I’ve seen a lot of passionate people on Twitter grieving the loss of Henry Cavill’s superman role. The Hollywood Reporter released a fresh scoop detailing how Warner Bros. is allegedly releasing Cavill from his contract. It’s honestly not very surprising.
On top of the Mustache-gate debacle featured in Justice League, DC just simply took Cavill for granted. They thought he had a debt to them for building up his career in a major way with “Man of Steel” and that they could do no wrong. They mistakenly thought he was a team player, a DC-Lifer in the same way that Robert Downey Jr. is for Marvel.
The reality is that Cavill wasn’t that great as superman because the movies both weren’t very good and even, oddly, chose to use him as an uninspiring, emotionally void supporting character. “Man of Steel” was a subpar movie, poorly directed and slam-packed with so much corporate advertising that it felt sleazy and desperate.
The premise that Cavill has the “potential” to be a great superman if he were used properly is unknowable. He’s a stiff American Eagle model with the jawline of a God but the personality of an Olympic announcer. He says all of his lines clearly but there isn’t any real passion or character-building behind it.
It’s as if Henry Cavill had been built by James Lipton in a film factory that produces A.I. performers. The dialogue is written in a stilted and boorish manner, sure, but the choice in actor didn’t help, either. Let’s give our comic book characters personalities again, even if it means returning the diaper.
Why not give him a Kansas-style accent? Make him espouse American values, even if it’s slightly at odds with his morality or short term decisions/choices. The most engaging thing about superheroes is their imperfectness. The whole intrigue, at least for me, is the concept of ‘what would you do if you were suddenly granted god-like powers?’
People have always claimed that fame reveals or amplifies a person’s true identity. Multiply that by ten or a hundred if that individual not only instantly became world famous, but also had the power and ability to spite his enemies with no recourse?
That’s an interesting dilemma and the angst surrounding such an issue was not believably brought out or portrayed by Henry Cavill. He looked contemplative and thoughtful when he was supposed to feel hesitant and broken. Neither the character nor the actor ever truly understood the magnificent impact of their powers.
The Avengers set a high bar when it comes to skillfully integrating a barrage of characters. They start with scenes of single characters and slowly evolve the cumulative situations in a natural way, where it feels right for the superheroes to be meeting, as the film’s title promises.
There’s a right and a wrong way to integrate characters into a universe, or a story, or a first film. And they’re all unique and require a certain sensitive, graceful directorial touch. It can’t feel like an inspection at the airport: you’re required to do this first before we can all get together and head towards our desired destination.
The way that these intros are put together can and often does determine the quality of the rest of the film. If the director treats the short introduction as a meaningless requirement and not a vital opportunity to show off a character’s personality and style, then the rest of the film probably won’t put much attention or emphasis on such details either.
Note: all members of the Justice League are included in the grading, not only the characters who haven’t had a solo film or been in any DC films yet. Superman’s inclusion is a bit of a technicality, but I counted his late-in-the-game arrival anyways. Also I decided to add a short bit on Alfred’s introduction – so he’s in there too.
I definitely enjoyed the isolated scene introducing Batman in Justice League. He’s usually brooding as Batman or as Bruce Wayne at some party he doesn’t want to be at. Here, we see him perched on a building top in what seems to be a simple job: grab the thief, tie him up, hand him to the police; classic but unexciting Batman. Instead, he hangs the thief off the edge of the building.
“Fear…I can smell it,” he says, which in any other context would be a very corny line. But it has a very literal purpose in this scenario. The flying creature that Batman is tracking is attracted to fear like moths to a light. He pulls the man back onto the building top and jumps onto the flying creature.
It gets some exposition done while also showing off Batman’s great suit and overall look, almost demon-like. It’s just enough for a character that nobody needs to get more familiar with. We’re on board with Batman: we like him, we know him – he’s cool.
Batman/Bruce Wayne introduction: B+
It might be a very small detail, but I really like how they bring Alfred into his first scene/moment. He doesn’t join the action with a funny quip such as, “You’re at it again, I see” or, “What a surprise, you’re out at night..”
Alfred, in the comics at least, is an essential character, not a comedic one. He’s in Batman’s ear, assisting him with information, radar, locations, etc. And that’s how Justice League introduces him. He makes a statement about the situation in a frank manner, as if he’s seen and done this a thousand times before, which he has.
Michael Caine was very good as a more fatherly version of Alfred, but Jeremy Irons’ no nonsense portrayal is just more fitting for Ben Affleck’s battle-worn, aging Batman.
Alfred introduction (albeit a short one): A
Wonder Woman/Diana Prince
Gal Gadot as Wonder Woman is arguably the best aspect of the DC film universe thus far. She’s magnetic yet filled with inner and outer strength. She’s opinionated and has a backstory that meshes well with interesting scenarios. And that makes it all the more disappointing that her brief introduction involves having to thwart the plans of this boring ass, hat-wearing terrorist:
Now, I understand that we know who Wonder Woman is and they just wanted to sweep through her intro and get to the characters that we haven’t met yet. But why even have a solo scene involving her if you’re going to phone it in like this? No creativity whatsoever.
A bomb. Hostages. Slow-motion (hi Zack!). Soldier-types with assault rifles. And a couple of corny lines to cap it all off: “I don’t believe it…what are you?,“. Ha. Ha. Heh. “I’m a believer,”. So she just repeated a similar sentiment back to him, but with added confusion: Is Diana saying that she believes in herself? That’s no surprise – she’s an Amazonian superhero; there’s no reason for her to not believe in herself. Thumbs up, screenwriters…Diana and Gal deserve better.
Wonder Woman/Diana Prince introduction: D+
They handled Cyborg’s introduction really poorly. All exposition and brooding. How are we supposed to get attached to this vital member of the league if his first scene is comprised solely of him complaining about his “curse”?
It isn’t a compassionate father-son relationship: Victor yells at his dad and exclaims that he’s made him into a MONSTER! Sound familiar? Nervous scientist tries to calm raging man with confusing newfound abilities? It’s been done before. And this repeat of such a scenario doesn’t bring anything new to the table.
It only detracts from Cyborg’s arc or lack of an arc. If they could have added a little bit of character interplay, like a football game featuring Victor where his father shows up or doesn’t show up, either way. Anything that brings us into their relationship on some emotional level.
Or ignore the father, as they mostly did here anyways, and just show us what Victor is all about, walking through the city streets, going to school, etc. To just drop Victor, distraught about his “monstrous” condition, onto the audience’s lap is a shame and a bit of a disgrace to his comic book legacy.
Conflict should arrive after something good or at least authentic happens, writers. Otherwise why should we feel bad or care or feel pity for Victor? The only impression I got from his first scene is that he’s very dramatic, whiny, and pretty outwardly cruel to his father. What’s that one quote about how crisis reveals character? No revelations here..
If you didn’t know about his storyline from the comics, it would be easy to think that he was going to lash out at his father and become the villain, eventually meeting up and battling it out with the league.
One saving grace as a result of Victor being a smug, angry teenager in his introductory scene: it gives Diana the opportunity to breathe as a character and act as a sort of motherly figure. She has a sense of responsibility, the sort that’s required of her as a major leader within the league.
Cyborg/Victor Stone introduction: D
The problem with bringing Aquaman to the big screen has always been the fact that he’s Aquaman. He talks to fish, as Batman lightly quips in their first scene. The screenwriters desperately want to tread within that fine line of creating a serious, complex character while also somewhat acknowledging his silly origins. He doesn’t jump ten feet into the air and plunge into the water in a half-spin torpedo dive. He does this:
He flops backwards and slides underwater, disappearing. It’s kind of funny, really. The writers so badly want to avoid any form of mockery about the character and his abilities that they don’t really show them off much at all to begin with, and when they do, the shot is held for a total of .5 seconds. Blink and you’ll miss the back-flop into the water.
We see these cave-like drawings on the wall earlier in the scene:
The simple sketches create a mythic aura to the character. Batman doesn’t know who he is, apparently, even though he has a dossier on every other league member or future member. Curry doesn’t want to talk to or be a part of Batman’s plan.
It’s kind of meta: the character that the audience and Batman have never met is annoyed for having to explain himself, for having to give any form of exposition. They barely have a conversation before suddenly the shirt is off and he’s plunging down into the ocean. Aquaman doesn’t need to talk too much: his powers are very tranquil and highly visual in concept.
It’s not a thrilling or action-packed scene, but they don’t all have to be, especially considering the very friendly serving of it later on in the film. It’s teasing his potential, which is huge and awe-inspiring in scope. They got most of the cultural stigmas/comedic aspects of his character out of the way.
“Can you at least point me to Atlantis?,” Bruce Wayne asks, a sly, knowing look on his face.
Affleck delivers it perfectly: he’s not making fun of him, he’s just giving him a bit of a hard time. A quarter smile – he doesn’t even think it’s all that funny, just intriguing. If Bruce started laughing heartily, smiling ear-to-ear, slapping Arthur on the back in jest – then we’d have a problem. But that doesn’t happen.
Batman is the leader and organizer of the league, so logically it makes sense that he would be the one to make the trek to Arthur’s location and try to recruit him. It just happens to work out that Batman is the most well-known person in the league and in real life – he has the most movies, toys, everything – so it evens out nicely to have the comfort of the known confronting the new. The interplay between them is a give-and-take: Batman and his stoic stiffness and Aquaman with his pessimism and disinterest.
Arthur even has a slight ideological difference with Batman, creating conflict within the league, an important part of any superhero team-up movie; they can’t all get along the second that they lay eyes on each other. A solid, subtle introduction of a tricky, easy-to-fumble superhero.
Aquaman/Arthur Curry introduction: B+
The Flash/Barry Allen
Whereas Cyborg’s introduction had too little emotion, The Flash’s intro has a bit too much sappiness. It’s important to explore his past, but this scene right here shouldn’t be our first look at The Flash:
It’s a quick way to explain a general summary of his past and catch up on where he’s currently at in his life. They decide to cut straight to the prison, to this sad sequence of pure dialogue. Billy Crudup delivers an intense, authentic plea to Barry to stop visiting him and live his life. He speaks slowly and intently, as if he’s been thinking about this for a long time, practicing the words to perform for Barry and try to get him to move on.
The introduction is brief and only memorable for Crudup’s short but impactful performance late in the scene. It’s a huge contrast to Barry’s later role as the comedic relief, although there’s not much relief: he’s extremely unfunny. Bad timing, delivery, and some pretty awful writing, to be fair. The quips just fell really flat for me.
The Flash/Barry Allen introduction: D+
Superman’s resurrection is a bit convoluted and overlong. It features a bit too much slow-motion considering the fact that the main catalyst in the plot/scene is THE FLASH.
The fight between Superman and the rest of the league is visceral and exciting, yet entirely pointless as well as contradictory to the premise of a team of superheroes. Superman can destroy them easily; he’s more powerful than all of them combined.
So basically the film is making the assertion that the Justice League is a group of back-up heroes in the event that Superman dies and isn’t there to swiftly clean up any mess. There is a league in the comics meant for those who apply to be a part of the league and aren’t accepted. I forget what the secondary group is called, but I know it’s not “Justice League”.
It’s admittedly pretty cool to see all of the heroes vulnerabilities come to light as well as all of Superman’s unlimited strengths. It’s a moment of bigness: I’m better, you know it, try to deal with it. It doesn’t add or continue any plot strain from Man of Steel or BvS: it’s an isolated, one time zombie-Superman break out.
It isn’t the worst way to introduce a major character late in a film, but it isn’t ideal for it to be unconnected to the past or the present in any meaningful way other than, “we can’t do this without him!”.
Superman/Clark Kent re-introduction: C-
And that’s all, folks. I don’t have anything to say about the rest of the film, both in the positive sense and in the sense that it’s been covered and dissected in every corner of the internet already. It’s not a bad movie; it’s got many good qualities and moments. But it also unfortunately falls a part many times, unable to withstand the pressure of juggling so many comic book entities in a single film.
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One of my earliest Guillermo del Toro films that I’d seen and loved was Cronos, a small little flick about an ancient artifact that grants eternal youth. It featured a great supporting character, the nephew of an old wealthy man, played by a young Ron Perlman. Perlman really chews up the role and the scenery, bringing a sort of omnipresent, vibrant energy to the ancient mythology within the films narrative. The Shape of Water has del Toro returning to these character-centric roots, filling the frame with well-defined, and often funny, characters.
Set in the 1960s, del Toro uses the period as a lift to his films overall atmosphere, packing the mise en scene with mossy green highlights, narrow hallways, and plenty of gargantuan laboratory devices to house the creature in; each scene gives off a very steampunk-like vibe.
The film stars Sally Hawkins as Elisa, a mute cleaning woman working in a semi-secret government facility (how secret can it be if these cleaning ladies are flying in and out-of-doors as if they were working at a Holiday Inn?) alongside her friend, Zelda, played sympathetically by Octavia Spencer.
There may be a satirical effort being made for the reason that the two women have free range access to the labs, as if the men of the 60s felt that women were so puny and impressionable that it wouldn’t matter what they saw or heard.
Richard Jenkins, typically a terrific but minor character actor, brings a refreshing amount of depth to his character, Giles, a proverbial ‘starving artist’ whose only friend is Elisa. Given that he’s a gay man in the 1960s, Giles struggles to express himself or create meaningful relationships, making it either ironic or just very on-point that his best friend, Elisa, is mute and can’t speak at all. But that doesn’t stop him from rambling on about Old Hollywood musicals and the like.
The creature in The Shape of Water isn’t your typical one, though he may look and move a lot like Abe Sapien, the aquatic creature who happened to appear in del Toro’s Hellboy series. There is an espionage war over the ‘asset’, as they refer to him as, with the Russians infiltrating the facility by way of Dr. Hoffstetler, though Hoffstetler’s heart is more on the side of scientific ethics than it is with the goals of his government.
Michael Shannon plays the clear-cut actual “monster” of the movie, though even his character has an added layer of complexity. Director del Toro explores the values and feelings of an everyday American family man in the 1960s, fresh with a fancy teal car, a nice home and a cold, mentally unstable interior life.
The fact that The Shape of Water is critically acclaimed and earning del Toro a series of directing awards is a fitting cap to del Toro’s fantastic filmography and career. It wouldn’t feel like a lifetime achievement award if he ended up winning best director at the Oscars. The Shape of Water is a sensitive and highly imaginative piece of film art, drawing very close to the same incredible awe and gravitas of del Toro’s undisputed masterpiece, Pan’s Labyrinth.
A visually stunning sci-fi short film that relies entirely on visual imagery to tell its story. The plot is rather vague and ambiguous, but there are several very clever cinematography tricks used against the backdrop of a desolate, dark landscape.
It seamlessly uses the pan across an object, swipe to a different character, pan, swipe, different character. The slow pans move in closer to the subject following each successive swipe, just like Spielberg did in Jaws as Brody watched the town folk swim in the water while he sat back and nervously watched.
In this story, the antagonist isn’t a shark, though, it’s a large android-like figure with a red band of light covering his eyes, like Cyclops from X-Men. He is chasing after a cyberpunk-looking figure, who’s often running in slow motion, the background a constant source of tension. The ‘cyclops’ weaves in and out of the frame horizontally, creating a demonic aura, though we don’t completely understand his moral position by the end of it.
Great world-building and production design, though it plays out more like a music video than an actual narrative. I couldn’t tell you the motivations of the characters if I tried, but whatever they are, they looked cool going after them. Personally, I would have liked the terminator-style chase sequence to be a bit more frantic and have a little less slow motion. The slow motion implies that we care deeply for this character’s livelihood, but we don’t. Speed it up and it becomes more energetic, intense, and engaging, instead of just simply pretty to look at.
The first thing I thought walking out of the theater is that this movie is either innovative or disrespectful; there is no hiding the fact that liberties have been taken with the entire genre in the new Tony Stark vehicle.
Without giving away any spoilers, if you look at the one liberty (and those who’ve seen it know exactly what it is), and judge it solely on it’s merit and the merit it had in the comics, you’re going to call it disrespectful to the origins. But if you look at how it fits into the whole plot and schema of the movie, it’s a very clever device.
The movie is about identity and accountability, and of all the character flaws shining through Tony Stark, no-one can deny he’s not afraid of being known and being accountable. Indeed, that was the whole moral conundrum that resulted in him de-weaponizing his whole company in Jon Favreau’s first Iron Man movie. And then he goes and makes a public statement to a terrorist, even blurting out his home address (though it’s surprising that by now everyone doesn’t know where the great Tony Stark lives, especially an international terrorist).
The new Iron Man does have a boat load of humor, courtesy of “Kiss Kiss Bang Bang” director Shane Black. But don’t let these cover-up the depth that aches beneath the surface. Tony Stark is living anxiously after the events of the Avengers. The anxiety-attacks could have been a little better written, maybe with hallucination or more of his pain shown alongside visuals.
Robert Downey Jr. looks wide-eyed and breathes heavily throughout the film. And although he’s a great actor, there’s just not enough built-in or earned emotion for us to feel a whole lot of sympathy; and just imagine how difficult it might be for a viewer who hasn’t seen the events of the The Avengers.
Some of the greatest scenes in the movie come in the form of a young boy Tony finds in a small-town. Their personalities are very similar and it results in a lot of spark on-screen. They quip, talk about fathers, and help each other out in a charming, big brother sort of way.
The remote-controlled armor is an odd duality. The movie’s premise promotes the idea that Tony is Iron Man, Iron Man is not Tony. It’s an inciting moment for Tony’s third-act epiphany; he has gone too far. He builds a boat load of armor, his technology commanding a bit too much of his attention.
The movie is an interesting exploration of the old theme of man-or-machine, even if the climax may be a bit overlong. The explosions never really end in the climax and the lack of quiet moments spliced in between the chaos creates a numbing affect. The repetition of the action sequences simply normalizes the barrage of fireworks. It goes off the rails, falling into the default mode of a standard superhero showdown.
David Cronenberg’s ‘Cosmopolis’ isn’t as effective as one would hope from a director with such longevity. It features Robert Pattinson as a young capitalist, Eric Packer, roaming in a limo through a city that, in numbers, is practically his. He is confident and filled with absolutism, the sort of rock-hard complex that can explain his seat in society without one even knowing his profession. Pattinson rolls off Cronenberg’s intellectual jargon with sterility, creating a mood outside of the character: The things Packer says sometimes seem outside of himself, like he is talking not about what he wants to do, but what he should.
The themes are different for Cronenberg: sure, the movie has sex, sexual demands, and lack of meaning behind sex, all part of his past portfolio, but he takes on capitalism with a preachers might. He’s really trying to pry some nastiness up from the ground; but in all, It’s hard to take it in from a character like Eric Packer, who has conquered the system. As the majority are not rich and well-informed, the didactic notions of the people concerned in the movie all seem hypocritical. The people who are more impacting when it comes to capitalist unfairness are from the neo-realist films of Italy and America’s depression-era.
With all great filmmakers, a flop is still worth more of a penny than the work of other less gifted directors. There are moments in Cosmopolis that are thrilling and artful, most especially the scenes including Paul Giamatti as a man who wants to kill for notoriety. It takes a scene with little physical content or inventiveness and analyzes it far beyond first glance. In the end, if you’re going to be killed, talking about it doesn’t change anything.
One aspect of Cosmopolis that is done right: the music. It’s a bumping, techno-like rhythm that rolls along side the colorful limousine, all done originally by Howard Shore. It features the death of a rapper–and his subsequent song playing as Packer mourns the death he, as an information man, didn’t know about right away. He’s as much crying about his lack of knowledge as he is the death, having met him but once.
The cold nature of the film will turn some away without a doubt. But this surreal, strangely engaging film presents streams of ideas followed by detailed direction by David Cronenberg.
I was happy to be able to see Dredd not only in 3D, but also at a multiplex specializing in I MAX. It was a truly exciting film: from the beginning scenes spanning across the outer region of Mega City One, with towering buildings scattered across the land, to a zooming motorcycle hosting a well-equipped Judge: In this case, Judge Dredd. Played by Karl Urban, who seemed at first a little too much of a character actor, he puts on the boots and shows he’s got the muscle for the job. Wearing a mask that covers him from the nose up, he has the huge task of working with minimal gesture, and not making it look campy and forced, like Sylvester Stallone did in the original movie.
The plot is fairly simple and objective: a veteran judge is forced to take a rookie along, only to end up imprisoned in a tower swamped with gun-men and drug hounds. This rookie, though, is not the normal wanna-be judge. She is a very powerful psychic: she can twist the mind and predict the future based on the thoughts surrounding her. Quite the asset for a police raid, yes. The special drug involved is called ‘Slo-mo’, a substance that causes the user to slow down in time, seeing action and motion at a very low speed. This is used conceptually to great effect: when two men are thrown off a building, we understand why they are forced to take this drug. And we pity, unlike Judge Dredd.
The character of Dredd is not very complex: It seemed that in the original film, they tried more to pry into the skin behind the helmet, and the poor execution caused that to fail. But here they don’t seem to be trying to pry at all. It seems more attention has gone towards the action and intensity, which are both top-notch, while Dredd says little besides one-liners, some stronger than others. The one-location premise, though, is sometimes a bore: It’s hard to imagine the unpredictable when you know the location is static; it’s one of those movies where you wonder how it could go on and where it’s going to be headed next, which isn’t always a good thing.
The lighting and set-design for Dredd matches it’s tone perfectly: It’s dark shadows and gritty decor are a reflection of the corruption and abuse ongoing in Mega City One. Essentially, Dredd holds the same plot foundation as The Raid: Redemption from 2011, though the style is undoubtedly different. In The Raid, swat-teams are designated to take down a drug building: in Dredd, only two armored Judges are sent out.
David Cronenberg’s ‘The Dead Zone’ has the usual characteristics that accompany his films; slow, character-driven narrative; intelligent use of story concepts and a keen sense of suspense. But the episodic, time-leaping narrative doesn’t feel like the sort of loose storytelling suitable for the concept behind the film. It features Christopher Walken as a second-sighter, a man who by touching the hand of a person with his own can see beyond the present and envision future tragedies or murders. The film develops his powers through episodes and encounters with certain people; after a car accident and five years in a coma, he wakes up to find his once true love has understandingly moved on. This leads to several emotionally intense scenes between the two, but he loves Sarah enough to not be angry or disapproving of her decision to move on with her life.
Though it is similar to Cronenberg’s style, it is also a somewhat mainstream turn for the director. Based on a Stephen King novel, it shows just how far Cronenberg refuses to bend his personal touch for the sake of mass audience appeal : not very much. Some viewers may find slow scenes of character development tiresome; but most, I think, would find the concept intriguing and the suspense enchanting.
Once Johnny rehabilitates, he sees the first hints of his powers through his Doctor, Sam Weizak. When he touches his hand, he’s able to view or re-live the doctor’s past, during a thriving war, filled with rolling tanks and fire and angst. Tonally, It seems wrong to make the first vision Johnny has as a massive set-piece; but, this is the first proof to Johnny and his Doctor, after Sam calls his mother, who he thinks has died, upon Johnny’s request, and discovers Johnny is right: she’s alive.
Johnny’s second-sight ability is exploited through the media. During a press conference, a bold man demands answers about Johnny’s abilities. He flies up to Johnny at his table, sits down and extends his hand, an experiment, though a little different than the one seen in Cronenberg’s earlier feature, Scanners, where a man’s head pops like a tomato. This reporter is told things he doesn’t want to hear: about his sister, about his past. He jumps down from the hot-seat angry: the joke isn’t funny, and Johnny, played with utter psychosis by Christopher Walken, is not laughing.
The set-design on The Dead Zone has an eerie, small-town tone to it that, if you’ve ever read Stephen King, feels like the adaption is not only of the words, but the feel as well of working-class terror.
Cronenberg doesn’t use the second sight as a narrative tool or a mechanism to throw the viewer off. He could very easily have mixed reality with prediction and created a much more mind-bending film; but instead, he makes a practical movie with emotional intelligence and scene after scene of brooding tenseness.
The Dark Knight Rises doesn’t isolate itself from its predecessors, like it does the citizens of Gotham. It is constantly referencing the mythology and the prequels, little nuggets that the pure fan-boy can appreciate. The director, Christopher Nolan, commented on the graphic novel “The Long Halloween” with much praise, and that is the sort of recognition that makes us assured that he’s the man for the job, or should I say was. His trilogy has marked itself on the wall of epic blockbusters, juxtaposing itself boldly against The Matrix and even The Lord of the Rings. But this isn’t the breakthrough conclusion that acts like a parent to the earlier entries; no, this is a bomb-flying thrill ride at times, but a slow-paced dialogue romp at others. It’s not the sort of comparison that does any sort of cinematic justice.
Batman has been gone for eight years, following the death of Harvey Dent. When a notorious villain involved in the League of Shadows surfaces, who they call Bane, he is pumped into confronting evil once more. A death-trap, his physique is not as tuned as Bane, and the Police haven’t stopped hating him. He deals with personal meditation similar to the strenuous training in the first Batman film, “Batman Begins”.
“I believe in black eyeliner.”
The first quarter of the movie, I feel, is unbearable. It is the worst constructed aspect of the film, with redundant dialogue and one-line emotions. Bruce Wayne has become a recluse, and people are starting to poke fun at him; long-nailed Wayne and the like. But do we really need several unknown and unexplored characters throwing out nasty puns about him? Then, we see Alfred for the first time, directing a kitchen full of young maids preparing the meals for a banquet; he is the hearty caretaker, not an objective wedding planner. But then, Nolan turns it around with a waterfall of emotion: Alfred tells Bruce how he wishes he had a family, and would move on from the Batman gig. He tells him about his dreams. While this Is expected in the conclusion, and there are definitely hugely poignant moments between the two, the frequency of there tear-sharing causes it to have less of a punch.
One thing that causes The Dark Knight Rises to seem like a recovering of 2009’s The Dark Knight is that Mr. Wayne is coming out of retirement. We watch Bruce inch himself back into the world, re-establishing his friendships with Foxx and Jim Gordon; but we know them, and we know how they will respond, essentially with the same elbow-nudging wit as everyone else. I really think the dialogue was neglected here: 2009’s Dark Knight is jam-packed with philosophical and memorable ramblings.
Selina Kyle a.k.a Catwoman
Here, the one-liner is prominent and over-used. And the only one who deserves and can perform them, Is Anne Hathaway’s Catwoman. A master jewel thief and a secret Wayne admirer, she leaps hesitantly between her own self-interests and actually making a difference, while always bursting with her signature sass. Spoiler: She doesn’t really purr at all.
There are a lot of new characters in Rises, and pretty much all of them were involved in Nolan’s film ‘Inception’. Introduced is police officer John Blake, played by Joseph Gordon Levitt, who is an idealistic orphan with a strong intrigue for the Harvey Dent/Batman case. He believes Batman didn’t kill Harvey, or at least refuses to believe it. He was a sign of hope to him and the other children at the orphanage. Jim Gordon soon becomes aware of the Police Officer, and moves him over to his side. He is an overall strong character, even if not entirely necessary, especially on the final film.
The villain of Rises is the notorious Bane, a brass-shouldered leader with a clan full of devoted followers. His story is told in a Roman-like fashion, showing him at a young age, living underground in the hell of a Gotham prison. He did what no-one else could: he made the jump into the light, as a young child. The connections between this film and Batman Begins makes me think one ought to back it up and watch Batman Begins again; Scarecrow will seem funnier. And with the League of Shadows being referenced a lot in Rises, some will be clueless, but if you see Batman Begins, It all connects beautifully and conclusively. Even Liam Neeson makes a guest appearance from his earlier role, albeit only for a few seconds.
Marion Cotillard, the actress playing the delusional wife in ‘Inception’, stars as Miranda, a charity-driven woman trying to work with Wayne to better the world. She is sensitive and business-like, and even despite obvious differences between the two, they grow on each other and become intimate. She takes over the company when Bruce steps up to the Bat-mobile, and is trusted to watch over a Russian scientist’s fission reactor that could potentially provide sustainable energy. The scientist is in the first scene, I believe, since the first scenes of a movie you don’t know who to focus on, I settled for Bane. The scientist was taken out of the plane, which was crashed by Bane and company, and pronounced dead: In reality, Bane parachuted him out.
People were saying from the start that Bane was difficult to understand through the mask. His breathing and talking are one in the same, and the static does sometimes make it difficult; but mostly whats causing the difficulty is the purposefully off-pitched acting from Tom Hardy. He follows a string of low-pitched words with an accentuated high-pitched voice, creating a chilling enthusiasm behind such massive biceps.
The camerawork is staged very similarly to the other Batman films. Slow pan-ins to old men with jaws hanging low in awe, scrolling scenery of the city. Mostly every scene transition converts into a pan, moving in towards something, whether its Catwoman cracking a safe or a Wayne board meeting. During the exposition, this transitional panning is used to a conscious point: let’s slow down the cutting and the drowning Hans Zimmer score and actually have some intertwining plot strings. And it lasts nearly an hour.
The Dark Knight Rises has memorable parts, though it also has parts that create gaps in the chronology out of lack of profundity. Even with a few narrative bumps, it is still an intense, world-encompassing, (well, city-encompassing), film with enough characters to give us a tour of the whole city.
The Amazing Spider-Man reboot has of course caused a hoopla of ‘what?’ and confusion, since only several years ago the franchise had concluded. The first Spider-Man was Sam Raimi’s vehicle, a wondrous display of set-pieces and talent: But with the new Spider-Man, we see a new look, tone, and feeling for the character. Here, Peter Parker has the on-the-fringe personality that is so attracting in the movies: Avenger flicks have made huge gross amounts in movie history. His parents left him at a young age with his Uncle Ben, played with the old-style charm of Martin Sheen, and Aunt May. Although It distinctly establishes its own uniqueness, there are some scenes that seem strangely similar.
I liked the fact that Spider-Man had to create, spindle shall we say, his own webs. It put a limitation to his tower-swinging capabilities; after all, you can’t be heroic without an Achilles heel. It has a true effect of trying to fit-in with a modern-retelling; the characters use smart-phones and Bing search engines, but the drama always remains in the neatly-wound realm of superhero flicks. When Peter comes home, late at night, bloody in the face, the Aunt assumes nothing, or seems not to; and right after Peter is bit, he comes home in a jittery sweat, eating and catching flies between two fingers: Why couldn’t Uncle Ben ask him if he was on coke? These are domestic people, let’s show it that way.
Garfield’s Parker is a lot more narcissistic with his own feelings, partly because more tragedy is involved in this Spider-Man. There are many scenes where he is teary-eyed, and easily visible behind his dusty, bloody face. He needs Gwen Stacy, played by Emma Stone, and at first it seems to be a Romeo and Juliet story, only the Montagues end up dieing instead of the children. There scenes have a vibrant, muted expression, and an innocence that is too far gone in Peter’s life.
The villain in The Amazing Spider-Man is a bit unusual. We don’t necessarily have that subjection of hatred towards him like most superhero flicks; he is a brilliant scientist with a desire to change his life and handicap, and even the lives of others. Though, after recording himself deep in the sewers, we see that he is not only turning into a reptile, but also a ideological mess; he has the sort of impenetrable mindset that insists on helping the world by turning them all into lizards like him. A brooding tale of deceit, responsibility, and family history.