*Potential Spoiler Alert*

Today I was fortunate enough to take part in a relatively new marketing strategy for animated films: a private, VIP screening of a straight-to-DVD animated movie. Situated in the Varsity VIP Theatre in the Manulife Centre downtown, the VIP lounge already contained a scattering of individuals waiting for the show, including the lovely Katherine Curtis. Ty Templeton sat at a table sketching the bust of Batman while we picked at passing hors d’oeuvres: mini pizzas displaying a single piece of pepperoni, vegetarian spring rolls, pigs in a blanket, and premonitory tiny burgers held in place by skewers soldered to the platter.

There wasn’t much of a wait before we were ushered into the private room, which contained roughly 40 personal reclining bucket seats. A side table interrupted each pair of seats, and complimentary popcorn and beverages were arranged enticingly for our consumption. The DVD menu for Batman: Under the Red Hood was emblazoned across the screen.

After a quick introduction by the PR folk, the movie began. The opening s equence was crushing - a shocking display of violence unlike any I’ve seen in an animated movie. Though surprising, the violence is by no means gratuitous -- it sets the stage for further violence, but also provides the key motivation for the players involved.

The Red Hood is the new thug in town, taking over drug trafficking territory by force and intimidation. His terms are easier than the Black Mask’s -- a modest 40% cut -- but his restrictions are lethally enforced. He pits drug lord against drug lord in an effort to draw out his ultimate prize: The Joker. Batman is always a step behind, his newest adversary seemingly predicting his every move.

Important past events are revealed through an “in place” flashback; Batman pauses dramatically and his memory plays in shadow form in front of him. Though these moments are triggered by a familiar place, it is clear that these memories have been replayed and dissected many times before. Batman’s mistakes are laid bare and no punches are pulled. Alfred’s attempts to assuage Batman’s guilt falls on deaf ears; Batman is unwilling to release his burden in any way.

The flashbacks aren’t the only source of repetition -- Batman pairs up with Nightwing early on and the pair fall back into their traditional roles of master and apprentice. The many iterations of Red Hood villains are revealed, including The Joker’s original persona. The movie’s beginning and end are paralleled, in both situation and dialogue, and crowbars play an important role in the evolution of the Red Hood. At every turn, there is a sense of history and each place is designed to evoke specific emotions from Batman as he is lead to the conclusion. Batman’s dawning recognition is heartbreaking, and his ethics are stretched to the limit as he faces some of his toughest decisions. Ultimately, Batman clings to his credo, but must pay dearly for it.

Bruce Greenwood makes a compelling Batman -- dark, but without the forced harshness of Christian Bale’s tortured performance. John DiMaggio plays a convincing Joker -- an excellent juxtaposition of senseless violence and comedy. He also wins the prize for having the absolute best lines of the movie. Neil Patrick Harris expertly evokes the exasperation of an acolyte all grown up, but still desperate for his teacher’s approval. Jensen Ackles is unrecognizable until the end, when his character’s emotional state betrays some signature “Dean” vocalizations.

Ty Templeton, who had written Batman comics for 20 years, was gracious enough to answer questions after the screening. Though he was not involved in the making of the film, he admitted that he thought this was one of the best portrayals of Batman he had ever seen. When asked about his favorite characters, Templeton revealed that The Joker was at the top of the list, saying, “[The Joker] is villainously awful, but he’s funny and we laugh at him. You wouldn’t laugh at Jeffrey Dahmer, but we laugh at The Joker.” He also professed his fondness of Two Face, who lives by “blind stupid luck,” and who has to “flip a coin to see if he kills you or gives you pie.”

When asked whether he thought that comics were starting to cater to older crowds by becoming more violent, Templeton first rejected the idea that cartoons and comics are intended only for children. In the case of Under the Red Hood, Templeton felt that the violence was justified, saying, “None of the emotional responses would have worked if that first scene hadn’t disturbed you.” That said, Templeton admitted his preference for working on “all ages” comics, and believes that beloved characters need to be constantly exposed to children to gain new generations of fans.

Templeton also rejected the idea that new media was in any way a threat to his career, saying “What I do will never go away. Comics are the common language... I’m never going anywhere - you’re stuck with me and I’m going to be doing this until I’m dead.” Templeton embraces the evolution of the comic, hearkening back to wall paintings by cave men to the current digital age.

After a few more questions, we all filed out of the theatre, taking our grab bag containing a copy of Batman: Under the Red Hood with us. Watching it on the big screen was an amazing experience and it was a special privilege to get Ty Templeton’s insight. Look for your own copy of the DVD on July 27th.