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Movie Metropolis (309 KP) rated Downsizing (2017) in Movies
Jun 10, 2019
This little film has big shoes to fill
Alexander Payne was clearly vying for Oscars attention when it came to penning the screenplay for Downsizing. And why not, he’s certainly got form in the awards department. A two-time Oscar winner with a further three nominations, his films have been bold and topical.
That topical trademark shows no signs of dissipating with Downsizing, as Payne takes on the themes of overpopulation and the effects it’ll have on us in the future. But is the resulting film one of his best works? Or are we looking at a bit of a dud?
When scientists discover how to shrink humans to five inches tall as a solution to overpopulation, Paul (Matt Damon) and his wife Audrey (Kristen Wiig) decide to abandon their cash-strapped and stressed lives in order to get small and move to a new downsized community — a choice that triggers life-changing adventures in more ways than one.
The film certainly gets off to a good start before it even begins. Just look at the cast! With Matt Damon, Kristen Wiig, Laura Dern, Christoph Waltz, Neil Patrick Harris and Jason Sudeikis being just some of the actors on the roster here, there’s certainly a lot of talent about. And things continue to look very good indeed.
Downsizing starts out great. In fact, it has one of the best first acts of any film I’ve seen as we are introduced to the concept of downsizing and the lives in which its partakers lead. Damon is a magnetic leading presence and oozes charm throughout the film. It’s also genuinely funny with a script that knows how to garner laughs from the audience without delving into unnecessary slapstick.
To look at, Downsizing is really rather lovely. Filled with clever special effects, it’s a pleasure to watch and fascinating to sit there and think about all the camera trickery required to pull it off. Watching a miniature ship pull bottles of vodka is strangely satisfying.
And then, about 45 minutes in, things start to go rapidly downhill. So downhill that I left the cinema wondering how on earth a movie that began so positively, could result in a middle and final act so disappointingly ordinary. On the journey home, I used that time to think of the reasons.
That promising script from the first act becomes so muddled it becomes nearly incomprehensible towards the end
Firstly, that talented cast I spoke about earlier is completely and utterly wasted. Outside of Damon, each of the brilliant actors is given a glorified cameo that makes little-to-no difference on the final outcome. Laura Dern is in the film for less than 3 minutes – in fact, her scene is exactly what you see in the trailer. Christoph Waltz plays a bizarre Serbian playboy who is funny and irritating in equal measure and the less said about Kristen Wiig’s part the better.
Secondly, the story just doesn’t do enough with its fascinating premise. We get a vague environmental message about the beauty of nature and the fragility of life, but the idea of downsizing and the beautiful residences of “Leisureland” are merely a shell for Damon to go from scene to scene. His adventures with Hong Chau, which make up the bulk of the overstuffed 132-minute runtime, are pleasant enough, but we want to see more of the people who have decided to shrink themselves.
Thirdly, the tone is an absolute mess. Is it a comedy? What about a drama? Perhaps a rom-com? Who knows! That promising script from the first act becomes so muddled it becomes nearly incomprehensible towards the end.
Finally, the ending is absolutely dreadful and one of the worst ever put to film. I’m not sure if Payne thought it would be a good idea to leave the movie open to a sequel but there is absolutely no payoff to the previous 130-or-so minutes whatsoever. It just falls flat.
Overall, Downsizing has a brilliant premise and a wonderfully talented cast, but each of those is wasted and that’s unforgivable. What starts out as a clever piece of social commentary about the issues we, as a species, currently face, ends up becoming one of the most ordinary films you’ll ever see and a bit of a misstep for the usually superb Alexander Payne. It’s certainly his worst film to date.
https://moviemetropolis.net/2018/01/27/downsizing-review-this-little-film-has-big-shoes-to-fill/
That topical trademark shows no signs of dissipating with Downsizing, as Payne takes on the themes of overpopulation and the effects it’ll have on us in the future. But is the resulting film one of his best works? Or are we looking at a bit of a dud?
When scientists discover how to shrink humans to five inches tall as a solution to overpopulation, Paul (Matt Damon) and his wife Audrey (Kristen Wiig) decide to abandon their cash-strapped and stressed lives in order to get small and move to a new downsized community — a choice that triggers life-changing adventures in more ways than one.
The film certainly gets off to a good start before it even begins. Just look at the cast! With Matt Damon, Kristen Wiig, Laura Dern, Christoph Waltz, Neil Patrick Harris and Jason Sudeikis being just some of the actors on the roster here, there’s certainly a lot of talent about. And things continue to look very good indeed.
Downsizing starts out great. In fact, it has one of the best first acts of any film I’ve seen as we are introduced to the concept of downsizing and the lives in which its partakers lead. Damon is a magnetic leading presence and oozes charm throughout the film. It’s also genuinely funny with a script that knows how to garner laughs from the audience without delving into unnecessary slapstick.
To look at, Downsizing is really rather lovely. Filled with clever special effects, it’s a pleasure to watch and fascinating to sit there and think about all the camera trickery required to pull it off. Watching a miniature ship pull bottles of vodka is strangely satisfying.
And then, about 45 minutes in, things start to go rapidly downhill. So downhill that I left the cinema wondering how on earth a movie that began so positively, could result in a middle and final act so disappointingly ordinary. On the journey home, I used that time to think of the reasons.
That promising script from the first act becomes so muddled it becomes nearly incomprehensible towards the end
Firstly, that talented cast I spoke about earlier is completely and utterly wasted. Outside of Damon, each of the brilliant actors is given a glorified cameo that makes little-to-no difference on the final outcome. Laura Dern is in the film for less than 3 minutes – in fact, her scene is exactly what you see in the trailer. Christoph Waltz plays a bizarre Serbian playboy who is funny and irritating in equal measure and the less said about Kristen Wiig’s part the better.
Secondly, the story just doesn’t do enough with its fascinating premise. We get a vague environmental message about the beauty of nature and the fragility of life, but the idea of downsizing and the beautiful residences of “Leisureland” are merely a shell for Damon to go from scene to scene. His adventures with Hong Chau, which make up the bulk of the overstuffed 132-minute runtime, are pleasant enough, but we want to see more of the people who have decided to shrink themselves.
Thirdly, the tone is an absolute mess. Is it a comedy? What about a drama? Perhaps a rom-com? Who knows! That promising script from the first act becomes so muddled it becomes nearly incomprehensible towards the end.
Finally, the ending is absolutely dreadful and one of the worst ever put to film. I’m not sure if Payne thought it would be a good idea to leave the movie open to a sequel but there is absolutely no payoff to the previous 130-or-so minutes whatsoever. It just falls flat.
Overall, Downsizing has a brilliant premise and a wonderfully talented cast, but each of those is wasted and that’s unforgivable. What starts out as a clever piece of social commentary about the issues we, as a species, currently face, ends up becoming one of the most ordinary films you’ll ever see and a bit of a misstep for the usually superb Alexander Payne. It’s certainly his worst film to date.
https://moviemetropolis.net/2018/01/27/downsizing-review-this-little-film-has-big-shoes-to-fill/
Darren (1599 KP) rated About a Boy (2002) in Movies
Jun 20, 2019
Story: About a Boy starts as we meet Will Freeman (Grant) who lives the perfect life in his head, no job because of his father’s royalties, no responsibilities and no relationship, he can jump from woman to woman and now he has learnt about single mums, he new target. Marcus (Hoult) is a young boy whose single mother is battling depression and when the two become unlikely friends.
As the friendship builds between Will and Marcus, the two learn valuable life lessons with Will finally learning the serious side to life, one he had coasted over through his life.
Thoughts on About a Boy
Characters – Will is the playboy bachelor who has gone from woman to woman never taking responsibility in anything in his life, at the age of 38 he isn’t getting any younger and wants to look to a new location to meet women, which finally gives him a chance to look at his own life errors and start to make something from life. Marcus is a bullied young boy, his mother is battling depression and he never fits in at school, he sees a male role model in Will and starts to becoming friends with Will where he can starts to learn how to be who he should be. This character is drawn up wonderfully because he doesn’t understand the problems his mother is going through, while he is aware there is a problem it reflects in his everyday life. Fiona is the mother of Marcus, she is battle depression in her life while trying her hardest to stay positive for Marcus, a battle she isn’t always winning. Rachel is the woman that shows Will a new meaning to life, only she is the one that could shatter his new look too.
Performances – Hugh Grant is easily one of the most British actors out there, he gives one of his best performances here that will make you like his bad character. This role could easily be a look at the person people believed he would be in real life. Nicholas Hoult gives one of the greatest breakthrough performances for a young star and by seeing just how far he has gone since this shows the early talent he showed. Toni Collette gives us a supporting performance that is just as difficult to watch because of her characters problems that it is an essential performance to see. Rachel Weisz is good in her supporting role, she doesn’t need to do too much with her character though.
Story – The story here plays out as a middle-aged man needing to grow up, a young boy who needs a male role model and understand that life isn’t going to be perfect no matter how much you want to believe it. The growing up side of the story is the one that we get to focus on the most and is everything you expect it to be. There is however a much deeper and stronger side to this story we see, that comes from seeing how young Marcus doesn’t completely understand his mother’s depression and just wants somebody to talk to, while finding his own way to fix her. Now this is important because the mental health issues are a bigger talking point now and showing it through the eyes of an innocent young boy shows how difficult it can be to talk about and deal with, with him never truly understanding what the problems are.
Comedy/Romance – This film did get me laughing a lot, this is usually hard for any comedy movie, this has so many clever visions on life through the shallow nature Will has. The romance is the backburner because it shows us just how Will is trying to find women, even if one does change his life.
Settings – The film is set in London, we get the see the home environment, which for the most part are empty, the social life and everyday life, nothing is new.
Scene of the Movie – Be a Godfather question?
That Moment That Annoyed Me – The generic bullies.
Final Thoughts – This is a brilliant comedy that gets everything right with the way the comedy is handled, we do get a big issue covered and is a film that people need to look back on and watch.
Overall: Must watch comedy.
https://moviesreview101.com/2019/03/26/about-a-boy-2002/
As the friendship builds between Will and Marcus, the two learn valuable life lessons with Will finally learning the serious side to life, one he had coasted over through his life.
Thoughts on About a Boy
Characters – Will is the playboy bachelor who has gone from woman to woman never taking responsibility in anything in his life, at the age of 38 he isn’t getting any younger and wants to look to a new location to meet women, which finally gives him a chance to look at his own life errors and start to make something from life. Marcus is a bullied young boy, his mother is battling depression and he never fits in at school, he sees a male role model in Will and starts to becoming friends with Will where he can starts to learn how to be who he should be. This character is drawn up wonderfully because he doesn’t understand the problems his mother is going through, while he is aware there is a problem it reflects in his everyday life. Fiona is the mother of Marcus, she is battle depression in her life while trying her hardest to stay positive for Marcus, a battle she isn’t always winning. Rachel is the woman that shows Will a new meaning to life, only she is the one that could shatter his new look too.
Performances – Hugh Grant is easily one of the most British actors out there, he gives one of his best performances here that will make you like his bad character. This role could easily be a look at the person people believed he would be in real life. Nicholas Hoult gives one of the greatest breakthrough performances for a young star and by seeing just how far he has gone since this shows the early talent he showed. Toni Collette gives us a supporting performance that is just as difficult to watch because of her characters problems that it is an essential performance to see. Rachel Weisz is good in her supporting role, she doesn’t need to do too much with her character though.
Story – The story here plays out as a middle-aged man needing to grow up, a young boy who needs a male role model and understand that life isn’t going to be perfect no matter how much you want to believe it. The growing up side of the story is the one that we get to focus on the most and is everything you expect it to be. There is however a much deeper and stronger side to this story we see, that comes from seeing how young Marcus doesn’t completely understand his mother’s depression and just wants somebody to talk to, while finding his own way to fix her. Now this is important because the mental health issues are a bigger talking point now and showing it through the eyes of an innocent young boy shows how difficult it can be to talk about and deal with, with him never truly understanding what the problems are.
Comedy/Romance – This film did get me laughing a lot, this is usually hard for any comedy movie, this has so many clever visions on life through the shallow nature Will has. The romance is the backburner because it shows us just how Will is trying to find women, even if one does change his life.
Settings – The film is set in London, we get the see the home environment, which for the most part are empty, the social life and everyday life, nothing is new.
Scene of the Movie – Be a Godfather question?
That Moment That Annoyed Me – The generic bullies.
Final Thoughts – This is a brilliant comedy that gets everything right with the way the comedy is handled, we do get a big issue covered and is a film that people need to look back on and watch.
Overall: Must watch comedy.
https://moviesreview101.com/2019/03/26/about-a-boy-2002/
Bob Mann (459 KP) rated On the Rocks (2020) in Movies
Oct 23, 2020
Bill Murray being Bill Murray, but in sparkling form
Bill Murray is astonishing. Not just in "On the Rocks", but generally in life. Some actors - Johnny Depp, Mark Rylance, Gary Oldman, for instance - disappear completely into their characters so it takes a while to "see" who they are. Whereas with others - Bill Nighy, Tom Cruise, John Wayne, for instance - it's "Oh, there's the famous actor xxxx in a new movie". If we were grading on a scale, Bill Murray would be at the far right of the latter category. In every movie, he IS Bill Murray! In "Ghostbusters" he was the dry, laconic, wisecracking ghost hunter. In "Groundhog Day" he was the dry, laconic, wisecracking weatherman. In "The Monuments Men" he was the dry, laconic, wisecracking art historian. (In the "Zombieland" movies, he excelled himself by playing the dry, laconic, wisecracking Bill Murray!)
For many actors, that would be a problem. But Bill Murray gets away with it, because - - he's Bill freakin' Murray!! And being him is so awesome that however many times you've seen the character, you always want more.
Here's a case in point. In "On the Rocks", a chaffeured car with tinted windows rolls up. You brace yourself as the window winds slowly down. And there he is... the star. This happens quite a way into Sofia Coppola's new film. First up, we get a leisurely, but intelligent, set-up to the plot. The "Parks and Recreation" actress, Rashida Jones, plays Laura; a successful writer (currently with writer's block) married to successful businessman Dean (Marlon Wayans). The couple seem to have it all: high income; large New York apartment; two lovely young children. But Dean is always away, travelling on business - and always with his attractive co-worker "with the legs" Fiona (Jessica Henwick). Is Dean scratching the seven-year itch?
Laura's rich, art-dealing father Felix (Bill Murray) arrives, and won't take no for an answer in sniffing out the truth.
Love, love, love this movie! The pacing, the humour, the witty dialogue (it's Sofia Coppola's script) and - above all - Murray's triumphant performance all fire this well and truly into my Top 10 for the year.
Bill Murray's acting is astounding... is there an actor who spends more time in his "deep in thought" mode, with eyeballs looking at the ceiling? You could quite well believe that none of it is scripted, and he's pausing in deep thought because he really is trying to compose the next best line! A scene where, through appropriate name-dropping, he charms his way out of a traffic infringement with two New York cops is utterly absorbing.
Behind every embarrassing father is a grown-up daughter rolling her eyes. (I should know!) And Rashida Jones is perfect in the role. I'm not familiar with Jones's previous work, but she was just perfect as the foil for Murray's humour.
There's dry comedy to be had throughout "On the Rocks" which I found delightful. A running joke is Laura's drop-off and pick-ups from the local kindergarten, where she is repeatedly pinned against the wall by single-mum Vanessa (Jenny Slate) and bored to death with her moans about boyfriend-hunting on the New York scene! It's an insight that the project is led by a female writer/director, reminiscing about personal experiences!
Coppola's script also buzzes with politically incorrect views of the playboy Felix. (He reminds me strongly of an ex-work colleague: the life and soul of any party and with a charisma that is naturally attractive to women!)
For me, there was just one misstep in the movie. There's a sub-plot about the estranged relationship between Felix and Laura's mother, and the unspoken tension that lies there. This all comes to a head in a hotel bedroom, and for me personally it brought the mood of the movie down and wasn't necessary. It's a relatively minor thing. But the result was that it just took the edge off things for me in declaring it a classic.
This is one of those flicks produced for Apple, in cinemas only while en-route to their streaming service to make it eligible for Oscar consideration. And it's actually available now. This is Coppola's third outing with Murray, with the most famous being the Oscar winner "Lost in Translation". I'm actually not a mad fan of that film. But this one comes with a "Highly recommended".
(For the full graphical review, please check out the bob the movie man review here - https://bob-the-movie-man.com/2020/10/23/love-on-the-rocks-aint-no-surprise/ . Thanks)
For many actors, that would be a problem. But Bill Murray gets away with it, because - - he's Bill freakin' Murray!! And being him is so awesome that however many times you've seen the character, you always want more.
Here's a case in point. In "On the Rocks", a chaffeured car with tinted windows rolls up. You brace yourself as the window winds slowly down. And there he is... the star. This happens quite a way into Sofia Coppola's new film. First up, we get a leisurely, but intelligent, set-up to the plot. The "Parks and Recreation" actress, Rashida Jones, plays Laura; a successful writer (currently with writer's block) married to successful businessman Dean (Marlon Wayans). The couple seem to have it all: high income; large New York apartment; two lovely young children. But Dean is always away, travelling on business - and always with his attractive co-worker "with the legs" Fiona (Jessica Henwick). Is Dean scratching the seven-year itch?
Laura's rich, art-dealing father Felix (Bill Murray) arrives, and won't take no for an answer in sniffing out the truth.
Love, love, love this movie! The pacing, the humour, the witty dialogue (it's Sofia Coppola's script) and - above all - Murray's triumphant performance all fire this well and truly into my Top 10 for the year.
Bill Murray's acting is astounding... is there an actor who spends more time in his "deep in thought" mode, with eyeballs looking at the ceiling? You could quite well believe that none of it is scripted, and he's pausing in deep thought because he really is trying to compose the next best line! A scene where, through appropriate name-dropping, he charms his way out of a traffic infringement with two New York cops is utterly absorbing.
Behind every embarrassing father is a grown-up daughter rolling her eyes. (I should know!) And Rashida Jones is perfect in the role. I'm not familiar with Jones's previous work, but she was just perfect as the foil for Murray's humour.
There's dry comedy to be had throughout "On the Rocks" which I found delightful. A running joke is Laura's drop-off and pick-ups from the local kindergarten, where she is repeatedly pinned against the wall by single-mum Vanessa (Jenny Slate) and bored to death with her moans about boyfriend-hunting on the New York scene! It's an insight that the project is led by a female writer/director, reminiscing about personal experiences!
Coppola's script also buzzes with politically incorrect views of the playboy Felix. (He reminds me strongly of an ex-work colleague: the life and soul of any party and with a charisma that is naturally attractive to women!)
For me, there was just one misstep in the movie. There's a sub-plot about the estranged relationship between Felix and Laura's mother, and the unspoken tension that lies there. This all comes to a head in a hotel bedroom, and for me personally it brought the mood of the movie down and wasn't necessary. It's a relatively minor thing. But the result was that it just took the edge off things for me in declaring it a classic.
This is one of those flicks produced for Apple, in cinemas only while en-route to their streaming service to make it eligible for Oscar consideration. And it's actually available now. This is Coppola's third outing with Murray, with the most famous being the Oscar winner "Lost in Translation". I'm actually not a mad fan of that film. But this one comes with a "Highly recommended".
(For the full graphical review, please check out the bob the movie man review here - https://bob-the-movie-man.com/2020/10/23/love-on-the-rocks-aint-no-surprise/ . Thanks)
Gareth von Kallenbach (980 KP) rated The Dark Knight (2008) in Movies
Aug 14, 2019
Riding a wave a fan expectations and anticipation as well as surrounding by the tragic death of Heath Ledger, the latest installment in Writer/Director Christopher Nolan’s Batman Series, “The Dark Knight”, has arrived. Christian Bale once again stars in the dual role of troubled billionaire playboy Bruce Wayne and the masked avenger Batman, as he attempts to bring order to Gotham City.
The film picks up shortly after the events of “Batman Begins” and finds Bruce and his trusty sidekick Alfred (Michael Caine), splitting their time between a lofty penthouse and a secret lair while Wayne Manor is being rebuilt. The streets of Gotham have become safer as thanks to Batman many of the bad elements of the city have either been arrested or driven off.
Batman has a new ally in his fight, as new District Attorney Harvey Dent, (Aaron Eckhart), is waging a personal war on crime, and has vowed to stop at nothing to bring the remaining crime bosses and their associates to justice. Bruce is unsure what to make of Dent, and is further troubled by the growing relationship between Dent and his longtime flame Rachel Dawes (Maggie Gyllenhaal).
Unknown to Batman and Dent, the biggest threat ever to face Gotham City is about to move into the limelight, as a mysterious figure known as The Joker (Heath Ledger), has risen from the ranks of violent bank robber to psychopathic mastermind, attempting to get the remaining crime lords to join him in an scheme to kill Batman and prominent heads of the city to bring utter chaos.
As the Joker’s wave of violence, death, and destruction unfolds, Batman is drawn deeper into turmoil, as he is conflicted by his desire to abandon his Batman alter-ego and leave cleaning up the city to Dent and his trusted ally James Gordon (Gary Oldman). Bruce knows that he cannot be with Rachel as long as Batman is a part of his life, and he wishes he can abandon the fight to live a more normal existence.
As the crime wave escalates and the body count starts to mount, Bruce is driven to the edge as he matches wits with his toughest foe yet, a man who seems capable of matching his every move, and seems to be always one step ahead.
What follows is a truly gripping and enjoyably dark tale of murder, deception, action, and intrigue in what is not only the best Batman film ever but simply the best superhero film ever. This is strong praise considering the solid screen versions of “Spider-Man”, “Iron-Man” and the previous “Batman Beyond”, but Nolan has crafted a true cinematic masterpiece.
The key to the film is not only the solid cast but a serious and intelligent script that allows the actors to truly shine. This is not a thinly veiled comic story where plot and character are secondary to visuals and actions; instead it is a brilliant physiological study of madness, human nature, unchecked ambition, and morality, wrapped in a truly epic story.
Nolan deftly juggles the characters and action and never allows one to overshadow the other. He does not lose sight of the fact that despite the amazing and intense actions and visuals, this is a character driven story.
Many times during the press showing of the film I marveled at the high quality of the story and solid acting in the film. The impressive cast is anchored by a truly incredible performance by Ledger as he portrays the Joker as a deeply disturbed individual who mixes genius with absolute ruthless cunning. The mannerisms of the character are such that Ledger simply becomes the demented killer and at no time appears to be an actor portraying a character, but rather the personification of the character brought to reality.
His scenes with Bale are truly memorable and underscore the vast history between the two characters that has been established over the decades, and emphasizes the fact that, in some ways, Batman and the Joker are similar beings, both troubled souls who deal with their pain in different ways.
Bale is very good at portraying the torment his character lives with day in and day out, as well as the dark and seething rage that threatens to overtake him and his constant struggle to keep it under the control. Lesser actors would be lost against the amazing performance of Ledger, but Bale more than holds his own, and provides gripping cinema at its best during his scenes with Ledger and the talented cast.
Morgan Freeman and Michael Caine bring solid support to the film as their characters provide wisdom, morality, and direction for characters that walk the thin line between good and evil. The only real disappointment in the film for me was that Maggie Gyllenhaal is not given enough to do. She ably takes over the role originated by Katie Holmes, but she is not given any chance to stand out and her moments with Bale do not allow her to further her relationship with Bruce Wayne.
Eckhart gives a solid performance as Harvey Dent and his alter ego Two Face, taking great advantage of the time he was allowed to develop Dent. My only wish would have been for Two Face to have more time to develop as his arrival seems more of an add-on than a point of plot emphasis.
That being said, the film is a true masterpiece that proves you do not have to sacrifice character development and story to deliver a solid action film. The story sets up very well for future installments and I am sure I am not alone in wanting another outing for Nolan and Bale.
The film picks up shortly after the events of “Batman Begins” and finds Bruce and his trusty sidekick Alfred (Michael Caine), splitting their time between a lofty penthouse and a secret lair while Wayne Manor is being rebuilt. The streets of Gotham have become safer as thanks to Batman many of the bad elements of the city have either been arrested or driven off.
Batman has a new ally in his fight, as new District Attorney Harvey Dent, (Aaron Eckhart), is waging a personal war on crime, and has vowed to stop at nothing to bring the remaining crime bosses and their associates to justice. Bruce is unsure what to make of Dent, and is further troubled by the growing relationship between Dent and his longtime flame Rachel Dawes (Maggie Gyllenhaal).
Unknown to Batman and Dent, the biggest threat ever to face Gotham City is about to move into the limelight, as a mysterious figure known as The Joker (Heath Ledger), has risen from the ranks of violent bank robber to psychopathic mastermind, attempting to get the remaining crime lords to join him in an scheme to kill Batman and prominent heads of the city to bring utter chaos.
As the Joker’s wave of violence, death, and destruction unfolds, Batman is drawn deeper into turmoil, as he is conflicted by his desire to abandon his Batman alter-ego and leave cleaning up the city to Dent and his trusted ally James Gordon (Gary Oldman). Bruce knows that he cannot be with Rachel as long as Batman is a part of his life, and he wishes he can abandon the fight to live a more normal existence.
As the crime wave escalates and the body count starts to mount, Bruce is driven to the edge as he matches wits with his toughest foe yet, a man who seems capable of matching his every move, and seems to be always one step ahead.
What follows is a truly gripping and enjoyably dark tale of murder, deception, action, and intrigue in what is not only the best Batman film ever but simply the best superhero film ever. This is strong praise considering the solid screen versions of “Spider-Man”, “Iron-Man” and the previous “Batman Beyond”, but Nolan has crafted a true cinematic masterpiece.
The key to the film is not only the solid cast but a serious and intelligent script that allows the actors to truly shine. This is not a thinly veiled comic story where plot and character are secondary to visuals and actions; instead it is a brilliant physiological study of madness, human nature, unchecked ambition, and morality, wrapped in a truly epic story.
Nolan deftly juggles the characters and action and never allows one to overshadow the other. He does not lose sight of the fact that despite the amazing and intense actions and visuals, this is a character driven story.
Many times during the press showing of the film I marveled at the high quality of the story and solid acting in the film. The impressive cast is anchored by a truly incredible performance by Ledger as he portrays the Joker as a deeply disturbed individual who mixes genius with absolute ruthless cunning. The mannerisms of the character are such that Ledger simply becomes the demented killer and at no time appears to be an actor portraying a character, but rather the personification of the character brought to reality.
His scenes with Bale are truly memorable and underscore the vast history between the two characters that has been established over the decades, and emphasizes the fact that, in some ways, Batman and the Joker are similar beings, both troubled souls who deal with their pain in different ways.
Bale is very good at portraying the torment his character lives with day in and day out, as well as the dark and seething rage that threatens to overtake him and his constant struggle to keep it under the control. Lesser actors would be lost against the amazing performance of Ledger, but Bale more than holds his own, and provides gripping cinema at its best during his scenes with Ledger and the talented cast.
Morgan Freeman and Michael Caine bring solid support to the film as their characters provide wisdom, morality, and direction for characters that walk the thin line between good and evil. The only real disappointment in the film for me was that Maggie Gyllenhaal is not given enough to do. She ably takes over the role originated by Katie Holmes, but she is not given any chance to stand out and her moments with Bale do not allow her to further her relationship with Bruce Wayne.
Eckhart gives a solid performance as Harvey Dent and his alter ego Two Face, taking great advantage of the time he was allowed to develop Dent. My only wish would have been for Two Face to have more time to develop as his arrival seems more of an add-on than a point of plot emphasis.
That being said, the film is a true masterpiece that proves you do not have to sacrifice character development and story to deliver a solid action film. The story sets up very well for future installments and I am sure I am not alone in wanting another outing for Nolan and Bale.
Chris Sawin (602 KP) rated The Batman (2022) in Movies
Mar 6, 2022
Paul Dano and Colin Farrell's Performances (2 more)
The Batmobile car chase with Oz
The different/damaged take on Bruce Wayne
Entirely too long - too much detective work (2 more)
Little to no chemistry between The Bat and The Cat
The raspy adventures of Batsy and Jimbo
When is a Bat Not Quite a Bat?
Matt Reeves’ The Batman isn’t an origin story. Instead Bruce Wayne (Robert Pattinson) treats every villain and every thug as if they were the ones to take his parents away from him. This is a version of Bruce Wayne that hates being Bruce Wayne; Batman is his legacy. The tragedy of losing his parents is his most defining characteristic. Bruce is a social hermit and the world’s biggest introvert in The Batman.
The Riddler (Paul Dano) kills Gotham’s mayor on Halloween night and he continues to target key political figures throughout the film. A cryptic riddle is left for Batman at every crime scene revealing just a big enough clue to keep Batman and Jim Gordon (Jeffrey Wright) entangled in Riddler’s enigmatic bloodbath. As Batman crosses paths with a cat-loving thief named Selina Kyle (Zoe Kravitz) and the magnificently sleazy Iceberg Lounge owner Oswald Cobblepot (Colin Farrell), he soon realizes that the Wayne family may be a bigger piece of the puzzle than he originally imagined.
Paul Dano is essentially the highlight of the film. Matt Reeves stated that his inspiration for his version of the character was The Zodiac Killer and it shows. Riddler’s costume is basically a camouflage gimp outfit with tactical advantages and a fetish for duct tape. Dano’s performance is haunting. His riddles are more akin to Jigsaw’s games from the Saw franchise. The character is at his best when he’s showcased in grainy cell phone videos where his shouting and heavy breathing are even more distorted than if he was standing right in front of you. The intriguing aspect is that Dano seems to be even more mesmerizing as the character once he’s unmasked. He’s able to tap into this lunacy, this dread, and this hypnotic terror that defines the character whether he’s hiding his face or not.
Featured less prominently is Colin Farrell as Oswald Cobblepot, who also delivers a fantastic performance. Farrell is so unrecognizable thanks to the facial prosthetics and fat suit that he’s wearing. Some of the aspects of The Penguin that makes him so dangerous is that he’s incredibly resourceful and he can talk his way into and out of just about anything. Farrell’s best moments as the character come during the Batmobile chase featured in the trailer followed by the conversation Batman and Gordon have with him immediately afterwards. You never knew how much you needed a Spanish lesson from Oz until Matt Reeves came along.
The Batmobile car chase is the best sequence of the film. It’s absolutely explosive and worth seeing in a theater. Michael Giacchino’s score is also bold and thrilling; it helps define the Batman character for a new generation with an undeniably epic theme. Matt Reeves compared Bruce Wayne to Kurt Cobain in this film. Bruce’s relationship with the spotlight and how he’d rather stay away from it is a lot like how Cobain viewed being famous. “Something in the Way” by Nirvana fits the Batman universe so well and it’s surprising nobody has ever thought of utilizing it until now.
This unusual version of Bruce Wayne in The Batman makes it feel unlike any other Batman film. Bruce Wayne is typically a playboy that is consistently showcased at public events that flaunts his fortune and bounces from woman to woman on a nightly basis. In The Batman, we see the smudged black eye makeup as Bruce takes off his cowl. Robert Pattinson didn’t bulk up for the role, so he has this pale and gaunt appearance. He has no interest in the business his father left him in charge of. Vengeance is his only purpose.
The Batman is also the first Batman film to actually feel like a detective story. So much time is devoted to the investigation aspect of the film; maybe too much time. The film is five minutes shy of being three hours long and The Batman feels like a three hour film. Some of these sequences feel like they could have been trimmed (did we really need to see Batman or Bruce Wayne go to the Iceberg Lounge so many times?) or cut entirely, but everything feels like it’s part of the bigger picture of capturing The Riddler. Every little stop along the way leads to the next clue or next big encounter. Unfortunately, it feels like a chore listening to Batman answer riddles for the sixth time in the midst of three hours.
Robert Pattinson is a seriously talented actor outside of the Twilight franchise and Zoe Kravitz chooses interesting projects to be a part of, but their chemistry in The Batman feels forced. Batman tracks down Selina Kyle almost like a stalker as he starts inserting himself into her life after a random encounter at The Iceberg Lounge. Despite being friends in real life, the two actors seem stiff and awkward when they’re around each other. These are two versions of the characters that don’t have the history the comics or the movies laid out for them after decades of publication and on screen appearances. This is supposed to be the first time they’ve met and they go from being bumbling partners to nearly leaving Gotham together after being shot at a few times and finding a dead girl in a trunk; it doesn’t make sense.
Matt Reeves was capable of taking The Batman into a different direction for both the Batman universe and superhero films alike. The action sequences are almost earned here as there’s much more down time while following a lead or doing research. You actually see that Bruce documents his inner monologues and his nightly outings as Batman in handwritten journals. There’s a ton of interesting concepts in The Batman that ultimately don’t pay off.
Paul Dano and Colin Farrell are extraordinary, but The Batman is a three hour slog through Gotham that culminates with an over exaggerated riddle that isn’t worth solving. Having Batman and Jim Gordon both speak in raspy, whispery grunts feels excessive as does Gordon’s insistence on calling Batman, “Chief,” every time that they’re together. The film deserves credit for prominently shining the spotlight on the underbelly of crime in Gotham, but the storytelling in The Batman is a lot like Bugs Bunny meaning to have taken that left turn at Albuquerque; a meandering foray down a dark rabbit hole that isn’t entirely necessary.
The Riddler (Paul Dano) kills Gotham’s mayor on Halloween night and he continues to target key political figures throughout the film. A cryptic riddle is left for Batman at every crime scene revealing just a big enough clue to keep Batman and Jim Gordon (Jeffrey Wright) entangled in Riddler’s enigmatic bloodbath. As Batman crosses paths with a cat-loving thief named Selina Kyle (Zoe Kravitz) and the magnificently sleazy Iceberg Lounge owner Oswald Cobblepot (Colin Farrell), he soon realizes that the Wayne family may be a bigger piece of the puzzle than he originally imagined.
Paul Dano is essentially the highlight of the film. Matt Reeves stated that his inspiration for his version of the character was The Zodiac Killer and it shows. Riddler’s costume is basically a camouflage gimp outfit with tactical advantages and a fetish for duct tape. Dano’s performance is haunting. His riddles are more akin to Jigsaw’s games from the Saw franchise. The character is at his best when he’s showcased in grainy cell phone videos where his shouting and heavy breathing are even more distorted than if he was standing right in front of you. The intriguing aspect is that Dano seems to be even more mesmerizing as the character once he’s unmasked. He’s able to tap into this lunacy, this dread, and this hypnotic terror that defines the character whether he’s hiding his face or not.
Featured less prominently is Colin Farrell as Oswald Cobblepot, who also delivers a fantastic performance. Farrell is so unrecognizable thanks to the facial prosthetics and fat suit that he’s wearing. Some of the aspects of The Penguin that makes him so dangerous is that he’s incredibly resourceful and he can talk his way into and out of just about anything. Farrell’s best moments as the character come during the Batmobile chase featured in the trailer followed by the conversation Batman and Gordon have with him immediately afterwards. You never knew how much you needed a Spanish lesson from Oz until Matt Reeves came along.
The Batmobile car chase is the best sequence of the film. It’s absolutely explosive and worth seeing in a theater. Michael Giacchino’s score is also bold and thrilling; it helps define the Batman character for a new generation with an undeniably epic theme. Matt Reeves compared Bruce Wayne to Kurt Cobain in this film. Bruce’s relationship with the spotlight and how he’d rather stay away from it is a lot like how Cobain viewed being famous. “Something in the Way” by Nirvana fits the Batman universe so well and it’s surprising nobody has ever thought of utilizing it until now.
This unusual version of Bruce Wayne in The Batman makes it feel unlike any other Batman film. Bruce Wayne is typically a playboy that is consistently showcased at public events that flaunts his fortune and bounces from woman to woman on a nightly basis. In The Batman, we see the smudged black eye makeup as Bruce takes off his cowl. Robert Pattinson didn’t bulk up for the role, so he has this pale and gaunt appearance. He has no interest in the business his father left him in charge of. Vengeance is his only purpose.
The Batman is also the first Batman film to actually feel like a detective story. So much time is devoted to the investigation aspect of the film; maybe too much time. The film is five minutes shy of being three hours long and The Batman feels like a three hour film. Some of these sequences feel like they could have been trimmed (did we really need to see Batman or Bruce Wayne go to the Iceberg Lounge so many times?) or cut entirely, but everything feels like it’s part of the bigger picture of capturing The Riddler. Every little stop along the way leads to the next clue or next big encounter. Unfortunately, it feels like a chore listening to Batman answer riddles for the sixth time in the midst of three hours.
Robert Pattinson is a seriously talented actor outside of the Twilight franchise and Zoe Kravitz chooses interesting projects to be a part of, but their chemistry in The Batman feels forced. Batman tracks down Selina Kyle almost like a stalker as he starts inserting himself into her life after a random encounter at The Iceberg Lounge. Despite being friends in real life, the two actors seem stiff and awkward when they’re around each other. These are two versions of the characters that don’t have the history the comics or the movies laid out for them after decades of publication and on screen appearances. This is supposed to be the first time they’ve met and they go from being bumbling partners to nearly leaving Gotham together after being shot at a few times and finding a dead girl in a trunk; it doesn’t make sense.
Matt Reeves was capable of taking The Batman into a different direction for both the Batman universe and superhero films alike. The action sequences are almost earned here as there’s much more down time while following a lead or doing research. You actually see that Bruce documents his inner monologues and his nightly outings as Batman in handwritten journals. There’s a ton of interesting concepts in The Batman that ultimately don’t pay off.
Paul Dano and Colin Farrell are extraordinary, but The Batman is a three hour slog through Gotham that culminates with an over exaggerated riddle that isn’t worth solving. Having Batman and Jim Gordon both speak in raspy, whispery grunts feels excessive as does Gordon’s insistence on calling Batman, “Chief,” every time that they’re together. The film deserves credit for prominently shining the spotlight on the underbelly of crime in Gotham, but the storytelling in The Batman is a lot like Bugs Bunny meaning to have taken that left turn at Albuquerque; a meandering foray down a dark rabbit hole that isn’t entirely necessary.