor flees (followed by Amanda Waller) and takes a Kryptonite steroid injection. Waller discovers he’s been taking these injections for months to make himself immune to the Kryptonite radiation and now decides that if he can’t stop it, he’ll let it destroy the Earth and he’ll rule whatever is left.

Superman, Batman, and Power Girl have another battle with Captain Atom and his team. Batman gets Major Force to admit that he’s the one who killed Metallo under Luthor’s orders. Power Girl and Captain Atom kill Major Force and let Superman, Batman and Power Girl leave to try to save the Earth. But can they beat Lex Luthor and his second wave of super-powered goons, get the schematics of the meteor and get them to Toyman in time to save the planet from the oncoming ball of green death that’s already so close it can be seen with the naked eye?

“Superman/Batman: Public Enemies” is, in short, EPIC! The story follows that of the comic book mini-series of the same title almost frame by frame! Seldom does a comic book movie hold so true to the source material, and I’m glad they did because it’s one of the best stories to come out in recent years.

The animation in this straight-to-video release is fantastic. All the characters in this film have such sleek and modern looks to them that go above and beyond any previous comic book animated film. I especially love how the younger, more imposing Superman looks.

The voice talent is equally fantastic. Voiced by Tim Dale and Kevin Conroy (the same men who portrayed Superman and Batman in their animated series’ in the 90’s as well as the Justice League series), Superman and Batman shine with their true voices.

The action sequences (and there are a LOT of action sequences) are all brilliantly done. They are on a huge scale that one can only really find in the world of comic books and animation. The big fight with Superman and Batman VS more than 25 characters is truly a spectacular thing to see!

“Superman/Batman: Public Enemies” is the superhero film of all super hero films. It’s great for all ages and is superb animation filmmaking.




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Movie Review: BATMAN (1966)

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Batman 1966
Classic Movie Review
Directed by Leslie H. Martinson
Starring: Adam West, Burt Ward
Review by Anthony Acri


The Dynamic Duo faces four super-villains who plan to hold the world for ransom with the help of a secret invention that instantly dehydrates people.



One thing I learned from dealing with comic books aficionados is that the more incongruously serious they take the books, the less they like the Batman film and tv show of the sixties, seeing it , as one personal actually called it in a blog, a ‘heresy’.

But, as a kid, me and my friends all loved that Batman, as in those pre ADD days, even a kid could get a joke. Not now, god knows, a satirical mind lends you to being given a time out, and in our serious self important days of now, satire is dead, empire is here and self righteousness is our only sacrament. Yet, back when, we adored Adam West since he was the perfect hero. He was part square and yet, with enough self awareness and enough of a sly grin that he was eminently more acceptable than the wholly Ernest Captain Kirk, who seemed his equally psychedelically colored yang, whose desperate needs and wacko undercurrent of devotion mad him the perfect symbol of parody by SNL in its first great season. That sketch has the resonance, to this day, and certain candidates for president seem as unwilling to move on as did Shatner in that sketch, I think because it was a nearly prefect manifestation of the Square stature, comic book jawed, rather loopy and by the book Call me Bill Shatner. But our true hero, his strange blood brother, Adam West, as amplified in this movie, was already a parody, he was already a joke, and from their his humanity grew outwards whereas Shatner was just the lug in the center of the cardboard playacting, and seemingly believed as real painted starry night. room.

The film is a basic comic book come to life. For all the wailing of fan boys about how insidious that great TV show and its subsequent film were, actually, most of the plots came ready-made and were taken out of the old Carmine Infantino books, anyway.

This was the era of batman things made famous on the internet like “the Jokers big boner”, and such like classics, as it was a day and an age when superman, that dick, tried all manner of things to never have top kiss Lois, but that is another story, or part of the same story. The film then could be more than a usual two parter, and gains a rolling of these collected stories, like those 100 page comic giants dc sold when I was a kid. And, the cliffhangers, as would be in later Indiana Jones, just flow right into the next scene, like a serial all pasted tighter, like that of a dickens novel with actually less homo erotic variants.

Now, here, as opposed to the innocent….?…DC comics books, the homo- erotic undercurrent to the material was its creed, as how could a story about a man dressed in tights with a circus boy near him not have loads of homo erotic intentions…? And, thank fully, to the chagrin of the fan boys yet unborn then, it was all played for laughs, as back then, adults were adults andcomic books were not seen as literature, but then, Tennessee Williams wrote plays back then, and others of his ilk wrote often, so why would anyone have to see dc cosmic as a font of literature…? .

The four master criminals of the series are united together in a brilliantly satirical waterfront dive where even the floors are crooked, and they plot and scheme incessantly away, below a giant octopus icon as owners of the earth something which would later be done, without the laughs, at the offices of the vice president. But, since this was done when America was still a republic, Bruce Wayne—batman , whose inner demons in a more innocent time are not worn on his sleeve, but occasionally seep out in a way which is actually more adult and more thoughtful than the now constant mudslides of tempestuous fraught emotions, is hot on the trail of the four fiends. He is out to capture them before and lest they try that most unthinkable of things, to take over the entire world, and thus make littering and nuclear proliferations, gum disease and weather machines possible in every corner of the earth. One or two or even three of the greatest criminals of earth might be after just the city of Gothem,– yet to become a hell hole waiting for its black and gray Giuliani to clean things up,–or even the good old usa, but all four, …they are after that world which beguiles these men in colorful clothing as nothing else does.

Shakespearean actors like Burgess Meredith and Vincent Price, and Victor Buono , an aging Latino mgm swashbuckler , and a pretty , sensual brunette in spandex and cat ears, to me , always lent a satirical heft either lost on the fan men of perpetual boyhood, or was a satire they didn’t want to see. Frankly, having flipped through a Batman essential collection when he was at his most Capoteasque, the TV show and film cleaned it all up a bit, and made the humor at easy, at least knowingly, homophobic. The show and film, especially, was where the gay stuff was toned down in exchange for Adam west and a feline brunette—no longer seen in blond America– and so didn’t rely on the odd unintended gay knock knock joke which have made their famous way to the internet, like thought balloons about Robin and the famous bat touch. Here batman is played as farce, god forbid among the comics as art crowd, but it is Art too, in ways that that crew never knows. It is pop art, a Warhol spasm, a four color illuminated manuscript come to life, like a fresco of purple and red and blue and green, made out of in within a plaster which never dried completely, thus always allowing it to shine. Batman is that hero of the dying republic then, half rko and half Castro street, part Carmine Infantino, part Furlinghheti, too, and is a delightful remixture and reinterpretation of both. He is Dick Tracy meets easy rider, and wholly American and thankfully, the result isn’t like later heinous exemplars like Joe or Archie Bunker, for batman is above all things here decent and honest and a true boy scout which is why even sissyes want to be included., deep down. HE IS HERE THE AMERICAN HERO, an outgrowth of MARSHALL DILLON, A LONE RANGER AMID INDIAN HATERS AND RACISTS WHODESPITE THAT OR BECAUSE OF IT, BELIVES IN TRUTH, and he is always sobered ,and yet always funny, but decent too. And, when the black suited cat suit wearing woman is revealed as the woman he started to love, the actual second of his disillusion is priceless and touching too, and is better than a thousand different throughly ungay and purposefully made ungay in the atomic age of will and grace as less than Virgil gay clowns, black and un-purple batmen falling from crushed skylights. It is a farce, to be sure, but never becomes the mere pie fight of silliness, though I think they may have had a few pie fights actually, and always returns back to him as good and decent American.

He doesn’t, as the caricature later would, become a suit of armor or a knight errand amid a city of squalor , and eschews that most favorite pejorative of the lost boys era, post Lucas crowd, Dark, whhhhhhheoooooooooo. Batman 1966 as It is referred almost derisively, was as America once was itself, played for laughs, as things were in the republic of Jack Webb –who ironically as violence teems on the screens of the age of mommies boys and hectoring nannies, never fired a gun. The last third is the weakest part, and the ending is too farcical even for it, and the old actor’s creek and punch off a suberine, as the act is getting old in this extended form and things have to be quickly tied up. But there is a scene in the brilliant middle, before the obligatory fight scene and its splats and pow sound effects, which gives away its heart. At the docks, Batman, the real batman, yes the only real batman all you other batmen are just imitating, … is confronted by a giant carton bomb, complete with a a black ball and fuse, which was expressly put in to lampoon the parent company about to destroy it as a passé Phenom, ABC. Batman takes the bomb and runs around madly looking for a place to dispose of it, but cant let himself just hurl it at the jetsam of the docks and the waterfront, since he cant just indiscriminately kill ore maim these miscreants, as they all had mudders too as the Lenny the Penguin,– tell me about the penguins George– would surmise, and that they were human beings too. Not even baby ducks in the river can he hurt, for still within him is the early version of American resolve, not to get even with the nuclear fact which made him, the killing of his parents , or to elicit others pain, but to never reach that heinous level himself, and to never be a miscreant himself. This is underhandedly brilliant, and is a subtlety lost on the fan boys who like things ‘Blewed yup reeel good’ by men in tights. It is a kind of oath of the purple tighted centurion. As a moment, it is sweetly conceived of and played . The set piece is a gem of a frame in a sweet Mod movie, and it is last glimmer of a decent America before Lyndon, Richard, Jimmy and the rest of the fools of power would themselves regretfully go against the ethics and the oaths taught to them as kids in an America, which would no longer be there. Then, the Shakespearean demise of Richard would be sadly replaced by a dim wit actor , a corpus in rouge, whose indecency and cruelty, like Nero say, was the closet thing he had to a thought process or a belief system. Moreover, batman was finally blown to bits.

And now, the darkeners have won this civil war and another, incessant, perpetual batman appears on the scene. This time with a clown fag villain who went made himself a strange martyr before it opened wide, thus robbing Flattop—I mean Joker, of any playfulness or joy, not that he or our latest Toxic avenger selling popcorn as a true ethic, the now national lampoon re casted and re created Batfart was going to have any, anyways. In Batman 1966, film came as close to pop art and to a Lichtenshien verve, as they were even going to come, and now, Guarnicas of plaster and bad lighting and explosions and mayhem, with strangely more exceedingly silly rubber nippled black hooded vigilantes, seen spinning through the rubble skipping un gay men seem everywhere.

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