Superheroes on television tend not to fare too well, although recently this trend has begun to turn around.
I remember the Nicholas Hammond *Spider-Man * series, and thought it was remarkably dumb, even at the time (and this was coming from a kid who liked the old Battlestar Galactica).
I remember the Generation X telemovie, and thought it was trying much too hard to be cool. Not grade A stuff, frankly.
I agree that every single attempt to translate Captain America into any genre other that comics has stunk. Even the old sixties cartoon wasn’t too good, and the seventies TV series was… well, durn near indescribable.
The only thing I remember about the old *Dr. Strange * movie was that the art director seemed to be trying to do Steve Ditko otherworld backgrounds, but all he had to work with was cardboard and a fog machine…
The Flash teleseries was… well, kind of uneven. Some episodes weren’t bad. Others weren’t very good. At least two that I can remember veered far enough into Adam West territory to be unintentionally laughable. As I recall, it wasn’t the sort of thing I’d bother to set the VCR to catch if I had a date that night.
I was disappointed with League of Extraordinary Gentlemen. Badly. I mean, why option the work of a talented writer if you’re not going to use a perfectly good story? This one reeked of glib Hollywood guys “improving” the concept right and left while not really understanding what the whole thing was about.
On the other hand, I’ve still got both LoEG trade paperbacks, and they’re both still good, no matter what Hollywood did to them.
I liked Hellboy; I thought it was remarkably true to the comic. The only thing I really didn’t like was the ersatz romance between Hellboy and Liz, which does not exist in the comic.
*Ghost World * was quite good, but it’s not something most people would think about when you talk about “comic book movies.” *Ghost World * was, for that matter, a pretty atypical comic book, in that it was about the relationship between two teenage girls who did not have superpowers or humungous breasts.
I think the moral of the story here is that you have to (a) understand the material, and (b) have a feel for it, and © be ready to create – from scratch, if you have to – the kind of world where these comic-book people can truly exist and do what they do. Spider-Man can exist in modern New York – he’s built that way. Batman, on the other hand, needs the gothic creepiness of Gotham City.
You’ve gotta meet the material halfway, I think.