Directed By: Christopher Nolan
Rated: 14A Can/PG-13 USA
Runtime: 2 hrs, 32 mins
Talk about title appropriate, this film encompassed everything seedy, dark and deliciously deranged not to mention offered in IMAX, which only gives evil a few extra stories of edge. Judging by the opening weekend intake and the theater lines rivaling a 75% of at Chanel Sale, every comic book fan, critic, and viewer of Nolan’s first venture in the franchise “Batman Begins” was in attendance for The Dark Knight.
Picking up only a marginal amount of time after “Batman Begins” we find Gotham in a continued struggle against its seedy underbelly. A breeding ground for police corruption, Gotham’s new District Attorney Harvey Dent assumes the monumental task of cleaning up Gotham’s streets with the help of Lieutenant Gordon and of course the caped crusader himself. When Dent and girlfriend Rachel Dawes find a way to nail the entire mass of the Gotham Mob with criminal charges, Gotham is turned to the hands of the Joker; a new brand of bad who has been slicing a path of destruction for himself in recent Gotham news. The Joker hires himself out to the mob and demands Batman’s identity on a platter to avoid piling up further bodies, and thus begins a cat-and-mouse game not seen since the likes of De Niro vs. Pacino in “Heat”.
Christian Bale’s portrayal of Batman is consistently solid giving us a unique perspective on the vulnerable side of Batman. While Bale’s performance is excellent, ultimately the show belongs to Heath Ledger. Undeniably Ledger’s portrayal of the Joker is the darkest villain in Batman history. What is more terrifying than a man who wants nothing? Ledger did not overlook a single subtlety in his performance, building the Joker up to be unforgettable in his morose chaotic way. Ledger creates a Joker so deep in his own insanity that his every move is unpredictable, every time he is on screen you can be sure of one thing; you have NO idea what he is going to do next. Batman is made to question every fiber of his moral code, and make the tough choices again and again as the Joker heads him off at every turn.
This film was a side step from Nolan’s previous installment. The Gotham in The Dark Knight bares more resemblance to a modern day New York than to the Gotham in Batman Begins. Some of the ambiance from Begins was lost in the merge between crime drama and superhero action movie. There were several loose ends from the first film that were left disappointingly untied, and a few poor character returns, however, all in all both the film and the acting were very solid. Morgan Freeman, and Michael Caine continued with their characteristic stalwart class, and Maggie Gyllenhall takes up the mantle of Rachel Dawes adequately, more sultry less chemistry, but a good performance nonetheless. Aaron Eckhart worked his role as Harvey Dent as far as he could with the story he was given, and was charming and believable as Gotham’s White Knight. The Oscar buzz surrounding Ledger’s performance is credible and few who watch the Joker will soon forget him.
The Dark Knight pulls the viewer in from the very first scene and refuses to let go throughout the course of the film. The pace of the story is incredible and the information comes at lightening speed, yet it is refreshing to see such credit given to the audience, who is deemed smart enough to keep pace with the film. This creates a deeper thematic story, and allows more detail and thought to be expressed than some of the previous, campier attempts at the Batman franchise. The US PG-13 rating is surprising given the amount of dark subject matter throughout the film, and may lure a few less informed parents to the theater with children in tow, do not make this mistake. Even some who did well with Begins will not be able to handle, much less understand the elements of this film.
Do not go into this movie expecting Batman Begins, with the addition of the Joker, you will be disappointed. That being said, the second Batman movie is an engaging new hybrid, definitely worth the ticket to the IMAX, maybe even twice. The Dark Knight did not fail to meet my expectations, despite the insurmountable build up prior to its release.
Wednesday, July 23, 2008
Monday, July 14, 2008
Hancock
Directed By: Peter Berg
Rated: PG (Can) / PG-13 (USA)
Runtime: 1 hour, 32 min
I was a little reserved in my desire to go see Hancock, based on some less-than-pleasant reviews from critics and public alike, however, I am addicted to the air conditioning in the theatre these days, so trumping up my interest wasn’t such a stretch. Not to mention, Derek had picked up on some controversy regarding a mid-film twist. It seems there has been some debate on whether this was a good move for the film. My curiosity as a writer was peaked, as was my thirst for a $5.00 iced tea, so off we went.
Hancock is marketed as a Super-Hero redemption story. John Hancock, as portrayed by Will Smith, lives in L.A. and fights crime, in between bottles of Whisky and not showering. Hancock, it seems, is immortal. Bullets bounce right off him, he is immensely strong, and possesses the power of flight. He seems to have a vague understanding with the L.A. police that if there is trouble that they can’t handle, he can swoop in and deal with it, generally leaving a pile of destruction and the stench of hangover in his wake.
Ray, played by Jason Bateman, a PR rep who is out to change the world decides to take on the challenge of reforming Hancock, when Hancock saves him from an oncoming train, and the mess amplifies the public distain towards the anti-hero. An unwilling student, Hancock proves a challenge for Ray, who is good natured and tenacious enough to stay the course. The film focuses on Hancock’s redemption and provides a taste of dry humour, mostly via Bateman’s trademark offbeat delivery style.
About halfway through the film, I began to feel as though I had watched the whole story already, and that, unless this was a short film, I was missing something. At that point, the movie takes indeed takes a drastic turn, though not only in terms of the plot. The film shifted into high-comic book gear at this point, ditching the quiet humour and launching into action fantasy mode. I felt as though I had gotten lost on the way back from the bathroom and entered a new theatre, where the same actors were acting out a different story.
Though Will Smith is always solid, and rarely hard on the eyes, it seemed like he was on a short leash where Hancock was concerned, and unable to act to his full potential. Jason Bateman gave a charming performance in the first half of the film, though his character was virtually mute through the second half. It felt like watching a really short movie with a bad sequel from a different director. Generally if half the movie is going to be bad, I’d prefer it to be the first so I can at least walk out with the feeling that it redeemed itself at the end. I would call Hancock a renter, if that, and be prepared for a phase shift with a few shining moments early on.
Rated: PG (Can) / PG-13 (USA)
Runtime: 1 hour, 32 min
I was a little reserved in my desire to go see Hancock, based on some less-than-pleasant reviews from critics and public alike, however, I am addicted to the air conditioning in the theatre these days, so trumping up my interest wasn’t such a stretch. Not to mention, Derek had picked up on some controversy regarding a mid-film twist. It seems there has been some debate on whether this was a good move for the film. My curiosity as a writer was peaked, as was my thirst for a $5.00 iced tea, so off we went.
Hancock is marketed as a Super-Hero redemption story. John Hancock, as portrayed by Will Smith, lives in L.A. and fights crime, in between bottles of Whisky and not showering. Hancock, it seems, is immortal. Bullets bounce right off him, he is immensely strong, and possesses the power of flight. He seems to have a vague understanding with the L.A. police that if there is trouble that they can’t handle, he can swoop in and deal with it, generally leaving a pile of destruction and the stench of hangover in his wake.
Ray, played by Jason Bateman, a PR rep who is out to change the world decides to take on the challenge of reforming Hancock, when Hancock saves him from an oncoming train, and the mess amplifies the public distain towards the anti-hero. An unwilling student, Hancock proves a challenge for Ray, who is good natured and tenacious enough to stay the course. The film focuses on Hancock’s redemption and provides a taste of dry humour, mostly via Bateman’s trademark offbeat delivery style.
About halfway through the film, I began to feel as though I had watched the whole story already, and that, unless this was a short film, I was missing something. At that point, the movie takes indeed takes a drastic turn, though not only in terms of the plot. The film shifted into high-comic book gear at this point, ditching the quiet humour and launching into action fantasy mode. I felt as though I had gotten lost on the way back from the bathroom and entered a new theatre, where the same actors were acting out a different story.
Though Will Smith is always solid, and rarely hard on the eyes, it seemed like he was on a short leash where Hancock was concerned, and unable to act to his full potential. Jason Bateman gave a charming performance in the first half of the film, though his character was virtually mute through the second half. It felt like watching a really short movie with a bad sequel from a different director. Generally if half the movie is going to be bad, I’d prefer it to be the first so I can at least walk out with the feeling that it redeemed itself at the end. I would call Hancock a renter, if that, and be prepared for a phase shift with a few shining moments early on.
Wall-E
Directed By: Andrew Stanton
Rated: G
Runtime: 1 hr, 37 min.
“Actions speak louder than words” so the old saying goes, which, in most cases is quite correct. Certainly with respect to Pixar’s latest hero, Wall-E, this is undeniably the case, though whether action is an appropriate description for how Wall-E communicates is still unclear to me. It seems almost telepathic; those would-be inanimate eyes speak volumes to anybody who enters the lively theatres where this movie has been warming child and adult hearts alike for the past few weeks.
The film begins on a version of earth that has become a desolate wasteland due to human over-consumption and lack of space for garbage disposal. Humans have abandoned the planet and left several thousand wall-E units to clean up the planet. In the spec of wasted city in which we enter, one wall-E unit is still functioning, carrying out his directive with the added development of a personality, involving an overwhelming sense of curiosity (arguably the reason this unit has carried on while others have shut down.) Due to this added development, Wall-E also suffers from a crippling loneliness and yearns for contact with others, though he perhaps wouldn’t be able to explain this in so many words.
Things carry on day in and day out, until the arrival of a shuttle carrying a second robot unit, Eve. Wall-E’s world turns upside down with Eve’s arrival as he tries to teach her what he has come to learn about earth, while she strives to carry out her directive. Once she obtains what she is looking for and is prepared to return to space, Wall-E finds he cannot let her go so easily and stows away on the shuttle to find her. What he encounters is all that’s left of the human race, on a galactic cruise ship, completely unaware of the life they’ve left behind, and under the control of the many robots running the ship. Wall-E and Eve embark on a journey of instruction versus instinct, and ignite a new journey for the complacent humans aboard the ship.
Trumping their previous masterpiece, Oscar Nominated “Ratatouille” Pixar has succeeded again in animating their way into your hearts and memories (not to mention pocketbooks). Wall-E resonates with every person in that theatre, young or old. Who has not experienced loneliness, isolation, or a longing for connection at some point in their life? Everybody understands Wall-E’s desperation for love and companionship, but also his journey to self-understanding and his battle against what he was destined to do and what his heart desires. He is more and more humanized as the film progresses, and you become more and more attached to him.
Pixar seems to have brought the best of the best to this film. The animation is top notch and the sound is even better, with the genius of Ben Burtt as the sound designer and voice of Wall-E. Burtt, who has worked extensively on Indiana Jones and Star Wars, was responsible for the personification of R2D2 through sound. The story line is engaging and hits a little close to home in this day and age when global warming and waste control warning signs are rampant, and the path to self destruction is all too clear. Whether it was intentional or not, the film sends a great message to our kids; Value what you have and be conscious of where you are headed, while reminding any adults in the theatre that margarine on the popcorn may have been a better choice.
Try as I may, I cannot find one single thing that I disliked about this film (other than having to sit through the “Beverly Hills Chihuahua” trailer…twice). I have heard from others that the lack of vocabulary between Wall-E and Eve (consisting primarily of saying each others names) can weigh heavily on ones patience; something that didn’t bother me in the slightest, and made the kids in the theatre giggle with glee. Pixar has hit the nail on the head with this latest film, and continues to build their castle of success, compacted cube by compacted cube.
Rated: G
Runtime: 1 hr, 37 min.
“Actions speak louder than words” so the old saying goes, which, in most cases is quite correct. Certainly with respect to Pixar’s latest hero, Wall-E, this is undeniably the case, though whether action is an appropriate description for how Wall-E communicates is still unclear to me. It seems almost telepathic; those would-be inanimate eyes speak volumes to anybody who enters the lively theatres where this movie has been warming child and adult hearts alike for the past few weeks.
The film begins on a version of earth that has become a desolate wasteland due to human over-consumption and lack of space for garbage disposal. Humans have abandoned the planet and left several thousand wall-E units to clean up the planet. In the spec of wasted city in which we enter, one wall-E unit is still functioning, carrying out his directive with the added development of a personality, involving an overwhelming sense of curiosity (arguably the reason this unit has carried on while others have shut down.) Due to this added development, Wall-E also suffers from a crippling loneliness and yearns for contact with others, though he perhaps wouldn’t be able to explain this in so many words.
Things carry on day in and day out, until the arrival of a shuttle carrying a second robot unit, Eve. Wall-E’s world turns upside down with Eve’s arrival as he tries to teach her what he has come to learn about earth, while she strives to carry out her directive. Once she obtains what she is looking for and is prepared to return to space, Wall-E finds he cannot let her go so easily and stows away on the shuttle to find her. What he encounters is all that’s left of the human race, on a galactic cruise ship, completely unaware of the life they’ve left behind, and under the control of the many robots running the ship. Wall-E and Eve embark on a journey of instruction versus instinct, and ignite a new journey for the complacent humans aboard the ship.
Trumping their previous masterpiece, Oscar Nominated “Ratatouille” Pixar has succeeded again in animating their way into your hearts and memories (not to mention pocketbooks). Wall-E resonates with every person in that theatre, young or old. Who has not experienced loneliness, isolation, or a longing for connection at some point in their life? Everybody understands Wall-E’s desperation for love and companionship, but also his journey to self-understanding and his battle against what he was destined to do and what his heart desires. He is more and more humanized as the film progresses, and you become more and more attached to him.
Pixar seems to have brought the best of the best to this film. The animation is top notch and the sound is even better, with the genius of Ben Burtt as the sound designer and voice of Wall-E. Burtt, who has worked extensively on Indiana Jones and Star Wars, was responsible for the personification of R2D2 through sound. The story line is engaging and hits a little close to home in this day and age when global warming and waste control warning signs are rampant, and the path to self destruction is all too clear. Whether it was intentional or not, the film sends a great message to our kids; Value what you have and be conscious of where you are headed, while reminding any adults in the theatre that margarine on the popcorn may have been a better choice.
Try as I may, I cannot find one single thing that I disliked about this film (other than having to sit through the “Beverly Hills Chihuahua” trailer…twice). I have heard from others that the lack of vocabulary between Wall-E and Eve (consisting primarily of saying each others names) can weigh heavily on ones patience; something that didn’t bother me in the slightest, and made the kids in the theatre giggle with glee. Pixar has hit the nail on the head with this latest film, and continues to build their castle of success, compacted cube by compacted cube.
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