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RəX Regent (349 KP) rated The Dark Knight (2008) in Movies
Feb 19, 2019
Batman Begins‘ ending was a brilliant nod towards the things that were to come, as Gary Oldman’s, newly promoted Lieutenant Jim Gordon flashes The Joker’s calling card, Batman’s revival had now well and truly begun. A film with lesser known villains was about to retread more familiar ground with the introduction of The Joker and Harvey Dent/Two Face.
But this was Christopher Nolan’s more grounded take on the superhero, and his villains needed to be much more than the hammy caricatures that we’d seen before. The late Heath Ledger made the role of The Joker his own in ways that no-one could have imagined. This was a dark, evil and terrifying take on the character with an evil sense if humour but he is in keeping with the villain that we know so well.
The origins of the Dark Knight were covered expertly in the first film, and now it is time to take that story one step further, so consequently this is now more about crime in Gotham City. The criminal underworld is now in turmoil as Batman, Gordon and the new District Attorney, Harvey Dent are leaning on them, but when things turn ugly, they turn ugly!
The beauty of this film is that it takes off pretty much from where the first left off, but the tone has changed a bit. This owes a lot to Michael Mann’s, Heat, and focuses much more on Wayne/Batman’s attempts to rid the city of crime, whilst his opposite and nemesis, The Joker, is proving himself to be nothing less than a pure anarchist, unreasonable and nonnegotiable.
Is this better than Batman Begins? Yes, but only fractionally. It’s slightly tighter and more complex, with every set piece seamlessly moving on to the next complex sequence, where the grand plan is rarely what it appears to be. The film’s narrative is deceptive, playing with its characters and the audience alike. This is film-making at it’s very best. The perfect blend of grand direction, passionate character development and performance and writing, with a narrative and structure designed to engage and enthrall the viewer without patronising or insulting their intelligence.
I believe that this film is a masterpiece and genuinely the best movie of this genre ever made. There are so many examples of how to do a comic adaptation and many great examples to boot, but I feel that this blends them all so well. It’s a franchise film without falling into the trap of being part of franchise. Each film is a real film its own right, with a plot, arch and tone.
The narrative continues, but the feel evolves to suit the film, and though Begins and Knight seamlessly work together, either could also be taken as a film by themselves, each with the integrity to hold their own. But as a franchise movie, it is still littered with nods to the future, or in some cases, more subtle entries into the lore.
Take Mr. Reese for example. This was a name used by The Riddler and many suspected at the time that it was linked to the third film, but so far, there’s no talk of The Riddler’s involvement, in fact there has been an outright denial. But I believe that in effect, he has already appeared, though in a much muted manner. Mr. Coleman Reese, or Mister-REES (mysteries anyone?), threatens to out Wayne as Batman but is stopped by The Joker, but maybe the fact that he worked for a consultancy employed by Wayne Enterprises and threatened Wayne with blackmail etc… was a mild acknowledgment of The Riddler’s character.
This is what we’re talking about when we look at Nolan’s work. He spares nothing, but delivers the film in ways that doesn’t always conform to your expectations. And don’t forget th line about the Cats line either…
Overall, The Dark Knight is the epitome of the reboot genre, taking so much from the original source without copying, but bringing a genuinely deep, thoughtful and emotional take on a comic book character who dresses like a bat and solves crime… May the genius of Christopher Nolan and his team carry on for years to come, but I do fear that he’s heading for a fall, purely on the basis that no-one can produce films of this outstanding quality for ever… can they?
But this was Christopher Nolan’s more grounded take on the superhero, and his villains needed to be much more than the hammy caricatures that we’d seen before. The late Heath Ledger made the role of The Joker his own in ways that no-one could have imagined. This was a dark, evil and terrifying take on the character with an evil sense if humour but he is in keeping with the villain that we know so well.
The origins of the Dark Knight were covered expertly in the first film, and now it is time to take that story one step further, so consequently this is now more about crime in Gotham City. The criminal underworld is now in turmoil as Batman, Gordon and the new District Attorney, Harvey Dent are leaning on them, but when things turn ugly, they turn ugly!
The beauty of this film is that it takes off pretty much from where the first left off, but the tone has changed a bit. This owes a lot to Michael Mann’s, Heat, and focuses much more on Wayne/Batman’s attempts to rid the city of crime, whilst his opposite and nemesis, The Joker, is proving himself to be nothing less than a pure anarchist, unreasonable and nonnegotiable.
Is this better than Batman Begins? Yes, but only fractionally. It’s slightly tighter and more complex, with every set piece seamlessly moving on to the next complex sequence, where the grand plan is rarely what it appears to be. The film’s narrative is deceptive, playing with its characters and the audience alike. This is film-making at it’s very best. The perfect blend of grand direction, passionate character development and performance and writing, with a narrative and structure designed to engage and enthrall the viewer without patronising or insulting their intelligence.
I believe that this film is a masterpiece and genuinely the best movie of this genre ever made. There are so many examples of how to do a comic adaptation and many great examples to boot, but I feel that this blends them all so well. It’s a franchise film without falling into the trap of being part of franchise. Each film is a real film its own right, with a plot, arch and tone.
The narrative continues, but the feel evolves to suit the film, and though Begins and Knight seamlessly work together, either could also be taken as a film by themselves, each with the integrity to hold their own. But as a franchise movie, it is still littered with nods to the future, or in some cases, more subtle entries into the lore.
Take Mr. Reese for example. This was a name used by The Riddler and many suspected at the time that it was linked to the third film, but so far, there’s no talk of The Riddler’s involvement, in fact there has been an outright denial. But I believe that in effect, he has already appeared, though in a much muted manner. Mr. Coleman Reese, or Mister-REES (mysteries anyone?), threatens to out Wayne as Batman but is stopped by The Joker, but maybe the fact that he worked for a consultancy employed by Wayne Enterprises and threatened Wayne with blackmail etc… was a mild acknowledgment of The Riddler’s character.
This is what we’re talking about when we look at Nolan’s work. He spares nothing, but delivers the film in ways that doesn’t always conform to your expectations. And don’t forget th line about the Cats line either…
Overall, The Dark Knight is the epitome of the reboot genre, taking so much from the original source without copying, but bringing a genuinely deep, thoughtful and emotional take on a comic book character who dresses like a bat and solves crime… May the genius of Christopher Nolan and his team carry on for years to come, but I do fear that he’s heading for a fall, purely on the basis that no-one can produce films of this outstanding quality for ever… can they?
Gareth von Kallenbach (971 KP) rated Batman Begins (2005) in Movies
Aug 14, 2019
In the dark of night, a young man’s life is about to be forever changed. Young Bruce Wayne, son of wealthy industrialist Dr. Thomas Wayne (Linus Roache), is about to be orphaned in a random act of street violence.
The act will forever scar the younger Wayne, and will install and fuel a dark fire to stop crime and corruption wherever they may be. Fast forward years later and Bruce (Christian Bale), is interned in and Asian prison as a result of his desire to stop crime and an unfortunate series of events that made him flee Gotham City to find himself. Hope arrives one day in the form of a visitor named Henri Ducard (Liam Neeson), who arranges not only to free Bruce, but to train him for his destiny.
High atop a rocky, snow-covered peak, Bruce undergoes rigorous physical and mental training to hone his body and mind into the ultimate tool to combat crime. As time passes, Bruce eventually is ready to go out into the world. That is until an unexpected situation arises that forces him to decide which path he wishes to select.
The aftermath of this decision has Bruce returning home to Gotham City, where he is again under the care of the trusted family servant Alfred (Michael Caine), who informs him that crime and corruption is rampant in Gotham because the crime leader Carmine Falcone (Tom Wilkinson), has many members of the police force and judicial system under his influence.
While touring his father’s company, Bruce meets Lucius Fox (Morgan Freeman), who makes all manners of high-end experimental military weaponry and armor available to Bruce. Inspired, Bruce begins to craft his alter ego Batman, and takes to the nights to disrupt Falcone and the criminal activities in Gotham.
Unknown to Bruce/Batman, an evil villain known as the Scarecrow (Cillian Murphy), is plotting to destroy Gotham, and with Batman being wanted by the police as a vigilante his attempts to cleanse the city are hindered as Bruce/Batman must fight a war on different fronts.
For most films this would be more than enough plot to carry a summer action film, but for Batman Begins, it is only the setup as the depth of the story is surpassed only by the depth of the intensity and emotion of the film as this is not Tim Burton or Joel Schumacher’s campy takes on the tale of the Dark Knight.
Director Christopher Nolan takes the gloves off and shows that his triumphant work in “Memento” was not a fluke. He has crafted a complex, dark, and emotional film that is more of a drama than a comic book caper. Bale does a masterful job portraying the angst and anger of his character without ever being hammy or over the top. He portrays Wayne as a very normal, yet disturbed soul, who clearly has a method to his madness and is not a shallow once dimensional character. When Bruce is not out fighting crime, he is not above cracking jokes, squiring the ladies about town, and spending time with long time friend (and the one who got away) Rachael Dawes (Katie Holmes).
The film takes many twists and never gets sappy as far too many comic based films do. In fact, the intensity of the film keeps going up until the town literally explodes into frenzy of violence and chaos. Parents should note that this Batman is a very intense film filled with dark images and as such may be too intense for younger viewers as this is a film that is aimed towards a more mature audience.
As I sat through the films nearly two and a half hour running time, I was captivated as the film holds your attention throughout, and is filled with great performances and action. The chase scene with the new Batmobile is one of the best car chase sequences in recent memory and the action scenes move with a crisp and steady pacing. Bale, as I mentioned, does great work, but so do Neeson, Caine and Gary Oldman in a supporting role as Police Officer Gordon. They take supporting characters and infuse them with a touch of humanity that enables them to come across as real people rather than the thin constructs that are far too often passed on as characters in films of this type.
The only real quibble I had with the film, and it is very minor, would be that Holmes was not given a chance to show more to her character other than the duality of the damsel in distress and the passionate Assistant D.A. Her scenes with Bale seem to lack the spark and chemistry of someone who is supposed to have been a close friend of Bruce since they were children.
That being said, the mature nature and gripping and deep storyline, as well as the standout performances and action, make this film a true classic and rivals “Spider-Man” as the best and most faithful adaptation of a comic book.
The act will forever scar the younger Wayne, and will install and fuel a dark fire to stop crime and corruption wherever they may be. Fast forward years later and Bruce (Christian Bale), is interned in and Asian prison as a result of his desire to stop crime and an unfortunate series of events that made him flee Gotham City to find himself. Hope arrives one day in the form of a visitor named Henri Ducard (Liam Neeson), who arranges not only to free Bruce, but to train him for his destiny.
High atop a rocky, snow-covered peak, Bruce undergoes rigorous physical and mental training to hone his body and mind into the ultimate tool to combat crime. As time passes, Bruce eventually is ready to go out into the world. That is until an unexpected situation arises that forces him to decide which path he wishes to select.
The aftermath of this decision has Bruce returning home to Gotham City, where he is again under the care of the trusted family servant Alfred (Michael Caine), who informs him that crime and corruption is rampant in Gotham because the crime leader Carmine Falcone (Tom Wilkinson), has many members of the police force and judicial system under his influence.
While touring his father’s company, Bruce meets Lucius Fox (Morgan Freeman), who makes all manners of high-end experimental military weaponry and armor available to Bruce. Inspired, Bruce begins to craft his alter ego Batman, and takes to the nights to disrupt Falcone and the criminal activities in Gotham.
Unknown to Bruce/Batman, an evil villain known as the Scarecrow (Cillian Murphy), is plotting to destroy Gotham, and with Batman being wanted by the police as a vigilante his attempts to cleanse the city are hindered as Bruce/Batman must fight a war on different fronts.
For most films this would be more than enough plot to carry a summer action film, but for Batman Begins, it is only the setup as the depth of the story is surpassed only by the depth of the intensity and emotion of the film as this is not Tim Burton or Joel Schumacher’s campy takes on the tale of the Dark Knight.
Director Christopher Nolan takes the gloves off and shows that his triumphant work in “Memento” was not a fluke. He has crafted a complex, dark, and emotional film that is more of a drama than a comic book caper. Bale does a masterful job portraying the angst and anger of his character without ever being hammy or over the top. He portrays Wayne as a very normal, yet disturbed soul, who clearly has a method to his madness and is not a shallow once dimensional character. When Bruce is not out fighting crime, he is not above cracking jokes, squiring the ladies about town, and spending time with long time friend (and the one who got away) Rachael Dawes (Katie Holmes).
The film takes many twists and never gets sappy as far too many comic based films do. In fact, the intensity of the film keeps going up until the town literally explodes into frenzy of violence and chaos. Parents should note that this Batman is a very intense film filled with dark images and as such may be too intense for younger viewers as this is a film that is aimed towards a more mature audience.
As I sat through the films nearly two and a half hour running time, I was captivated as the film holds your attention throughout, and is filled with great performances and action. The chase scene with the new Batmobile is one of the best car chase sequences in recent memory and the action scenes move with a crisp and steady pacing. Bale, as I mentioned, does great work, but so do Neeson, Caine and Gary Oldman in a supporting role as Police Officer Gordon. They take supporting characters and infuse them with a touch of humanity that enables them to come across as real people rather than the thin constructs that are far too often passed on as characters in films of this type.
The only real quibble I had with the film, and it is very minor, would be that Holmes was not given a chance to show more to her character other than the duality of the damsel in distress and the passionate Assistant D.A. Her scenes with Bale seem to lack the spark and chemistry of someone who is supposed to have been a close friend of Bruce since they were children.
That being said, the mature nature and gripping and deep storyline, as well as the standout performances and action, make this film a true classic and rivals “Spider-Man” as the best and most faithful adaptation of a comic book.
Matthew Krueger (10051 KP) rated Gremlins 2: The New Batch (1990) in Movies
Dec 22, 2020
Gremlins Take Over The Big Apple
Gremlins 2: The New Batch- is a good sequel. Its still has its dark humor, comedy, horror and of course many gremlins. And you cant not forgot about Hulk Hogan, yes you read that right Hulk Hogan is in this. And the horror legend and icon Christopher Lee is also in this.
The plot: The magical collectibles store that Gizmo calls home has just been destroyed, and the tiny monster finds his way into a newly erected skyscraper. Billy Peltzer (Zach Galligan) and his bride-to-be, Kate (Phoebe Cates), who have previously dealt with Gremlins run amok, discover that Gizmo and an impish legion of reptilian pals are inhabiting the downtown building. The couple tries to stop the creatures from escaping into New York City, but this new batch of beasts might be uncontrollable.
Like the first film, Gremlins 2: The New Batch is a live-action horror comedy film; however, Dante put effort into taking the sequel in new anarchistic directions. The film is meant to be more cartoon-like and less dark than the original, with slapstick violence, so the film received a PG-13 rating by the Motion Picture Association of America (MPAA). There are also a number of parodies of other films and stories, including Gremlins itself, the Rambo films, The Wizard of Oz, Marathon Man and The Phantom of the Opera.
Along with the main plot, there is animation by Chuck Jones in the film featuring the Looney Tunes characters Bugs Bunny, Daffy Duck and Porky Pig. Jones had actually quit animation before returning to work on Gremlins 2: The New Batch.Dante explained the animation at the beginning of the film was meant to "set the anarchic tone."
The first scene appears at the very beginning of the movie, and features the classic Looney Tunes opening card, causing people to assume it is the short cartoon that usually plays before a movie begins; however, when Bugs appears through the rings on top of the Warner Bros. shield, Daffy interrupts the intro, and steals the shield from Bugs. Daffy attempts to recreate the opening with himself in Bugs' place, but the shield overshoots, causing the entire title card to fall apart. Daffy surrenders the stardom, claiming that since he will not star in the cartoon, they might as well just skip straight to the movie. Bugs is willing to do so, and spins Daffy off screen like a spinning top for the movie title to appear.
The DVD and Blu-ray include a longer version of the cartoon short. In it, Daffy is informed by Bugs that he has been promoted to executive and is subsequently put in charge writing the title of the movie. When Daffy mistakenly writes the title Gremlins 2 as "Gremlin Stew", Bugs corrects the error. Daffy then attempts to rename the film The Return of Super-Daffy Meets Gremlins 2 Part 6: The Movie, but Bugs rejects this for being too long, changing it back to Gremlins 2 (rendered in the font of the official logo). Daffy then quits his new job and Bugs decides to add in the subtitle, saying it looks "a little skimpy". This material was removed from the film because early audiences expected a live-action film and were bewildered by the lengthy animated sequence.
Throughout the film's closing credits, Daffy pops into frame sporadically and spouts off sarcastic comments. The last scene appears after the credits, and again features the Looney Tunes rings. This time, Porky comes out of the rings and tries to say his usual "Th-th-th-that's all, folks!" However, Daffy interrupts again and takes over. After Daffy says the slogan, the back of the Warner Bros. shield, with the words, "Title Animation Written & Directed by Chuck Jones (with Chuck Jones' signature)", smashes him. He peeks his head out to the left side and says, "Fade out," and the segment ends.
Its a good film.
The plot: The magical collectibles store that Gizmo calls home has just been destroyed, and the tiny monster finds his way into a newly erected skyscraper. Billy Peltzer (Zach Galligan) and his bride-to-be, Kate (Phoebe Cates), who have previously dealt with Gremlins run amok, discover that Gizmo and an impish legion of reptilian pals are inhabiting the downtown building. The couple tries to stop the creatures from escaping into New York City, but this new batch of beasts might be uncontrollable.
Like the first film, Gremlins 2: The New Batch is a live-action horror comedy film; however, Dante put effort into taking the sequel in new anarchistic directions. The film is meant to be more cartoon-like and less dark than the original, with slapstick violence, so the film received a PG-13 rating by the Motion Picture Association of America (MPAA). There are also a number of parodies of other films and stories, including Gremlins itself, the Rambo films, The Wizard of Oz, Marathon Man and The Phantom of the Opera.
Along with the main plot, there is animation by Chuck Jones in the film featuring the Looney Tunes characters Bugs Bunny, Daffy Duck and Porky Pig. Jones had actually quit animation before returning to work on Gremlins 2: The New Batch.Dante explained the animation at the beginning of the film was meant to "set the anarchic tone."
The first scene appears at the very beginning of the movie, and features the classic Looney Tunes opening card, causing people to assume it is the short cartoon that usually plays before a movie begins; however, when Bugs appears through the rings on top of the Warner Bros. shield, Daffy interrupts the intro, and steals the shield from Bugs. Daffy attempts to recreate the opening with himself in Bugs' place, but the shield overshoots, causing the entire title card to fall apart. Daffy surrenders the stardom, claiming that since he will not star in the cartoon, they might as well just skip straight to the movie. Bugs is willing to do so, and spins Daffy off screen like a spinning top for the movie title to appear.
The DVD and Blu-ray include a longer version of the cartoon short. In it, Daffy is informed by Bugs that he has been promoted to executive and is subsequently put in charge writing the title of the movie. When Daffy mistakenly writes the title Gremlins 2 as "Gremlin Stew", Bugs corrects the error. Daffy then attempts to rename the film The Return of Super-Daffy Meets Gremlins 2 Part 6: The Movie, but Bugs rejects this for being too long, changing it back to Gremlins 2 (rendered in the font of the official logo). Daffy then quits his new job and Bugs decides to add in the subtitle, saying it looks "a little skimpy". This material was removed from the film because early audiences expected a live-action film and were bewildered by the lengthy animated sequence.
Throughout the film's closing credits, Daffy pops into frame sporadically and spouts off sarcastic comments. The last scene appears after the credits, and again features the Looney Tunes rings. This time, Porky comes out of the rings and tries to say his usual "Th-th-th-that's all, folks!" However, Daffy interrupts again and takes over. After Daffy says the slogan, the back of the Warner Bros. shield, with the words, "Title Animation Written & Directed by Chuck Jones (with Chuck Jones' signature)", smashes him. He peeks his head out to the left side and says, "Fade out," and the segment ends.
Its a good film.
RəX Regent (349 KP) rated The Dark Knight Rises (2012) in Movies
Feb 19, 2019
Contains spoilers, click to show
After four years, since The Dark Knight ended, leaving us wanting more and seven years since Christopher Nolan reinvented the comic book adaptation with Batman Begins, The final chapter of The Dark Knight Trilogy has arrived.
With this much hype, would it possible live up to potentially bloated expectations? The first reviews hit last monday, with 4 to 5 stars being the consensus. Well, it did! The Dark Knight returns one last time, after eight years have passed since the events of The Dark Knight and Batman had retreated into the rebuilt Wayne Manor as Commissioner Gordon (Gary Oldman), maintaining the lie that Harvey Dent was Gotham’s The White Knight, and not the maniacal Two-Face, had managed to clean up Gotham City.
Batman was no longer needed but in the meantime, Bane has arrived in the city with grand plans for its destruction. I won’t go much further into the plot that this, though I will probably write a more spoiler heavy review for the Blu-ray later in the year. But for now, I will try to maintain the film’s integrity.
When we first meet Bruce Wayne after almost a decade of seclusion, he is a broken man, both physically and mentally following the murder of his childhood sweetheart, Rachel Dawes in the previous film and the toll of nightly combat. So the first port of call is to bring Batman back to the streets of Gotham. The sense of excitement is palpable and very much a part of what makes Nolan’s films tick.
He draws his audience into the narrative as if we are part of the events and the universe as it unfolds, leaving us not just wanting Batman to return for the sake of the action but for Gotham’s sake as well. Bane, played so excellently by Tom Hardy, was a little difficult to understand from behind his mask, but still conveyed an enormous amount of presence and power, as he lays siege to the city but not as Terrorist per say, but as a freedom fighter or revolutionary, with many visual references to the French Revolution to keep us going.
Anne Hathaway’s Catwoman, though not named as anyone other than Selina Kyle, was a credit to her character as well as the actress. Dark, sultry, seductive and agile, her feline credibly was intact, whilst still being a very human character. Her duplicity was bread from desperation rather than evil and her motives convincingly drive her in both good and more dubious endeavours.
*** MAJOR SPOILER***
The less said about Talia Al Ghul the better, but the for those aware of her role, it was well-played, though her final scene was the hammiest in the film, possibly the entire trilogy.
Then there’s the supporting cast, such as Mathew Modene, who does a great job as Dept. Commissioner Foley and Cillian Murphy’s back again, as the subtly unrecognisable Scarecrow, who besides some frayed shoulder’s on his jacket, could have been anyone,and that’s the beauty of Nolan’s Batman universe. It’s fluid and you can’t count on anything on anyone for too long.
But this franchise would be nothing without Hans Zimmer percussive score, pounding as much as it was gentle, it works well among with Nolan’s direction to craft the near perfect conclusion to the Trilogy. Both riff on earlier films and supe it up accordingly whilst maintaining the film’s integrity.
In the end, my expectations were met and exceeded. Nolan has crowned his trilogy with a film which is of the same calabar as the two which preceded it, filling in many of the blanks, choosing the right characters to take on and doing so a variety of ways, touching this time on the flamboyant Bain, though scrapping the “Venom” plot from the comics, creating an intriguing Catwoman and building another major character in the form of R. John Blake (Joseph Gordon-Lovett).
The ending of the film is just perfect, not only for this but for the entire Trilogy. With nods to Inception though I believe that it is just a nod and not as similar as some would protest, but this is epic in the way that The Dark Knight never tried to be and Batman Begins didn’t need to be. The threat is apocalyptic, in keeping with the genre, but believable in keeping with Nolan.
The same can be said for the action, though I must admit, the sentimentalist in me wanted to see the Batmoble/Tumber back, though it was there in triplicate, as Bane steels three prototype Tumbers from Wayne Enterprises, for his private army, but the Bat (Batwing) was stunning, and the Batpod made a reappearance. The Final showdown will leave you breathless, the perfect blend of direction, Zimmer’s score and some of the most intense and meaningful action you’ll see on the big screen.
The only real faults with The Dark Knight Rises stem from its scale and change in direction. It’s more about Batman’s evolution from crime fighter to savour. Less intense on a personal level, but much grander in its ideals and horror as Gotham is destroyed on scale never seen in a film of this type. But it’s not as far-fetched as one may think, as it grounds itself with historical references, such as the French Revolution, which was hardly far-fetched, though it was hard-hitting and is well translated here.
Bruce Wayne completes his journey from the boy who witnessed his parents murder, to a young man who could not grow beyond it, to a man who lost himself in a journey to understand the criminal mind. Finally returning as Batman, who defied his mentor to protect his beloved city, to a master detective. But here, he returns to his roots.
The billionaire who never cared about his wealth as much as he cared for the people of Gotham, he ends up exactly where he needed to be. Decide for yourself, whether it’s a happy ending, sad or satisfying, but either way, it was not only the best way to advance the saga, but the best way to end the series as a whole. Thanks to Nolan and his crew, we now have the most definitively brilliant Batman series EVER committed to celluloid, (or digital), and no matter what is to follow, whether it is to be the Justice League mash-up or another reboot, I suspect that it will be a long, long time before anyone can beat these.
With this much hype, would it possible live up to potentially bloated expectations? The first reviews hit last monday, with 4 to 5 stars being the consensus. Well, it did! The Dark Knight returns one last time, after eight years have passed since the events of The Dark Knight and Batman had retreated into the rebuilt Wayne Manor as Commissioner Gordon (Gary Oldman), maintaining the lie that Harvey Dent was Gotham’s The White Knight, and not the maniacal Two-Face, had managed to clean up Gotham City.
Batman was no longer needed but in the meantime, Bane has arrived in the city with grand plans for its destruction. I won’t go much further into the plot that this, though I will probably write a more spoiler heavy review for the Blu-ray later in the year. But for now, I will try to maintain the film’s integrity.
When we first meet Bruce Wayne after almost a decade of seclusion, he is a broken man, both physically and mentally following the murder of his childhood sweetheart, Rachel Dawes in the previous film and the toll of nightly combat. So the first port of call is to bring Batman back to the streets of Gotham. The sense of excitement is palpable and very much a part of what makes Nolan’s films tick.
He draws his audience into the narrative as if we are part of the events and the universe as it unfolds, leaving us not just wanting Batman to return for the sake of the action but for Gotham’s sake as well. Bane, played so excellently by Tom Hardy, was a little difficult to understand from behind his mask, but still conveyed an enormous amount of presence and power, as he lays siege to the city but not as Terrorist per say, but as a freedom fighter or revolutionary, with many visual references to the French Revolution to keep us going.
Anne Hathaway’s Catwoman, though not named as anyone other than Selina Kyle, was a credit to her character as well as the actress. Dark, sultry, seductive and agile, her feline credibly was intact, whilst still being a very human character. Her duplicity was bread from desperation rather than evil and her motives convincingly drive her in both good and more dubious endeavours.
*** MAJOR SPOILER***
The less said about Talia Al Ghul the better, but the for those aware of her role, it was well-played, though her final scene was the hammiest in the film, possibly the entire trilogy.
Then there’s the supporting cast, such as Mathew Modene, who does a great job as Dept. Commissioner Foley and Cillian Murphy’s back again, as the subtly unrecognisable Scarecrow, who besides some frayed shoulder’s on his jacket, could have been anyone,and that’s the beauty of Nolan’s Batman universe. It’s fluid and you can’t count on anything on anyone for too long.
But this franchise would be nothing without Hans Zimmer percussive score, pounding as much as it was gentle, it works well among with Nolan’s direction to craft the near perfect conclusion to the Trilogy. Both riff on earlier films and supe it up accordingly whilst maintaining the film’s integrity.
In the end, my expectations were met and exceeded. Nolan has crowned his trilogy with a film which is of the same calabar as the two which preceded it, filling in many of the blanks, choosing the right characters to take on and doing so a variety of ways, touching this time on the flamboyant Bain, though scrapping the “Venom” plot from the comics, creating an intriguing Catwoman and building another major character in the form of R. John Blake (Joseph Gordon-Lovett).
The ending of the film is just perfect, not only for this but for the entire Trilogy. With nods to Inception though I believe that it is just a nod and not as similar as some would protest, but this is epic in the way that The Dark Knight never tried to be and Batman Begins didn’t need to be. The threat is apocalyptic, in keeping with the genre, but believable in keeping with Nolan.
The same can be said for the action, though I must admit, the sentimentalist in me wanted to see the Batmoble/Tumber back, though it was there in triplicate, as Bane steels three prototype Tumbers from Wayne Enterprises, for his private army, but the Bat (Batwing) was stunning, and the Batpod made a reappearance. The Final showdown will leave you breathless, the perfect blend of direction, Zimmer’s score and some of the most intense and meaningful action you’ll see on the big screen.
The only real faults with The Dark Knight Rises stem from its scale and change in direction. It’s more about Batman’s evolution from crime fighter to savour. Less intense on a personal level, but much grander in its ideals and horror as Gotham is destroyed on scale never seen in a film of this type. But it’s not as far-fetched as one may think, as it grounds itself with historical references, such as the French Revolution, which was hardly far-fetched, though it was hard-hitting and is well translated here.
Bruce Wayne completes his journey from the boy who witnessed his parents murder, to a young man who could not grow beyond it, to a man who lost himself in a journey to understand the criminal mind. Finally returning as Batman, who defied his mentor to protect his beloved city, to a master detective. But here, he returns to his roots.
The billionaire who never cared about his wealth as much as he cared for the people of Gotham, he ends up exactly where he needed to be. Decide for yourself, whether it’s a happy ending, sad or satisfying, but either way, it was not only the best way to advance the saga, but the best way to end the series as a whole. Thanks to Nolan and his crew, we now have the most definitively brilliant Batman series EVER committed to celluloid, (or digital), and no matter what is to follow, whether it is to be the Justice League mash-up or another reboot, I suspect that it will be a long, long time before anyone can beat these.
Andy K (10821 KP) rated Life After Flash (2017) in Movies
Jul 5, 2019
Flash! Ah Ah!
To say the film Flash Gordon shaped me as a child would be a gross understatement. I worship the film as a screen classic and as one of my favorite films of all time. Ok, I know it's not Citizen Kane; however, it is the Citizen Kane of campy 80s rock operas.
As much as I would love to have an 8 hour conversation with someone about the merits of Flash Gordon, I should be talking about the 2017 film Life After Flash which I don't think I had any choice but to enjoy.
The film itself is kind of divided into to parts. The first half talking to all the surviving principles about how they were cast, the production itself, their interactions with epic producer Dino De Laurentiis and the film's legacy in their eyes. The second half was devoted to star Sam J. Jones himself and his personal journey before, during and after the film was completed and released in 1980.
He talked about how his ego got in the way of production so much so that his voice isn't even used in the film and was dubbed by another actor. He also expounded on his life since talking about dark times when the work dried up and how he even thought of suicide.
Thankfully after many years, Seth MacFarlane and asked him to cameo his most famous role in "Ted" and how that has reignited his film and public appearance career. (As a side note, since I am just a huge Flash Gordon fan, the Sam Jones scenes in Ted are about the funniest scenes ever in a motion picture for me).
Others mention the effects of typecasting in Hollywood. Even director Richard Donner mentions the fate Christopher Reeve has after Superman.
I should watch more documentaries as I always learn things I didn't know before and this great film was no exception.
As much as I would love to have an 8 hour conversation with someone about the merits of Flash Gordon, I should be talking about the 2017 film Life After Flash which I don't think I had any choice but to enjoy.
The film itself is kind of divided into to parts. The first half talking to all the surviving principles about how they were cast, the production itself, their interactions with epic producer Dino De Laurentiis and the film's legacy in their eyes. The second half was devoted to star Sam J. Jones himself and his personal journey before, during and after the film was completed and released in 1980.
He talked about how his ego got in the way of production so much so that his voice isn't even used in the film and was dubbed by another actor. He also expounded on his life since talking about dark times when the work dried up and how he even thought of suicide.
Thankfully after many years, Seth MacFarlane and asked him to cameo his most famous role in "Ted" and how that has reignited his film and public appearance career. (As a side note, since I am just a huge Flash Gordon fan, the Sam Jones scenes in Ted are about the funniest scenes ever in a motion picture for me).
Others mention the effects of typecasting in Hollywood. Even director Richard Donner mentions the fate Christopher Reeve has after Superman.
I should watch more documentaries as I always learn things I didn't know before and this great film was no exception.
Gareth von Kallenbach (971 KP) rated Thor: The Dark World (2013) in Movies
Jun 19, 2019
Marvel Studios has certainly been on a roll in recent years with a string of successful film adaptations of their popular comic book series. The recent overwhelming worldwide successes for “The Avengers”, and “Iron Man 3”, which topped $1 billion each globally has certainly raised the bar for their next cinematic offerings.
“Thor: The Dark World”, is poised to carry on the success of the Marvel film franchise as it successfully mixes action and character form the rare sequel that is better than the film that spawned it.
Chris Hemsworth once again stars as the title character who has been spending his time clearing up discord on the planets of the Nine Realms following his outing with The Avengers.
With peace at hand, his father Odin, (Sir Anthony Hopkins), believes the time is right for Thor to prepare for his reign as king of Asgard and protector of the realms.
Thor is not ready to embrace his destiny as his mind and heart are focused on Jane Foster (Natalie Portman), we has not seen since the events of the first film. His father warns him that a mortal is not suited to be his future queen and suggest that his fellow warrior Sif (Jaimie Alexander), would be far more suitable.
To further complicate matters Thor’s treacherous brother Loki (Tom Hiddleston), is seething at the prospect of spending eternity in captivity for his past crimes which only furthers his desire for power and revenge.
While all of this would be enough to keep Thor very busy, a new threat has arisen from the past that threatens to destroy the known universe. A powerful force known as the Aether which had been hidden by Thor’s grandfather has emerged and is drawn the attention of a Dark Elf named Malekith (Christopher Eccleston), who has been hiding away for centuries from those who believed him to be dead.
Malekith wants to take advantage of a pending convergence of the realms to use the supernatural power for his own purposes and in doing so destroy and subjugate all those who are before him. Fate intervenes and brings Jane and Thor together again just as the enemy forces arrived to ransack Asgard.
Faced with a battle against time not only to protect his beloved homeland but to save the known universe, Thor must work with his treacherous brother Loki in a race against time to save the day.
There are plenty of action sequences that follow and the visual effects are quite good even though the film is presented in converted 3-D after being shot in a standard format. The leads are fantastic and truly seem to have a grasp of their characters and the supporting work especially that of Kat Dennings much-needed comic relief is a very nice mix.
The only issue I had with the film other than the converted 3-D, was that the enemy while menacing did not seem to be one of the larger-than-life enemies that one has come to expect from a Marvel film. While certainly dangerous and menacing, there almost seemed to be an air of and confidence about the character as it was clear that he was simply biting off more than he could handle with the forces that were available to him.
That being said the film was extremely enjoyable as were the two bonus scenes that play during the middle of and the end of the credits.
While it may not went over box offices to the level of the two previous Marvel outings, Director Alan Taylor keeps things moving at a steady clip and the film nor the characters do not overstay their welcome.
With another Avengers movie on the horizon and a promise that Thor will return, fans can definitely enjoy this latest offering and look forward to the future for this promising series.
http://sknr.net/2013/11/08/thor-the-dark-world/
“Thor: The Dark World”, is poised to carry on the success of the Marvel film franchise as it successfully mixes action and character form the rare sequel that is better than the film that spawned it.
Chris Hemsworth once again stars as the title character who has been spending his time clearing up discord on the planets of the Nine Realms following his outing with The Avengers.
With peace at hand, his father Odin, (Sir Anthony Hopkins), believes the time is right for Thor to prepare for his reign as king of Asgard and protector of the realms.
Thor is not ready to embrace his destiny as his mind and heart are focused on Jane Foster (Natalie Portman), we has not seen since the events of the first film. His father warns him that a mortal is not suited to be his future queen and suggest that his fellow warrior Sif (Jaimie Alexander), would be far more suitable.
To further complicate matters Thor’s treacherous brother Loki (Tom Hiddleston), is seething at the prospect of spending eternity in captivity for his past crimes which only furthers his desire for power and revenge.
While all of this would be enough to keep Thor very busy, a new threat has arisen from the past that threatens to destroy the known universe. A powerful force known as the Aether which had been hidden by Thor’s grandfather has emerged and is drawn the attention of a Dark Elf named Malekith (Christopher Eccleston), who has been hiding away for centuries from those who believed him to be dead.
Malekith wants to take advantage of a pending convergence of the realms to use the supernatural power for his own purposes and in doing so destroy and subjugate all those who are before him. Fate intervenes and brings Jane and Thor together again just as the enemy forces arrived to ransack Asgard.
Faced with a battle against time not only to protect his beloved homeland but to save the known universe, Thor must work with his treacherous brother Loki in a race against time to save the day.
There are plenty of action sequences that follow and the visual effects are quite good even though the film is presented in converted 3-D after being shot in a standard format. The leads are fantastic and truly seem to have a grasp of their characters and the supporting work especially that of Kat Dennings much-needed comic relief is a very nice mix.
The only issue I had with the film other than the converted 3-D, was that the enemy while menacing did not seem to be one of the larger-than-life enemies that one has come to expect from a Marvel film. While certainly dangerous and menacing, there almost seemed to be an air of and confidence about the character as it was clear that he was simply biting off more than he could handle with the forces that were available to him.
That being said the film was extremely enjoyable as were the two bonus scenes that play during the middle of and the end of the credits.
While it may not went over box offices to the level of the two previous Marvel outings, Director Alan Taylor keeps things moving at a steady clip and the film nor the characters do not overstay their welcome.
With another Avengers movie on the horizon and a promise that Thor will return, fans can definitely enjoy this latest offering and look forward to the future for this promising series.
http://sknr.net/2013/11/08/thor-the-dark-world/
Lucy Buglass (45 KP) rated Dead In A Week (Or Your Money Back) (2018) in Movies
Jun 20, 2019
Dark comedy at its finest
This review discusses dark topics such as death and suicide. Reader discretion advised.
Getting comedy right is difficult enough, let alone trying to do it with sensitive topics. But Dead In A Week (or your money back) hits the nail on the head. After several failed suicide attempts, William (Aneurin Barnard) signs a contract with veteran assassin Leslie (Tom Wilkinson), who promises he’ll be dead within the week. This simple concept results in 1 hour and 30 mins of pure entertainment.
Though explicit in the way it discusses suicide, there is a reason for this. Right from the start, William is positioned as an incredibly depressed, isolated failed writer, who is struggling to see the point in living. He is very open about this fact, and spends a lot of time planning ways he could do it, accompanied by a darkly funny montage of the ways he’s tried. He is a troubled character that you can’t help but feel sorry for.
What makes this film even more interesting is the way it makes you sympathise with both target and killer. Leslie is trying his best to avoid retirement, and sees William as an answer to his prayers. If he kills him, he’ll fill his quota, and all will be well. This creates a paradox where you want both men to succeed, but you know that’s impossible.
William changes his mind about the contract when a publisher takes interest in his novel, and he begins to fall in love with Ellie (Freya Mavor), the assistant who called him regarding his latest story. This encounter comes with some rather frank and heartwarming messages about life, reminding us how precious life can be if you give it a chance.
Of course, the film doesn’t just end there. After William’s 360, Leslie is having none of it, and for the rest of the film we see this young writer trying to outrun a seasoned assassin. Leslie’s boss Harvey (Christopher Eccleston) is hot on his tail as well, tired of giving the old man too many chances. It’s a classic tale of a failed assassin, flipped entirely on its head.
Filled with some brilliant twists and turns, the script is formulaic yet hugely entertaining, with some laugh out loud moments throughout. It will certainly appeal to those who like their humour a little darker, with its use of comedic timing and deadpan delivery. It addresses so much in a short space of time, adding depth where needed.
Leslie’s wife Penny (Marion Bailey) adds her own comic relief to the situation, with a delightful satire on middle-class culture. Whilst her husband is trying to keep a dangerous job he loves so much, she’s more concerned about beating her church rivals in a cushion competition. The parallels between the couple are simultaneously heartwarming and awkward, and I enjoyed the way they bounced off each other throughout.
This was a thoroughly enjoyable film, with some unexpectedly touching moments. I really connected with certain characters and loathed others, allowing me to become fully invested in the film. The encounter between these two men should have ended one way, but the two embark on a journey that changes their lives for the better. Underneath all the humour comes an understanding of mental health issues, and sympathy for those who struggle.
This was Tom Edmund’s feature length debut, after directing a few short films. It’s an impressive first film with good pacing, solid characters, and a well-polished look throughout. It was an ambitious first feature length, but it certainly delivered.
https://lucygoestohollywood.com/2019/05/06/dark-comedy-at-its-finest-my-thoughts-on-dead-in-a-week-or-your-money-back/
Getting comedy right is difficult enough, let alone trying to do it with sensitive topics. But Dead In A Week (or your money back) hits the nail on the head. After several failed suicide attempts, William (Aneurin Barnard) signs a contract with veteran assassin Leslie (Tom Wilkinson), who promises he’ll be dead within the week. This simple concept results in 1 hour and 30 mins of pure entertainment.
Though explicit in the way it discusses suicide, there is a reason for this. Right from the start, William is positioned as an incredibly depressed, isolated failed writer, who is struggling to see the point in living. He is very open about this fact, and spends a lot of time planning ways he could do it, accompanied by a darkly funny montage of the ways he’s tried. He is a troubled character that you can’t help but feel sorry for.
What makes this film even more interesting is the way it makes you sympathise with both target and killer. Leslie is trying his best to avoid retirement, and sees William as an answer to his prayers. If he kills him, he’ll fill his quota, and all will be well. This creates a paradox where you want both men to succeed, but you know that’s impossible.
William changes his mind about the contract when a publisher takes interest in his novel, and he begins to fall in love with Ellie (Freya Mavor), the assistant who called him regarding his latest story. This encounter comes with some rather frank and heartwarming messages about life, reminding us how precious life can be if you give it a chance.
Of course, the film doesn’t just end there. After William’s 360, Leslie is having none of it, and for the rest of the film we see this young writer trying to outrun a seasoned assassin. Leslie’s boss Harvey (Christopher Eccleston) is hot on his tail as well, tired of giving the old man too many chances. It’s a classic tale of a failed assassin, flipped entirely on its head.
Filled with some brilliant twists and turns, the script is formulaic yet hugely entertaining, with some laugh out loud moments throughout. It will certainly appeal to those who like their humour a little darker, with its use of comedic timing and deadpan delivery. It addresses so much in a short space of time, adding depth where needed.
Leslie’s wife Penny (Marion Bailey) adds her own comic relief to the situation, with a delightful satire on middle-class culture. Whilst her husband is trying to keep a dangerous job he loves so much, she’s more concerned about beating her church rivals in a cushion competition. The parallels between the couple are simultaneously heartwarming and awkward, and I enjoyed the way they bounced off each other throughout.
This was a thoroughly enjoyable film, with some unexpectedly touching moments. I really connected with certain characters and loathed others, allowing me to become fully invested in the film. The encounter between these two men should have ended one way, but the two embark on a journey that changes their lives for the better. Underneath all the humour comes an understanding of mental health issues, and sympathy for those who struggle.
This was Tom Edmund’s feature length debut, after directing a few short films. It’s an impressive first film with good pacing, solid characters, and a well-polished look throughout. It was an ambitious first feature length, but it certainly delivered.
https://lucygoestohollywood.com/2019/05/06/dark-comedy-at-its-finest-my-thoughts-on-dead-in-a-week-or-your-money-back/
Joe Goodhart (27 KP) rated X-Force, Volume 3: Not Forgotten in Books
Nov 30, 2020
After a brief hiatus, I resumed reading the X-FORCE TPBs, jumping with the third volume of Craig Kyle & Christopher Yost's dark run of X-FORCE.
This trade made up the "Not Forgotten" story arc, which sees the return of Kimura, bringing with her a whole boatload of hateful hurtin' for Laura (X-23). It is also saw some well-deserved (!) hostility on Wolverine's part toward Cry-clops for the casualties suffered in the team's hunt for Hope Summers as well as Laura being kidnapped. And, like the little b he has been all his life (sorry, not a fan of Scott Summers, but it's totally cool if you are), he just says "I know" when Wolverine tells him that it will death for him if either of the two students die. Wow!
Varied opinions on the art (again). I have always been fond of Clayton Crain's art style, especially his attention to facial details, so his art on the first two issues of the trade was outstanding! He brought a darkness mixed with creepiness to the way he drew the Leper Queen. WIN!
And that brings us to the art for the remaining three issues in the trade. I also like Mike Choi's facial details on the characters he draws. However, his attention to women's breasts and his intent to make all the women under his pencils to be well-endowed is a bit uncomfortable, especially in regard to Laura (who is supposed to be age 16, as stated by Domino in Issue 20. No need for it to be as such, to be honest.
Even more offensive was the way Rahne Sinclair, in wolf-form, was rendered like an extra in a hip-hop video (!). Come on, Rahne has always had a tiny form, never rendered like this EVER! Tho' I am sure a more than fair amount of 'shippers (I assume Rahne has 'shippers) feel differently about that. Jus' sayin'..
<a href="https://ibb.co/csQdiy"><img src="https://thumb.ibb.co/csQdiy/Xforce18_rahnegotback.jpg"; alt="Xforce18 rahnegotback" border="0" /></a>
So, art quibbling aside, the story, still continuing to be written by Yost and Kyle since it's return in 2008, was all aces! There was more than enough adrenaline-fueled excitement contained within, providing a white-knuckled ride, leading directly into the next volume of X-Force, NECROSHA!
I will advise this one, like the previous two volumes, is dark AF! There is very little, if any, humor. There is a higher violence output in this one as well, but it is warranted for sure, when you considered the odds they're up against! That said, if you can handle all that, then I encourage you to pick this one up!
Also, if you are fan of Laura Kinney/X-23, then I also encourage you, as it will give more backstory to her character.
This trade made up the "Not Forgotten" story arc, which sees the return of Kimura, bringing with her a whole boatload of hateful hurtin' for Laura (X-23). It is also saw some well-deserved (!) hostility on Wolverine's part toward Cry-clops for the casualties suffered in the team's hunt for Hope Summers as well as Laura being kidnapped. And, like the little b he has been all his life (sorry, not a fan of Scott Summers, but it's totally cool if you are), he just says "I know" when Wolverine tells him that it will death for him if either of the two students die. Wow!
Varied opinions on the art (again). I have always been fond of Clayton Crain's art style, especially his attention to facial details, so his art on the first two issues of the trade was outstanding! He brought a darkness mixed with creepiness to the way he drew the Leper Queen. WIN!
And that brings us to the art for the remaining three issues in the trade. I also like Mike Choi's facial details on the characters he draws. However, his attention to women's breasts and his intent to make all the women under his pencils to be well-endowed is a bit uncomfortable, especially in regard to Laura (who is supposed to be age 16, as stated by Domino in Issue 20. No need for it to be as such, to be honest.
Even more offensive was the way Rahne Sinclair, in wolf-form, was rendered like an extra in a hip-hop video (!). Come on, Rahne has always had a tiny form, never rendered like this EVER! Tho' I am sure a more than fair amount of 'shippers (I assume Rahne has 'shippers) feel differently about that. Jus' sayin'..
<a href="https://ibb.co/csQdiy"><img src="https://thumb.ibb.co/csQdiy/Xforce18_rahnegotback.jpg"; alt="Xforce18 rahnegotback" border="0" /></a>
So, art quibbling aside, the story, still continuing to be written by Yost and Kyle since it's return in 2008, was all aces! There was more than enough adrenaline-fueled excitement contained within, providing a white-knuckled ride, leading directly into the next volume of X-Force, NECROSHA!
I will advise this one, like the previous two volumes, is dark AF! There is very little, if any, humor. There is a higher violence output in this one as well, but it is warranted for sure, when you considered the odds they're up against! That said, if you can handle all that, then I encourage you to pick this one up!
Also, if you are fan of Laura Kinney/X-23, then I also encourage you, as it will give more backstory to her character.
Kill the Father
8.5
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'The rock cast a sharp, dark shadow over a shape huddled on the ground. Please don't let it be the...
The Chairport (1 KP) rated Mission: Impossible - Fallout (2018) in Movies
Aug 4, 2018
Real action (3 more)
Real stunts
Fantastically scored
Beautiful locations and cinematography
Pay the admission, accept this mission!
(Review from www.thechairport.com)When the Mission Impossible film franchise started it had a slightly rocky start. After a great first film, the second film fell short of the mark. Watching those first two films now you can see how different they are to the Mission we know now. Ever since the second Mission film, ever since JJ Abrams and the Bad Robot team took over, the Mission franchise has been ageing like a fine wine. Actually, it’s been ageing like Tom Cruise. Fallout, the sixth film in the Mission franchise is the best yet and easily one of the best action films of all time and it’s all thanks to its real action.
Mission Impossible: Fallout follows Ethan Hunt as he and his crew lose some plutonium they are trying to recover. The bad guys trying to use the plutonium are The Apostles, a spin-off group from Rogue Nation’s Syndicate. This time the IMF team are joined by a ruthless CIA agent, Walker played by Henry Cavill, who is there to ensure that the team retrieve the plutonium. The bad guys this time around, The Apostles, follow Solomon Lane’s thinking that to get peace the world must first experience a great suffering. With that line ringing throughout the IMF’s ears, the team is off on a race against time to stop The Apostles.
Fallout is filled with action and as far as action movies come, this film really takes the cake. Tom Cruise is just the man that everyone wants to be, as in he really seems like he can do anything. In the current state of cinema any other filmmaking team would’ve made this film with CGI effects all over yet Cruise and Fallout’s director, Christopher McQuarrie, have decided to do everything for real and it’s that element alone that makes the film.
There are moments in Fallout where you just sit there astonished by what you’re seeing happen in front of you. You feel shivers and the need to applause at the opening ten minutes of the film, your eye’s dash across the screen as you’re watching Cruise’s Ethan Hunt race through oncoming traffic in Paris and you’ll find yourself simply flabbergasted as you watch Cruise do anything at all in the helicopter sequence that you’ve definitely already heard about.
Mission Impossible: Fallout isn’t just simply an insane action blockbuster, it is more than that. Every actor on the screen knows that what they’re in is going to be something revolutionary for cinema and every actor really pulls their weight. Simon Pegg’s comedy is on point, Alec Baldwin’s acting as someone in charge is as good as ever, Henry Cavill being absolutely brutal is scary and cool at the same time. Fallout also has a good amount of female characters in it with Rebecca Ferguson and Michelle Monaghan bringing a lot of well-needed emotion and Vanessa Kirby’s Black Widow bringing a funny yet creepy vibe to the whole occasion.
The story is fairly simple as McQuarrie doesn’t want to isolate the audience, you can definitely see it if you haven’t seen other Mission Films. It’s McQuarrie and his team’s filmmaking that really make the film what it is. The cameraman who does the HALO jump with Tom Cruise deserves many awards and I would be surprised if the film, and its team, didn’t win any awards for filmmaking. If you’ve got free time too then look up how the film was made because it is quite interesting. I mean it’s rare that an action blockbuster would even be nominated but as of right now Fallout is my favourite film of the year, both for how good it is and then researching how it was made. People just don’t put in as much effort as the Mission team have done in films anymore.
Mission Impossible: Fallout is a must-see film. It’s a long film but never really feels like it. It’s a constant chase that will keep you on the edge of your seat and it has twists and turns that you won’t see coming. I was recently reading about how Christopher Nolan wanted The Dark Knight to bring back film instead of everyone filming digitally. Fallout sings a similar message and but its message is for real-life stunts. Mquarrie has evolved in a similar manner to how Nolan evolved between Batman Begins and The Dark Knight. Fallout gave me similar vibes of excitement and intensity and Fallout will leave its mark on you, I’m not sure how I’ll feel watching CGI action from now on. All I know is that making everything real instead of fake isn’t impossible but to repeat the magic that Fallout has, well that’s only something the Mission team can do. Mission accomplished Cruise, mission accomplished.
Score: 5/5
Mission Impossible: Fallout follows Ethan Hunt as he and his crew lose some plutonium they are trying to recover. The bad guys trying to use the plutonium are The Apostles, a spin-off group from Rogue Nation’s Syndicate. This time the IMF team are joined by a ruthless CIA agent, Walker played by Henry Cavill, who is there to ensure that the team retrieve the plutonium. The bad guys this time around, The Apostles, follow Solomon Lane’s thinking that to get peace the world must first experience a great suffering. With that line ringing throughout the IMF’s ears, the team is off on a race against time to stop The Apostles.
Fallout is filled with action and as far as action movies come, this film really takes the cake. Tom Cruise is just the man that everyone wants to be, as in he really seems like he can do anything. In the current state of cinema any other filmmaking team would’ve made this film with CGI effects all over yet Cruise and Fallout’s director, Christopher McQuarrie, have decided to do everything for real and it’s that element alone that makes the film.
There are moments in Fallout where you just sit there astonished by what you’re seeing happen in front of you. You feel shivers and the need to applause at the opening ten minutes of the film, your eye’s dash across the screen as you’re watching Cruise’s Ethan Hunt race through oncoming traffic in Paris and you’ll find yourself simply flabbergasted as you watch Cruise do anything at all in the helicopter sequence that you’ve definitely already heard about.
Mission Impossible: Fallout isn’t just simply an insane action blockbuster, it is more than that. Every actor on the screen knows that what they’re in is going to be something revolutionary for cinema and every actor really pulls their weight. Simon Pegg’s comedy is on point, Alec Baldwin’s acting as someone in charge is as good as ever, Henry Cavill being absolutely brutal is scary and cool at the same time. Fallout also has a good amount of female characters in it with Rebecca Ferguson and Michelle Monaghan bringing a lot of well-needed emotion and Vanessa Kirby’s Black Widow bringing a funny yet creepy vibe to the whole occasion.
The story is fairly simple as McQuarrie doesn’t want to isolate the audience, you can definitely see it if you haven’t seen other Mission Films. It’s McQuarrie and his team’s filmmaking that really make the film what it is. The cameraman who does the HALO jump with Tom Cruise deserves many awards and I would be surprised if the film, and its team, didn’t win any awards for filmmaking. If you’ve got free time too then look up how the film was made because it is quite interesting. I mean it’s rare that an action blockbuster would even be nominated but as of right now Fallout is my favourite film of the year, both for how good it is and then researching how it was made. People just don’t put in as much effort as the Mission team have done in films anymore.
Mission Impossible: Fallout is a must-see film. It’s a long film but never really feels like it. It’s a constant chase that will keep you on the edge of your seat and it has twists and turns that you won’t see coming. I was recently reading about how Christopher Nolan wanted The Dark Knight to bring back film instead of everyone filming digitally. Fallout sings a similar message and but its message is for real-life stunts. Mquarrie has evolved in a similar manner to how Nolan evolved between Batman Begins and The Dark Knight. Fallout gave me similar vibes of excitement and intensity and Fallout will leave its mark on you, I’m not sure how I’ll feel watching CGI action from now on. All I know is that making everything real instead of fake isn’t impossible but to repeat the magic that Fallout has, well that’s only something the Mission team can do. Mission accomplished Cruise, mission accomplished.
Score: 5/5