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Better than Suicide Squad
Did you catch the 2016 DCEU disappointment SUICIDE SQUAD with Will Smith as Deadshot and Jared Leto as the Joker? Many people (myself included) thought that that film was "just fine, nothing special" but were impressed with the way Margot Robbie handled the Harley Quinn character and wished for a standalone film that featured the Harley Quinn character.
Be careful what you wish for.
BIRDS OF PREY (AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN) is the answer to that wish and while it is slightly better than SUICIDE SQUAD, it still isn't all that....well...Fantabulous... of a film.
BIRDS OF PREY (which I hear is now being relabeled HARLEY QUINN: BIRDS OF PREY) is produced by Margot Robbie's production company and features an all female lead cast (the villain is a male) and a female Writer and a female Director. Consequently, this is a "female empowerment" film where the self-described "tough chicks" band together to defeat the male villain.
I applaud the effort and the idea behind the movie, but as a film, this one didn't quite work for me.
I start with the main focus of this film - Harley Quinn. This is just not a character, I discovered, that I want to spend an entire film with. She is, at it turns out, a very good SUPPORTING character, but not one that is interesting enough (at least for me) to carry a whole movie. I will give Margot Robbie credit...her interpretation of the character is interesting and that performance kept me focused throughout.
The other Birds of Prey are just as interesting. For the first time in I can't tell you, Rosie Perez did not annoy me in her role. She played earnest, frustrated Police Officer Renee Montoya and I found myself rooting for her when she was on the screen. Same goes for Jurnee Smollett-Bell's interpretation of Black Canary a character I knew very little about and was intrigued (though her "Super Power" was suddenly sprung on the audience with very little foreshadowing - foreshadowing that could have helped). And, finally, Mary Elizabeth Winstead almost steals the film as the revenge-seeking Huntress, a character I really enjoyed and hope I see again (though, I'm learning my lesson - let it be as a supporting character in another film and not her own, standalone film).
So, this film has 4 interesting characters at the top, but the issue is that they don't come together as a team until VERY late in the film (in a finale showdown that was the highlight of the film for me), so I really couldn't tell if there was any chemistry between these characters/actresses. I think there MIGHT have been, but no real sample size to tell.
Fairing less well as a character was Ewan McGregor's one-note take on super-narcissistic Roman Sionis/Black Mask. The character was pretty much in front of you at the start of the film and was still the same one-note character at the end. Also not "doing it for me" was Ella Jay Basco as Cassandra Cain, the street kid that becomes the focal point of the bad guys in the film (and the character the Birds of Prey must band together to save). I didn't much care for this character - or the performance - so I had no real emotional investment in whether or not the Birds of Prey could save her.
The Direction by Cathy Yan is professional and competent and the final showdown does show signs of originality and brilliance. I'll give her credit, she caught my attention with the last 1/2 hour of this film - much more so than she did with the first 79 minutes.
A better effort at this type of anti-hero comic book adventure (certainly better than SUICIDE SQUAD) but the DCEU still has not stuck the landing on this.
I encourage them to keep trying.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Be careful what you wish for.
BIRDS OF PREY (AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN) is the answer to that wish and while it is slightly better than SUICIDE SQUAD, it still isn't all that....well...Fantabulous... of a film.
BIRDS OF PREY (which I hear is now being relabeled HARLEY QUINN: BIRDS OF PREY) is produced by Margot Robbie's production company and features an all female lead cast (the villain is a male) and a female Writer and a female Director. Consequently, this is a "female empowerment" film where the self-described "tough chicks" band together to defeat the male villain.
I applaud the effort and the idea behind the movie, but as a film, this one didn't quite work for me.
I start with the main focus of this film - Harley Quinn. This is just not a character, I discovered, that I want to spend an entire film with. She is, at it turns out, a very good SUPPORTING character, but not one that is interesting enough (at least for me) to carry a whole movie. I will give Margot Robbie credit...her interpretation of the character is interesting and that performance kept me focused throughout.
The other Birds of Prey are just as interesting. For the first time in I can't tell you, Rosie Perez did not annoy me in her role. She played earnest, frustrated Police Officer Renee Montoya and I found myself rooting for her when she was on the screen. Same goes for Jurnee Smollett-Bell's interpretation of Black Canary a character I knew very little about and was intrigued (though her "Super Power" was suddenly sprung on the audience with very little foreshadowing - foreshadowing that could have helped). And, finally, Mary Elizabeth Winstead almost steals the film as the revenge-seeking Huntress, a character I really enjoyed and hope I see again (though, I'm learning my lesson - let it be as a supporting character in another film and not her own, standalone film).
So, this film has 4 interesting characters at the top, but the issue is that they don't come together as a team until VERY late in the film (in a finale showdown that was the highlight of the film for me), so I really couldn't tell if there was any chemistry between these characters/actresses. I think there MIGHT have been, but no real sample size to tell.
Fairing less well as a character was Ewan McGregor's one-note take on super-narcissistic Roman Sionis/Black Mask. The character was pretty much in front of you at the start of the film and was still the same one-note character at the end. Also not "doing it for me" was Ella Jay Basco as Cassandra Cain, the street kid that becomes the focal point of the bad guys in the film (and the character the Birds of Prey must band together to save). I didn't much care for this character - or the performance - so I had no real emotional investment in whether or not the Birds of Prey could save her.
The Direction by Cathy Yan is professional and competent and the final showdown does show signs of originality and brilliance. I'll give her credit, she caught my attention with the last 1/2 hour of this film - much more so than she did with the first 79 minutes.
A better effort at this type of anti-hero comic book adventure (certainly better than SUICIDE SQUAD) but the DCEU still has not stuck the landing on this.
I encourage them to keep trying.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (965 KP) rated Joker (2019) in Movies
Oct 7, 2019 (Updated Oct 13, 2019)
Arthur Fleck (Joaquin Phoenix) is a broken and troubled man. Arthur toils in as demeaning and berated Clown for Hire, and lives with his troubled mother in a dilapidated apartment.
Arthur meets with a Social Worker in an attempt as the seven medications he takes simply are not cutting it and he struggles to cope in a world that has ignored and discarded him.
Arthur dreams of being a comedian but sadly lacks the confidence and ability to pull off his material which is iffy at best. Undaunted he keeps toiling away even when life continues to beat him down mentally and physically.
This all changes when Arthur stops being the victim during and assault and fights back.
Arthur stops taking his medication and becomes more determined and is no longer afraid to confront those who antagonize him.
This leads Arthur to some renewed opportunities such as an appearance on a talk show which he has long idolized.
All of this happens against a smoldering Gotham City where tensions are high and rising even higher due to a Garbage strike and a perception that the elite of the city have abandoned those in need such as eliminating Arthurâs Social Worker due to budget cuts.
With nowhere to go but up; Arthur transforms from a disturbed individual to a violent and deeply disturbed and dangerous individual who is angry and ready for revenge.
Phoenix is fantastic and he is not afraid to let unglamorous scenes of his very thin body or lingering close ups at unflattering angels undermine him. He uses them to illustrate just how disposable Arthur is too many in the film and to also show how little he cares about such matters. The role is deeply dark and disturbing and will no doubt spark much controversy and debate ranging from making a dangerous person a sympathetic figure as well as commentary about class structure and the danger of unstable people inspiring others via a Cult of Personality.
There is a connection to the larger Batman universe even though the film is light on action and FX. This is a character study of a decent into madness and it is deeply disturbing as it is compelling.
4.5 stars out of 5
http://sknr.net/2019/10/02/joker/
Arthur meets with a Social Worker in an attempt as the seven medications he takes simply are not cutting it and he struggles to cope in a world that has ignored and discarded him.
Arthur dreams of being a comedian but sadly lacks the confidence and ability to pull off his material which is iffy at best. Undaunted he keeps toiling away even when life continues to beat him down mentally and physically.
This all changes when Arthur stops being the victim during and assault and fights back.
Arthur stops taking his medication and becomes more determined and is no longer afraid to confront those who antagonize him.
This leads Arthur to some renewed opportunities such as an appearance on a talk show which he has long idolized.
All of this happens against a smoldering Gotham City where tensions are high and rising even higher due to a Garbage strike and a perception that the elite of the city have abandoned those in need such as eliminating Arthurâs Social Worker due to budget cuts.
With nowhere to go but up; Arthur transforms from a disturbed individual to a violent and deeply disturbed and dangerous individual who is angry and ready for revenge.
Phoenix is fantastic and he is not afraid to let unglamorous scenes of his very thin body or lingering close ups at unflattering angels undermine him. He uses them to illustrate just how disposable Arthur is too many in the film and to also show how little he cares about such matters. The role is deeply dark and disturbing and will no doubt spark much controversy and debate ranging from making a dangerous person a sympathetic figure as well as commentary about class structure and the danger of unstable people inspiring others via a Cult of Personality.
There is a connection to the larger Batman universe even though the film is light on action and FX. This is a character study of a decent into madness and it is deeply disturbing as it is compelling.
4.5 stars out of 5
http://sknr.net/2019/10/02/joker/
Ryan Hill (152 KP) rated Shazam! (2019) in Movies
Jun 22, 2019
"i'd like to purchase some of your finest beer please"
Shout "Shazam!" into the sky and you're struck by a bolt of lightning from the heavens; blessed with the wisdom of Solomon, the strength of Hercules, the stamina of Atlas, the power of Zeus, the courage of Achilles and the speed of Mercury. Instantly elevated from whatever you were into your peak self; reborn with a crack of thunder, a flash of light and a cloud of smoke. It's a wonderfully novel and simple idea for a comic book character. Something that allows for a spectacular hero moment right before each conflict or feat; an epic bit of imagery to light up the night sky and electrify the frame. This transformation also perfectly captures the spirit of both this film and it's hero; a belief in the idea that even the most forgotten, marginalized and seemingly powerless person can change the world.
Shazam! distinguishes itself as DC's first true crack at a comedy; also it's lightest and most modest effort yet. There's a really nice commitment to the lofty, somewhat ridiculously mythological source material here. There's little liberty taken with Shazam's campy world of wizards, demons and magic; the attitude towards these elements can best be described as self-aware without being self-conscious. The jokes almost all land and there's charm oozing out of every frame. Loads of heart, tons of humor and a true fidelity to childhood joy make this such a uniquely enjoyable flick; and an impressively confident approach to a hero that soars due to it's big personality and earnest attitude.
Our hero's journey here boils down to a kid learning to care about a world that has never bothered to care about him. Abandoned as a child and shuttled through the foster system; the explanation and depiction of Billy Batson's unenviable situation is irreverent and laced with sarcasm, true to how teens often confront traumas that imply vulnerability. The film allows these kids to be kids; meaning they're impulsive and ill-equipped for the situation they're in; and often crude and frustratingly ignorant to a seemingly obvious truth. The premise lends itself to a close look at responsibility and purpose; basically a feature length look at a lost kid reclaiming his identity and finding a family. The point at which Billy truly becomes a hero with something to fight for is powerful; a simple but big-hearted affirmation of the importance of connection and love, especially to a kid who's never allowed himself to know either.
Superhero stories can impart lessons in a variety of ways. Both on the page and on the screen; there's a wide array of films that all excel in their own specific way; shaping themselves in the image of their hero, and what he/she means to readers around the world. Shazam! distinguishes itself spectacularly as a film about what constitutes a family, and how that family reflects who we are. There's a powerful yearning in Billy for a connection; someone or something to fight for. A desperate desire for love and support; to feel like a part of something in some way. There's a meaningful, deeply human core to that concept; something universal and immediately affecting. Shazam! understands this from the start; setting aside the punchsplosians and skybeams for a moment, to remind us that sometimes a kid looking for his mom can be as compelling than the threat of planetary destruction. So bring on Joker, Birds of Prey, Wonder Woman 1984 and whatever else DC has in it's chaotic, ever-changing slate of planned superhero flicks; they're on a roll right now.
Shazam! distinguishes itself as DC's first true crack at a comedy; also it's lightest and most modest effort yet. There's a really nice commitment to the lofty, somewhat ridiculously mythological source material here. There's little liberty taken with Shazam's campy world of wizards, demons and magic; the attitude towards these elements can best be described as self-aware without being self-conscious. The jokes almost all land and there's charm oozing out of every frame. Loads of heart, tons of humor and a true fidelity to childhood joy make this such a uniquely enjoyable flick; and an impressively confident approach to a hero that soars due to it's big personality and earnest attitude.
Our hero's journey here boils down to a kid learning to care about a world that has never bothered to care about him. Abandoned as a child and shuttled through the foster system; the explanation and depiction of Billy Batson's unenviable situation is irreverent and laced with sarcasm, true to how teens often confront traumas that imply vulnerability. The film allows these kids to be kids; meaning they're impulsive and ill-equipped for the situation they're in; and often crude and frustratingly ignorant to a seemingly obvious truth. The premise lends itself to a close look at responsibility and purpose; basically a feature length look at a lost kid reclaiming his identity and finding a family. The point at which Billy truly becomes a hero with something to fight for is powerful; a simple but big-hearted affirmation of the importance of connection and love, especially to a kid who's never allowed himself to know either.
Superhero stories can impart lessons in a variety of ways. Both on the page and on the screen; there's a wide array of films that all excel in their own specific way; shaping themselves in the image of their hero, and what he/she means to readers around the world. Shazam! distinguishes itself spectacularly as a film about what constitutes a family, and how that family reflects who we are. There's a powerful yearning in Billy for a connection; someone or something to fight for. A desperate desire for love and support; to feel like a part of something in some way. There's a meaningful, deeply human core to that concept; something universal and immediately affecting. Shazam! understands this from the start; setting aside the punchsplosians and skybeams for a moment, to remind us that sometimes a kid looking for his mom can be as compelling than the threat of planetary destruction. So bring on Joker, Birds of Prey, Wonder Woman 1984 and whatever else DC has in it's chaotic, ever-changing slate of planned superhero flicks; they're on a roll right now.
Movie Metropolis (309 KP) rated Godzilla: King of the Monsters (2019) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
All hail the Titans
2014âs Godzilla was a thrilling and somewhat underrated return to form for the king of the kaiju. Directed by visionary film-maker Gareth Edwards, Godzillaâs return to the big screen was beautifully filmed with some of the best set pieces ever seen on celluloid. It certainly made up for the Roland Emmerich monstrosity that shall remain nameless here.
Little did we know 5 years ago that Edwardsâ mega movie would be the start of a franchise culminating in a battle of the ages: Godzilla vs Kong. Follow-up film Kong: Skull Island was again, beautifully filmed, feeling like a movie from a completely different era. Now the follow-up to the follow-up is here. Still with us? Good.
Members of the crypto-zoological agency Monarch face off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah. When these ancient super-species-thought to be mere myths-rise again, they all vie for supremacy, leaving humanityâs very existence hanging in the balance.
Taking over from Gareth Edwards after he chose not to return to the franchise is director Michael Dougherty. If the name rings a bell, itâs because he co-wrote X2 and directed the fantastic horror comedy, Krampus. Used to much-lower budgets than this $200million behemoth, Dougherty crafts a film that throws everything including the kitchen sink at the audience, but lacks the lightness of touch that made its predecessors such popcorn-munching fun.
With a cast that includes Stranger Thingsâ Millie Bobby Brown, Vera Farmiga, Sally Hawkins, Ken Watanabe, Charles Dance and Kyle Chandler, youâd be forgiven that everything from a characterisation point of view would be spot on. Unfortunately, that just isnât the case. The story and screenplay, penned by Dougherty himself is really lacklustre with poor, cringeworthy dialogue and some wooden performances by actors who should really know better. The attempts at Marvel-esque humour fall completely flat and this is a real shame.
Making her feature film debut, Mille Bobby Brown salvages what she can from the script and performs very well but when the screenplay doesnât know what to do with individual characters, theyâre tossed aside as Ghidorah fodder and completely forgotten about. Not only is this frustrating for the audience, but it certainly isnât script-writing best practice.
Thankfully, things start to turn around when it comes to the cinematography. Lawrence Sher, who has worked on Paul, The Hangover and the upcoming Joker movie picks some outstanding shots that make you feel very much part of this almost apocalyptic universe the Titans are roaming. While stopping short of beautiful, many of the sequences are too messy for that, Godzilla: King of the Monsters is a very attractive film indeed and the colours used are ethereal in their nature and require the biggest screen possible to get the most from them.
Godzilla is beautifully rendered and while the look is less successful on King Ghidorah, itâs not enough to detract from the exceptional visual effects work
The special effects too make a lasting impression. This was not a cheap film to make and thankfully this shows on screen. Whilst naturally heavy on CGI, Dougherty has stated that practical effects had been used wherever possible. Perhaps the biggest compliment here is that itâs impossible to tell where practical meets CG.
Godzilla is beautifully rendered and while the look is less successful on King Ghidorah, itâs not enough to detract from the exceptional visual effects work that has gone into making Godzilla 2. Mothra in particular is a sight to behold.
Bear McCrearyâs score too is very good. After working on relatively low-budget films until now, his orchestral and vocal compositions work beautifully with whatâs being shown on screen and the music has an operatic vibe that feels truly fitting of a film of this magnitude.
Nevertheless, Godzilla: King of the Monsterâs downfall is in that shoddy script. None of the actors bring their a-game here and moments that should have emotional poignancy donât hit home because theyâre not allowed to. Within 10 minutes of the filmâs opening, weâre smack bang in the middle of an action sequence with it rarely letting up until the thrilling finale 2 hours later.
Overall, Godzilla: King of the Monsters is a perfectly adequate outing for the king of the kaiju but one that comes with a dash of disappointment. The bar was set incredibly high by Gareth Edwards and while the special effects and action scenes are impressive, thatâs not enough to mask poor storytelling and thinly drawn characters.
https://moviemetropolis.net/2019/05/29/godzilla-king-of-the-monsters-review-all-hail-the-titans/
Little did we know 5 years ago that Edwardsâ mega movie would be the start of a franchise culminating in a battle of the ages: Godzilla vs Kong. Follow-up film Kong: Skull Island was again, beautifully filmed, feeling like a movie from a completely different era. Now the follow-up to the follow-up is here. Still with us? Good.
Members of the crypto-zoological agency Monarch face off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah. When these ancient super-species-thought to be mere myths-rise again, they all vie for supremacy, leaving humanityâs very existence hanging in the balance.
Taking over from Gareth Edwards after he chose not to return to the franchise is director Michael Dougherty. If the name rings a bell, itâs because he co-wrote X2 and directed the fantastic horror comedy, Krampus. Used to much-lower budgets than this $200million behemoth, Dougherty crafts a film that throws everything including the kitchen sink at the audience, but lacks the lightness of touch that made its predecessors such popcorn-munching fun.
With a cast that includes Stranger Thingsâ Millie Bobby Brown, Vera Farmiga, Sally Hawkins, Ken Watanabe, Charles Dance and Kyle Chandler, youâd be forgiven that everything from a characterisation point of view would be spot on. Unfortunately, that just isnât the case. The story and screenplay, penned by Dougherty himself is really lacklustre with poor, cringeworthy dialogue and some wooden performances by actors who should really know better. The attempts at Marvel-esque humour fall completely flat and this is a real shame.
Making her feature film debut, Mille Bobby Brown salvages what she can from the script and performs very well but when the screenplay doesnât know what to do with individual characters, theyâre tossed aside as Ghidorah fodder and completely forgotten about. Not only is this frustrating for the audience, but it certainly isnât script-writing best practice.
Thankfully, things start to turn around when it comes to the cinematography. Lawrence Sher, who has worked on Paul, The Hangover and the upcoming Joker movie picks some outstanding shots that make you feel very much part of this almost apocalyptic universe the Titans are roaming. While stopping short of beautiful, many of the sequences are too messy for that, Godzilla: King of the Monsters is a very attractive film indeed and the colours used are ethereal in their nature and require the biggest screen possible to get the most from them.
Godzilla is beautifully rendered and while the look is less successful on King Ghidorah, itâs not enough to detract from the exceptional visual effects work
The special effects too make a lasting impression. This was not a cheap film to make and thankfully this shows on screen. Whilst naturally heavy on CGI, Dougherty has stated that practical effects had been used wherever possible. Perhaps the biggest compliment here is that itâs impossible to tell where practical meets CG.
Godzilla is beautifully rendered and while the look is less successful on King Ghidorah, itâs not enough to detract from the exceptional visual effects work that has gone into making Godzilla 2. Mothra in particular is a sight to behold.
Bear McCrearyâs score too is very good. After working on relatively low-budget films until now, his orchestral and vocal compositions work beautifully with whatâs being shown on screen and the music has an operatic vibe that feels truly fitting of a film of this magnitude.
Nevertheless, Godzilla: King of the Monsterâs downfall is in that shoddy script. None of the actors bring their a-game here and moments that should have emotional poignancy donât hit home because theyâre not allowed to. Within 10 minutes of the filmâs opening, weâre smack bang in the middle of an action sequence with it rarely letting up until the thrilling finale 2 hours later.
Overall, Godzilla: King of the Monsters is a perfectly adequate outing for the king of the kaiju but one that comes with a dash of disappointment. The bar was set incredibly high by Gareth Edwards and while the special effects and action scenes are impressive, thatâs not enough to mask poor storytelling and thinly drawn characters.
https://moviemetropolis.net/2019/05/29/godzilla-king-of-the-monsters-review-all-hail-the-titans/
Lee (2222 KP) rated Titans - Season 1 in TV
Feb 4, 2019
Outstanding. This is DC done right
As the DC movie universe continues to struggle with consistency and quality, it is so refreshing to finally come across a DC TV show as entertaining and as epic as this one. A show which, in my opinion, manages to get the tone and style just right, restrained at times, but constantly teasing much bigger and much more exciting possibilities. I struggle with most superhero TV shows, failing to get more than a season into shows like The Flash, or more than just a handful of episodes into shows like Daredevil or Luke Cage, but this one just got me hooked. It kept me engaged and enthralled through every single episode, and managed to tweak every geeky bone in my body during its final episode. It had a decent cliffhanger finale, an interesting post-credits scene, and I absolutely loved it. What Titans manages to do extremely well is with the introduction of its main characters. It does this slowly, but enjoyably, leaving much of their character traits and abilities to be discovered throughout the season. It takes a while for them all to come together as a team, but even when they do it's more about them discovering who they all are individually and how to deal with the dangerous situations they find themselves in than just kicking bad guy ass (although they manage to do plenty of that too!). Occasionally, an episode will end on a real cliffhanger, only for the next episode to go off on a tangent, exploring another character and their past. But it just works, developing and enriching the story rather than acting as unnecessary or frustrating season filler.
We kick things off by meeting Dick Grayson, or Batman sidekick Robin as he's more usually known. He's currently working as a detective in Detroit having left Gotham City about a year ago. When asked about his reasons for leaving Gotham, he puts it down to problems with a difficult partner, but he still likes to wear the Robin suit occasionally - picking up leads as part of his day job, then dealing out swift vigilante justice as Robin by night. The criminals can't quite take him seriously though - scouring the skies, wondering whether the more terrifying Batman is going to show up to help out his little sidekick. Robin can more than handle his own though, brutally taking care of business before growling "F*** Batman". Yep, if you hadn't already gathered, Titans is a much grittier show than animated show Teen Titans! This version is much darker - we get blood, we get violence, our heroes have sex and they also have potty mouths!
Next up is Rachel Roth, a teenager with purple hair who sleeps in a locked room with crucifixes affixed to the door, fearful of a dark entity living within her. She has a vision of Dick Grayson, who she has never met, witnessing the moment from his childhood when his parents died during their acrobat act, the Flying Graysons. Rachel is being pursued by a number of individuals for reasons that are unclear for much of the season and, following the murder of her guardian, heads to Detroit where she crosses paths with Dick. Meanwhile, a fiery redhead named Koriand'r awakens in a crashed car in Austria, with no memory of who she is. She learns that she has some pretty good combat skills and some cool superhuman abilities. She also discovers that she is on the hunt for Rachel Roth, but she has no idea why. There is also a teenage boy called Gar, who is able to shape shift into a green tinged tiger, but only when he's naked!
Along the way, as these core characters all come together, we're introduced to a variety of other weird and wonderful characters from comic book history. Some, such as Hawk and Dove, have a recurring and increasingly important role, earning one of the more enjoyable episodes later on in the season when we delve into their backstory. Other characters, such as Doom Patrol and The Nuclear Family are briefly introduced, only to disappear for now - although I'm sure we'll be seeing them all again in future seasons (hopefully). But it's when new Robin Jason Todd appeared on the scene, and then Wonder Woman sidekick Wonder Girl, that I really started geeking out. New Robin is younger and much more sadistic than his predecessor (Robin 2.0 as he puts it), while Wonder Girl now leads a much quieter life. Her and Dick also share a past, with both of them being sidekicks, and we get a brief glimpse of her abilities a couple of times throughout the season. Hopefully with a lot more to come next season.
And then we come to the finale, with things coming to a head and with a serious threat to our planet looming. Dick heads back to Gotham where Commissioner Gordon has been murdered, the streets are rife with crime and Batman has gone off the rails - on a mission to kill The Joker and all of his enemies in Arkham Asylum. I loved this episode. The Joker, Batman, Wayne Manor, the Batcave - all of these things we're so used to seeing in countless movies and TV shows over the years, but in this context and as part of this world, this huge story that's been unfolding over 11 episodes, there was something about it that just blew me away. As mentioned before, the show also ends on a fantastic cliffhanger and teases some interesting additions post credits. I cannot wait for more of this!
We kick things off by meeting Dick Grayson, or Batman sidekick Robin as he's more usually known. He's currently working as a detective in Detroit having left Gotham City about a year ago. When asked about his reasons for leaving Gotham, he puts it down to problems with a difficult partner, but he still likes to wear the Robin suit occasionally - picking up leads as part of his day job, then dealing out swift vigilante justice as Robin by night. The criminals can't quite take him seriously though - scouring the skies, wondering whether the more terrifying Batman is going to show up to help out his little sidekick. Robin can more than handle his own though, brutally taking care of business before growling "F*** Batman". Yep, if you hadn't already gathered, Titans is a much grittier show than animated show Teen Titans! This version is much darker - we get blood, we get violence, our heroes have sex and they also have potty mouths!
Next up is Rachel Roth, a teenager with purple hair who sleeps in a locked room with crucifixes affixed to the door, fearful of a dark entity living within her. She has a vision of Dick Grayson, who she has never met, witnessing the moment from his childhood when his parents died during their acrobat act, the Flying Graysons. Rachel is being pursued by a number of individuals for reasons that are unclear for much of the season and, following the murder of her guardian, heads to Detroit where she crosses paths with Dick. Meanwhile, a fiery redhead named Koriand'r awakens in a crashed car in Austria, with no memory of who she is. She learns that she has some pretty good combat skills and some cool superhuman abilities. She also discovers that she is on the hunt for Rachel Roth, but she has no idea why. There is also a teenage boy called Gar, who is able to shape shift into a green tinged tiger, but only when he's naked!
Along the way, as these core characters all come together, we're introduced to a variety of other weird and wonderful characters from comic book history. Some, such as Hawk and Dove, have a recurring and increasingly important role, earning one of the more enjoyable episodes later on in the season when we delve into their backstory. Other characters, such as Doom Patrol and The Nuclear Family are briefly introduced, only to disappear for now - although I'm sure we'll be seeing them all again in future seasons (hopefully). But it's when new Robin Jason Todd appeared on the scene, and then Wonder Woman sidekick Wonder Girl, that I really started geeking out. New Robin is younger and much more sadistic than his predecessor (Robin 2.0 as he puts it), while Wonder Girl now leads a much quieter life. Her and Dick also share a past, with both of them being sidekicks, and we get a brief glimpse of her abilities a couple of times throughout the season. Hopefully with a lot more to come next season.
And then we come to the finale, with things coming to a head and with a serious threat to our planet looming. Dick heads back to Gotham where Commissioner Gordon has been murdered, the streets are rife with crime and Batman has gone off the rails - on a mission to kill The Joker and all of his enemies in Arkham Asylum. I loved this episode. The Joker, Batman, Wayne Manor, the Batcave - all of these things we're so used to seeing in countless movies and TV shows over the years, but in this context and as part of this world, this huge story that's been unfolding over 11 episodes, there was something about it that just blew me away. As mentioned before, the show also ends on a fantastic cliffhanger and teases some interesting additions post credits. I cannot wait for more of this!
BankofMarquis (1832 KP) rated The Batman (2022) in Movies
Mar 12, 2022
Too Long Of a Setup for a Terrific Payoff
The rap on the films of the DCEU - especially the films directed by Zach Snyder - is that they are too dark, dour and a âdownerâ, with very little joy or sunshine in the images or themes.
The Writer and Director of the new DCEU film, THE BATMAN, Matt Reeves (CLOVERFIELD) has one simple answer for you: âHold my beerâ.
Doubling down on the dark themes, imagery and attitudes of all involved, THE BATMAN is a 3 hour epic that is unrelenting in itâs bleakness with constant rain and dark images with not a peak of sun or color in the entire film. This bleakness and the slowness of the first 5/6 of this film will turn off the average viewer and will thrill only the most diehard of fans.
And thatâs too bad for the last 1/2 hour of this film is pretty terrific, paying off the long setup beforehand with a confrontation between Batman (Robert Pattinson) and The Riddler (Paul Dano) that rivals just about any confrontation scene in comic books movie history (this side of Heath Ledgerâs Joker).
Letâs start with the overwhelming look and feel of this film. It is a downer. Gotham City is, yet again, a city in decay with the bad guys over-running the good guys. Which begs this question - why would anyone join the Gotham City Police Department? But Director/Writer Reeves is is sure-handed in his approach to this material and he is unwavering in his bleakness. It is a strongly directed film that knows what it wants to be and does not pretend to be anything else - nor does it apologize for being what it is.
In this world is dropped Robert Pattinson (the TWILIGHT films) as the titular Batman and he is a perfect choice for this role in this film. His Batman is morose, dour, thoughtful and razor focused on being âvengeanceâ. He is not interested in being a good guy or a superhero, rather this version of Batman is focused on being a really good Detective, ferreting out evil-doers and administering punishment when they are caught. This film barely mentions Batmanâs alter-ego, Bruce Wayne, and when Pattinson is on the screen in the guise as Bruce Wayne he looks uninterested in being Bruce Wayne, heâd rather be Batman - and this is a compliment for that is how this movie portrays this dual role. Batman is disguising himself as Bruce Wayne (and not vica-versa).
Assisting Batman in his Detective work is Lt. James Gordon (the always terrific Jeffrey Wright), the only honest cop in a corrupt Police Department. These 2 work as a Detective team, and this film often-times feels like a Detective procedural, some liken it to SEVEN with Brad Pitt/Morgan Freeman, I look at it more like the first season of TRUE DETECTIVE(the one with Matthew McConaughey and Woody Harrelson), dark and interesting in their search for the bad guys.
As is typical of these types of films, we have a rogues gallery of villains. Some fair well - an unrecognizable Colin Farrel as Oz (the Penguin) and John Torturro as mob boss Carmine Falcone. While others fair less well - Peter Sarsgaard as corrupt District Attorney Gil Colson and, unfortunately, Zoe Kravitz as Selina Kyle (Catwoman). Both of these roles are not fleshed out well. Kravitz hits the screen looking good in her cat suit and while there is unmistakable sexual chemistry between Catwoman and Batman (not, it should be noted, between Selina Kyle and Bruce Wayne), but this only takes the character so far and Selina really wasnât the bad-ass conflicted villain/hero that one would expect.
A pleasant surprise was the performance of the always interesting Paul Dano as the Riddler. He underplays this character in much the same way that most have overplayed him. Clearly, this is a smart, if mentally off, person who talks through riddles but has an overall plan to bring down âThe Batâ and the City. Not to spoil this film, but it didnât really grab my attention until after the masked Riddler was unmasked and that was very late in the game - almost too late.
And thatâs the problem with this film. The last 1/2 hour is TERRIFIC, but one has to sit through 2 1/2 hours of dark, dour setup to get there and for most, that journey will not be worth the payoff.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
The Writer and Director of the new DCEU film, THE BATMAN, Matt Reeves (CLOVERFIELD) has one simple answer for you: âHold my beerâ.
Doubling down on the dark themes, imagery and attitudes of all involved, THE BATMAN is a 3 hour epic that is unrelenting in itâs bleakness with constant rain and dark images with not a peak of sun or color in the entire film. This bleakness and the slowness of the first 5/6 of this film will turn off the average viewer and will thrill only the most diehard of fans.
And thatâs too bad for the last 1/2 hour of this film is pretty terrific, paying off the long setup beforehand with a confrontation between Batman (Robert Pattinson) and The Riddler (Paul Dano) that rivals just about any confrontation scene in comic books movie history (this side of Heath Ledgerâs Joker).
Letâs start with the overwhelming look and feel of this film. It is a downer. Gotham City is, yet again, a city in decay with the bad guys over-running the good guys. Which begs this question - why would anyone join the Gotham City Police Department? But Director/Writer Reeves is is sure-handed in his approach to this material and he is unwavering in his bleakness. It is a strongly directed film that knows what it wants to be and does not pretend to be anything else - nor does it apologize for being what it is.
In this world is dropped Robert Pattinson (the TWILIGHT films) as the titular Batman and he is a perfect choice for this role in this film. His Batman is morose, dour, thoughtful and razor focused on being âvengeanceâ. He is not interested in being a good guy or a superhero, rather this version of Batman is focused on being a really good Detective, ferreting out evil-doers and administering punishment when they are caught. This film barely mentions Batmanâs alter-ego, Bruce Wayne, and when Pattinson is on the screen in the guise as Bruce Wayne he looks uninterested in being Bruce Wayne, heâd rather be Batman - and this is a compliment for that is how this movie portrays this dual role. Batman is disguising himself as Bruce Wayne (and not vica-versa).
Assisting Batman in his Detective work is Lt. James Gordon (the always terrific Jeffrey Wright), the only honest cop in a corrupt Police Department. These 2 work as a Detective team, and this film often-times feels like a Detective procedural, some liken it to SEVEN with Brad Pitt/Morgan Freeman, I look at it more like the first season of TRUE DETECTIVE(the one with Matthew McConaughey and Woody Harrelson), dark and interesting in their search for the bad guys.
As is typical of these types of films, we have a rogues gallery of villains. Some fair well - an unrecognizable Colin Farrel as Oz (the Penguin) and John Torturro as mob boss Carmine Falcone. While others fair less well - Peter Sarsgaard as corrupt District Attorney Gil Colson and, unfortunately, Zoe Kravitz as Selina Kyle (Catwoman). Both of these roles are not fleshed out well. Kravitz hits the screen looking good in her cat suit and while there is unmistakable sexual chemistry between Catwoman and Batman (not, it should be noted, between Selina Kyle and Bruce Wayne), but this only takes the character so far and Selina really wasnât the bad-ass conflicted villain/hero that one would expect.
A pleasant surprise was the performance of the always interesting Paul Dano as the Riddler. He underplays this character in much the same way that most have overplayed him. Clearly, this is a smart, if mentally off, person who talks through riddles but has an overall plan to bring down âThe Batâ and the City. Not to spoil this film, but it didnât really grab my attention until after the masked Riddler was unmasked and that was very late in the game - almost too late.
And thatâs the problem with this film. The last 1/2 hour is TERRIFIC, but one has to sit through 2 1/2 hours of dark, dour setup to get there and for most, that journey will not be worth the payoff.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (2020) in Movies
Feb 15, 2020
A lot of squawking birds
Although not saying much, Margot Robbieâs Harley Quinn was one of the best thing in the lacklustre D.C. outing âSuicide Squadâ of 2016. Now, she returns in her own vehicle. Jared Letoâs Joker is a thing of the past (clearly he wasnât keen on dredging up the past for even a cameo in this one).
Harley had spent years building up a catalog of enemies in Gotham, with no-one daring to lift a finger for fear of âthe big Jâsâ retribution. With that now a thing of the past, the streets are no longer safe for Harley. Whereas most characters have a reason to want to kill Harley, mid-level gangster Roman Sionis (Ewan McGregor) has a list as long as his arm (a blurred list that will probably make freeze-framing of the blu-ray entertaining!). Roman, who has a penchant for having his right-hand man Victor (Chris Messina) de-glove his victimâs faces, has his heart set on obtaining a missing diamond that (McGuffin-alert) is engraved with account details to $billions.
Through a convoluted and messy plot, Harley meets various âbirds of preyâ who are either friend or foe: notably young pickpocket Cassandra (Ella Jay Basco); cop RenĂ©e Montoya (Rosie Perez); the âCrossbow Killerâ (Mary Elizabeth Winstead); and the âBlack Canaryâ (Jurnee Smollett-Bell), who you donât want to let near your best glasses.
As you might expect from your knowledge of Harley Quinnâs character, the movie is bat-shit crazy, with periodic breaking of the 4th wall; much acrobatic kick-boxing; and some random dream sequencesâŠ.. Robbie as Marilyn is particularly entertaining, although at times (the âegg sandwichâ sequence in particular) the gurning made me muse to myself about just what a good film âI, Tonyaâ was.
It all comes across as something of a âDeadpoolâ sequel. Actually, Iâd more describe it as âDeadpool-liteâ since itâs not powered here by the charisma of Ryan Reynolds. However, I did find myself quite enjoying the first reel of the movie.
Unfortunately, it didnât last.
It all just becomes incredibly tiresome. Although Margot Robbie is very good in the role, Harleyâs incessant squawking just gets annoying.
Also in this battle of men vs women, the women always win and are (mostly) completely unscathed. In one particular scene there are 5 or 6 burly men taking on Harley: clearly she whips their sorry asses in improbable fashion. What? Only one at a time guys?
If you were confused by the timeline of âLittle Womenâ, this will blow your mind! It makes Greta Gerwigâs masterpiece look as linear as âNews at Tenâ! Itâs really difficult to follow at times as the timeline flashes forwards and backwards and sideways at random!
Also confusing (for me anyway⊠did I have a nap?) was the finale. Thereâs something to do with a ring which made NO SENSE to me at all? Am I alone in that?
Ewan MacGregor has fun with his role as the gay (I assume?) gangster, but it all turns cartoonish at times. But perhaps, thatâs the point? However while the violence in âDeadpoolâ was cartoonishly funny (as in Tom and Jerry) the violence here is decidedly of the vicious and unpleasant variety, with a vindictive edge. It makes you not particularly like any of the movieâs characters.
The movie is written by Christina Hodson, who is slated to write too more upcoming superhero films: âThe Flashâ and âBatgirlâ. The director is Chinese director Cathy Yan in only her second directorial feature.
Summary: Itâs loud and brash and at 109 minutes it overstays its welcome by about 20 minutes. Less would have been more. Itâs somewhat better than âSuicide Squadâ (which I unfathomably seem to have given 2.5 stars to), but itâs still a movie that I will struggle to remember in a monthâs time.
(For the full graphical review, check out One Mann's Movies here - https://bob-the-movie-man.com/2020/02/15/one-manns-movies-film-review-birds-of-prey-and-the-fantabulous-emancipation-of-one-harley-quinn-2020/
Harley had spent years building up a catalog of enemies in Gotham, with no-one daring to lift a finger for fear of âthe big Jâsâ retribution. With that now a thing of the past, the streets are no longer safe for Harley. Whereas most characters have a reason to want to kill Harley, mid-level gangster Roman Sionis (Ewan McGregor) has a list as long as his arm (a blurred list that will probably make freeze-framing of the blu-ray entertaining!). Roman, who has a penchant for having his right-hand man Victor (Chris Messina) de-glove his victimâs faces, has his heart set on obtaining a missing diamond that (McGuffin-alert) is engraved with account details to $billions.
Through a convoluted and messy plot, Harley meets various âbirds of preyâ who are either friend or foe: notably young pickpocket Cassandra (Ella Jay Basco); cop RenĂ©e Montoya (Rosie Perez); the âCrossbow Killerâ (Mary Elizabeth Winstead); and the âBlack Canaryâ (Jurnee Smollett-Bell), who you donât want to let near your best glasses.
As you might expect from your knowledge of Harley Quinnâs character, the movie is bat-shit crazy, with periodic breaking of the 4th wall; much acrobatic kick-boxing; and some random dream sequencesâŠ.. Robbie as Marilyn is particularly entertaining, although at times (the âegg sandwichâ sequence in particular) the gurning made me muse to myself about just what a good film âI, Tonyaâ was.
It all comes across as something of a âDeadpoolâ sequel. Actually, Iâd more describe it as âDeadpool-liteâ since itâs not powered here by the charisma of Ryan Reynolds. However, I did find myself quite enjoying the first reel of the movie.
Unfortunately, it didnât last.
It all just becomes incredibly tiresome. Although Margot Robbie is very good in the role, Harleyâs incessant squawking just gets annoying.
Also in this battle of men vs women, the women always win and are (mostly) completely unscathed. In one particular scene there are 5 or 6 burly men taking on Harley: clearly she whips their sorry asses in improbable fashion. What? Only one at a time guys?
If you were confused by the timeline of âLittle Womenâ, this will blow your mind! It makes Greta Gerwigâs masterpiece look as linear as âNews at Tenâ! Itâs really difficult to follow at times as the timeline flashes forwards and backwards and sideways at random!
Also confusing (for me anyway⊠did I have a nap?) was the finale. Thereâs something to do with a ring which made NO SENSE to me at all? Am I alone in that?
Ewan MacGregor has fun with his role as the gay (I assume?) gangster, but it all turns cartoonish at times. But perhaps, thatâs the point? However while the violence in âDeadpoolâ was cartoonishly funny (as in Tom and Jerry) the violence here is decidedly of the vicious and unpleasant variety, with a vindictive edge. It makes you not particularly like any of the movieâs characters.
The movie is written by Christina Hodson, who is slated to write too more upcoming superhero films: âThe Flashâ and âBatgirlâ. The director is Chinese director Cathy Yan in only her second directorial feature.
Summary: Itâs loud and brash and at 109 minutes it overstays its welcome by about 20 minutes. Less would have been more. Itâs somewhat better than âSuicide Squadâ (which I unfathomably seem to have given 2.5 stars to), but itâs still a movie that I will struggle to remember in a monthâs time.
(For the full graphical review, check out One Mann's Movies here - https://bob-the-movie-man.com/2020/02/15/one-manns-movies-film-review-birds-of-prey-and-the-fantabulous-emancipation-of-one-harley-quinn-2020/
RÉX Regent (349 KP) rated Batman Begins (2005) in Movies
Feb 19, 2019
Batman has always seemed to make great viewing and with the darker takes on him of the past to decades, great movies. This was a real treat though. Itâs almost a rational take on an irrational super hero. Christopher Nolan has managed to give Batman a human face and the world he inhabits a sense of scale and realism. But thatâs not to say that it is lacking in the sense of the theatrical.
Back in 2005, the hype for this film was building, with a new take on the old comic hero taking shape. Though I must admit that the design of the new Batmobile didnât look cool to me, but I loved the concept of rooting him in a real world. The other questionable point was that lack of the big hitters in terms of the villains. The Joker, Penguin, Riddler and Catwomen were dumped in favour of The Scarecrow and Raâs al Ghul, with only one that I, as the un-indoctrinated in comic book lore, that I had heard of being The Scarecrow.
But this was not to be a typical Batman film in any sense of the word. In June 2005, Batman was reborn and not only had the career of an independently styled filmmaker, Christopher Nolan blown into the big leagues but Blockbusters had just been redefined, an event not dis-similar in effect t those of Jaws and Star Wars in the 1970âs.
Batman, a Warner Bros. cash cow for decades, was about to cross all the main lines within the industry and a blockbuster with art house sensibilities and real intelligence was about to born. Itâs not the first, but it opened the door for Nolan and his like to change the way we think about movies of this kind. It doesnât seem to be that long ago that Marvel was dominating cinemas was some first-rate adaptations such as X-Men, Spider-man and the underrated Hulk, which in many ways may be classed as a prototype for this, with art house direction from Ang Lee.
The plot of Batman Begins isnât really that important though thatâs not to sell it short. Itâs a highly developed and conceived story, packed from the opening frame to the 140th minute, but itâs simply the perfect blend of the evolution of Bruce Wayne into Batman, and the usual diabolical plans of the super-villain, only it doesnât feel like that when youâre watching it. It feels like a well judged story about a traumatised young man, struggling to come terms with his parents murder, and his place in the world.
Luckily for him, his family are billionaires and his butler is Alfred, or more importantly, Michael Caine! There are of course a whole host of contrivances to explain how Batmanâs image was forged, how the Batcave was created and where the Batmobile came from, but no-oneâs suggesting that this a documentary. This is a more grounded and psychological approach to the story of a nutcase who dressed up like a bat and fights crime without a single superpower to his aid.
But itâs how Nolan brings all this together that works so well. He addresses things so subtly that you can end up missing them if you blink, or at least fail to see them coming. Wayne is turned into a flamboyant excentric to maintain a distance from his friends, if he even has any. The Batcave never ends up looking how weâd expect either, but it is full of bats if that helps and he does park his car there.
It is not until The Dark Knight that we see a Batcave of sorts and that isnât even in the grounds of Wayne Manor. So, the direction, conception and writing are great, what about the casting? Christian Bale is Wayne/Batman for me, though the animatistic tone to his voice maybe a little overdone, but I do get it. Katie Holmes is the weakest link and am glad that she was recast for the sequel. The rest of the players are first-rate and this may well be on of the best casts ever assembled for a single film in my opinion.
Gary Oldman, so understated as Lt. Gordon, Caine as Alfred is perfect; Liam Neeson is on top form, which he isnât always, letâs face it and Morgan Freeman, like Oldman and Caine can seemingly do no wrong. Then thereâs Hans Zimmerâs collaboration with James Newton Howard for the score which is one of Zimmerâs best. Howard is an able composer and he clearly provided many of the excellent emotional riffs, but it was Zimmer who brought this together with his dominant, strident style, colossal beats and pacing.
The look and sound of this film sets it apart from so many of its brethren. Batman Begins is a truly original, relentless and groundbreaking movie that is the best of the comic book movies by a mile, but not necessarily the best comic book adaptation. Spider-man or Watchmen for example, may qualify for the fact that they more literally reflect their respective sources but Nolanâs masterpiece is a blueprint as to how film should tackle such adaptations.
And yes, thatâs right; Batman Begins is a masterpiece if ever there was one, though a slightly lesser one in comparison to its own sequel, The Dark Knight which may have completely rewritten the handbook.
Back in 2005, the hype for this film was building, with a new take on the old comic hero taking shape. Though I must admit that the design of the new Batmobile didnât look cool to me, but I loved the concept of rooting him in a real world. The other questionable point was that lack of the big hitters in terms of the villains. The Joker, Penguin, Riddler and Catwomen were dumped in favour of The Scarecrow and Raâs al Ghul, with only one that I, as the un-indoctrinated in comic book lore, that I had heard of being The Scarecrow.
But this was not to be a typical Batman film in any sense of the word. In June 2005, Batman was reborn and not only had the career of an independently styled filmmaker, Christopher Nolan blown into the big leagues but Blockbusters had just been redefined, an event not dis-similar in effect t those of Jaws and Star Wars in the 1970âs.
Batman, a Warner Bros. cash cow for decades, was about to cross all the main lines within the industry and a blockbuster with art house sensibilities and real intelligence was about to born. Itâs not the first, but it opened the door for Nolan and his like to change the way we think about movies of this kind. It doesnât seem to be that long ago that Marvel was dominating cinemas was some first-rate adaptations such as X-Men, Spider-man and the underrated Hulk, which in many ways may be classed as a prototype for this, with art house direction from Ang Lee.
The plot of Batman Begins isnât really that important though thatâs not to sell it short. Itâs a highly developed and conceived story, packed from the opening frame to the 140th minute, but itâs simply the perfect blend of the evolution of Bruce Wayne into Batman, and the usual diabolical plans of the super-villain, only it doesnât feel like that when youâre watching it. It feels like a well judged story about a traumatised young man, struggling to come terms with his parents murder, and his place in the world.
Luckily for him, his family are billionaires and his butler is Alfred, or more importantly, Michael Caine! There are of course a whole host of contrivances to explain how Batmanâs image was forged, how the Batcave was created and where the Batmobile came from, but no-oneâs suggesting that this a documentary. This is a more grounded and psychological approach to the story of a nutcase who dressed up like a bat and fights crime without a single superpower to his aid.
But itâs how Nolan brings all this together that works so well. He addresses things so subtly that you can end up missing them if you blink, or at least fail to see them coming. Wayne is turned into a flamboyant excentric to maintain a distance from his friends, if he even has any. The Batcave never ends up looking how weâd expect either, but it is full of bats if that helps and he does park his car there.
It is not until The Dark Knight that we see a Batcave of sorts and that isnât even in the grounds of Wayne Manor. So, the direction, conception and writing are great, what about the casting? Christian Bale is Wayne/Batman for me, though the animatistic tone to his voice maybe a little overdone, but I do get it. Katie Holmes is the weakest link and am glad that she was recast for the sequel. The rest of the players are first-rate and this may well be on of the best casts ever assembled for a single film in my opinion.
Gary Oldman, so understated as Lt. Gordon, Caine as Alfred is perfect; Liam Neeson is on top form, which he isnât always, letâs face it and Morgan Freeman, like Oldman and Caine can seemingly do no wrong. Then thereâs Hans Zimmerâs collaboration with James Newton Howard for the score which is one of Zimmerâs best. Howard is an able composer and he clearly provided many of the excellent emotional riffs, but it was Zimmer who brought this together with his dominant, strident style, colossal beats and pacing.
The look and sound of this film sets it apart from so many of its brethren. Batman Begins is a truly original, relentless and groundbreaking movie that is the best of the comic book movies by a mile, but not necessarily the best comic book adaptation. Spider-man or Watchmen for example, may qualify for the fact that they more literally reflect their respective sources but Nolanâs masterpiece is a blueprint as to how film should tackle such adaptations.
And yes, thatâs right; Batman Begins is a masterpiece if ever there was one, though a slightly lesser one in comparison to its own sequel, The Dark Knight which may have completely rewritten the handbook.
LeftSideCut (3778 KP) Feb 13, 2020
Kevin Phillipson (9943 KP) Feb 14, 2020