I’m currently on a documentary kick and Netflix does have a few streaming that focus on comics or comic book culture. I figured this would be good for a laugh. Or at least a way to waste a few hours.

Comic Book Confidential
Even though this documentary was made in 1988, it still feels very relevant now. The primary focus is on alternative comics — works and creators outside the superhero genre, although those are definitely acknowledged — and I think that’s a side of comics that rarely gets enough attention historically. Yes, we all know about the rise of DC and Marvel, the stories of superheroes, all of that, but these underground creators contributed more than I think most people realize to the look and feel of comics today.

I was delighted to see how many of them are still working today — creators like Lynda Barry and Charles Burns are featured here, along with Jaime Hernandez and Art Spielgman. I also think the sight of an awesomely long-haired Frank Miller at the end being all self-important is quite incredible.

But really, if you want to know the history of comics and side of that history that doesn’t get nearly enough attention, this is a good place to start. I have no idea why more people haven’t told me to watch this documentary before. Nor do I have any idea why I haven’t watched it until now.

Starz Inside: Comic Books Unbound
This is from 2008, and already seems a bit dated (in contrast to Comic Book Confidential, which doesn’t), especially since it was made before the economy tanked and Spider-Man got rebooted and the manga market took a downturn. And it definitely shies away from any criticism of the movies covered here, even when it’s probably deserved.

But it’s actually a pretty decent overview of the history of comic book movies. While there’s plenty of typical studio talking heads, it does feature interesting creators like Paul Pope and Mike Mignola as well as director Richard Donner. The overall tone here is completely flattering, even when they touch on some of the goofy live-action projects Marvel did in the ’80s and ’90s (but no mention of the TV movies for Nick Fury or Generation X, even though the Spider-Man and The Hulk series got passing mentions. I think some things are better off forgotten). But case in point: There was no acknowledgment that Marvel is still making bad movies (Daredevil? Elektra? I somewhat like Elektra, but I’m not going to tell you it’s good).

Still, I like that they do pay some attention to non-superhero comic book movies like The Road to Perdition and A History of Violence as well as American Splendor. And although the “looking into the future” predictions aren’t quite accurate now, I still think it’s clear that comic book movies are big business. I was surprised by this. I wasn’t expecting too much from it, but underneath the breathless tone of “these movies are awesome!” there is something of substance here.

Confessions of a Superhero
This 2007 documentary isn’t so much about comic books, except in the most abstract of ways. Rather, it’s about four people who dress up as superheros (Superman, Batman, Wonder Woman and The Hulk) and let tourists take photos of them for tips.

Christopher Dennis loves Superman a little too much — he has an overcrowded apartment full of merchandise and memorabilia and rarely takes the costume off. Maxwell Allen has inflated claims of his past as a supposed mob enforcer (as well as his resemblance to George Clooney) and seems to take being Batman a little too personally.

On the other hand, Jennifer Wenger, who dresses as Wonder Woman, and Joe McQueen, who dresses as The Hulk, both seem to understand this is just a way to make money in between acting jobs.

Wenger comes across the best of all four — she’s the most down-to-earth and genuinely sweet. McQueen also seems to understand his limitations and has overcome hardship (he was homeless for a while).

The other two? They both have obvious problems. Dennis claims to be the son of Sandy Dennis, but her family says he’s not. His obsession with Superman comes across as a compulsion (and his apartment is nearly something out of Hoarders). Allen is charming enough, until his outlandish stories begin to pile up (he claims to be great at various martial arts, but one scene in a martial arts studio would say otherwise. Perhaps not surprisingly, both seem to think dressing up as superheroes will provide them with their big breaks.

It’s a little painful in parts and it’s more about these four lives than any deeper message. But there’s still something sad and fascinating about how people are delighted and happy to pay money to get their photos taken with someone — anyone — dressed as their favorite heroes. There’s some power there.

Maybe this time next year, I’ll have the Comic-Con documentary that Joss Whedon, Harry Knowles and Morgan Spurlock are making this year. I suppose we’ll see how that turns out.

It’s just a lot of fun.

This isn’t really Mike Mignola’s Hellboy (although he has co-credit on the story). This is Guillermo del Toro’s Hellboy through and through, and I think that’s OK. I almost don’t even consider it a “comic book movie.” It’s a movie that happens to have comic book characters.

I think the Hellboy universe allows for plenty of room for lots of different stories to be told. Whereas the first movie sort of stuck to the history-mixed-with-Lovecraft spirit of the comic, this goes off in its own direction. I liked anime/fantasy-inspired plot — you know, vaguely Celtic mytholoy mixed with martial arts — with plenty of The Dark Crystal thrown in. The production design is to die for — incredibly lovely and wonderful. Del Toro has created his own universe here and there are scenes, such as the troll market, where there is not a human in sight. It feels very real and very wonderful (and I like that most of the effects are non-CG based. It adds to the playful “make-believe” feel of the movie).

What was always fun for me in the first movie was the relationships between the characters. For Hellboy, saving the world is just a job. He obviously enjoys it, but he also likes hanging out and eating and watching TV. Fighting monsters is just something he has to go do. In Hellboy II, this is much more in the forefront. Even when our team gets mixed up in Prince Nuada trying to destroy the world, they have their own things to worry about. Liz and Hellboy are having problems in their relationship (and Liz has news to share) and Hellboy and Abe even find time to go get drunk.

I also liked that Liz had more to do in this movie. In the first one, in the end, she just ended up as the damsel in distress. In this one, in her own way, she saves the day. She makes a beautiful choice that’s traditionally reserved for male characters. I really loved that.

And Doug Jones, as three different characters, is a force of nature. Even covered in makeup, he’s a wonderfully expressive actor and does a lot with very little. I don’t think this movie would be quite the same if anyone else was playing Abe Sapien.

In any case, I was entirely enchanted and not at all disappointed with it. It’s what I wanted a Hellboy sequel to be. If there’s a third one or not, I don’t care. Sure, I’d go see it, but I’m happy where we left this incarnation of these characters.

Will you like it? I don’t know. I can’t tell you that. But I know I did.