Tag Archives: Batman

SUICIDE SQUAD – A Review by Frank Mengarelli

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“Will you live for me?”

SUICIDE SQUAD is a complete mess, yet it is a total glory. I know, relax. Hear me out. Since the resurrection of Christopher Nolan’s Batman, there has been a forceful push to ground a superhero film in reality. Sometimes it works, other times is does not. SUICIDE SQUAD removes itself from that universe and takes place within movie world.

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There’s a lot that is blatantly strange and oddly incoherent about the film. Whether it was from studio tinkering (panic) or that everyone was on acid while making the film. None of that matters. The film has a great soundtrack and devilishly fun performances from the entire cast.

The film isn’t bright and glossy with a drumbeat joke every five minutes, it’s sloppy and dirty with perverse humor that will curl even the most uptight hipster’s mustache, while he’s passive aggressively using the Oxford comma to demean this film.

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Will Smith’s overly stereotypical ghetto jive, the over objectifying of Margot Robbie’s butt, the uppity bitch mode of Viola Davis, and Jared Leto’s insane transformation into a Joker that’s feverishly in love, are a step away from the safe mediocrity we’ve seen in recent tent-pole films.

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Director David Ayer has received so much critical flack for this film, it isn’t even funny. This wasn’t a film made for critics, nor was it seeking the approval of top ten lists. It’s loud, it’s obnoxious, it’s gratuitous, and it’s everything that the new DC Universe should aim for going forward. Let other studios play it safe with their glossy sheen, DC; keep forming a lewd and egregious world for the rest of us.

A Suicide Squad review by Josh Hains

Don’t worry, the following review is a spoiler free zone.

Appalling. Bad. Very, very bad. Trash. Garbage. Stupid. Incoherent. Incomprehensible. Dumb. Boring. Awful. Mediocre. Disaster. Rotten. I don’t agree with words such as these being used in reviews for Suicide Squad to describe the movie as whole. I’m not being blindly dismissive like some social media users out there who are mad that this highly anticipated movie isn’t getting a great critical reception. I just don’t agree, I had a different experience, and this review will reflect that experience.

Suicide Squad has a pretty straightforward plot: government spook Amanda Waller (Viola Davis) assembles Task Force X, a motley crue of super-villains plucked from prison, and let loose in a city under attack by a malevolent meta-human. Kill the bad guy, save the city, and get some time off your prison sentences, that’s honestly as deep as it goes. But that’s not a detrimental aspect of the movie. In many comic book movies, the plot takes a back-seat to the action, humour, and character development, and Suicide Squad embraces that trope with wide open arms. With these team oriented comic book movies, it’s kind of expected that the story takes a back-seat to the character interactions and action, and if you need proof of that look no further than The Avengers movies. You don’t need an over complicated plot with far too many sub-plots for this kind of movie (I’m looking at you Batman V Superman). Simplicity is key, so by the time the plot gets thrown out of the window late in the second act you really won’t mind because director David Ayer makes up for it with great character moments, irreverent Deadpool style humour, and a wallop of fun action. Think of this movie as the DC equivalent of The Expendables, with way more humour but no gore, and you’ll be fine.

Speaking of character moments, many of the best belong to Deadshot (Will Smith), Harley Quinn (Margot Robbie), Rick Flag (Joel Kinnaman), and El Diablo (Jay Hernandez), all of whom are given just enough screen time (or more than enough) to make us care about the characters as they contend with their dire mission. I was initially worrisome about the casting of Smith as Deadshot, I thought he might end up becoming overbearing and even over the top, but he proved me wrong with a subtle and believable performance, his best since the Pursuit Of Happyness. Joel Kinnaman matches Smith’s performance, bringing a naturalistic touch to what could have been a stereotypical stubborn leader role. Margot Robbie’s Harley Quinn is exactly like the Harley I grew up watching in the animated series that her creator Paul Dini wrote (minus the jester costume), and a total scene stealer. More on her later. El Diablo, the “fire guy” as Captain Boomerang (Jai Courtney) tauntingly dubs him, has the biggest emotional journey of any of the Squad members, though not as much screen time as the trio of aforementioned characters.

Captain Boomerang gets a solid amount of time to do his thing, which is make plenty of jokes and jabs, and kick a few asses along the way, but he isn’t given quite enough to do, which is a shame because he’s quite a lot of fun. Adewale Akinnuoye-Agbaje as Killer Croc, Karen Fukuhara as Katana, Cara Delevigne as June Moon & Enchantress, and Viola Davis as Amanda Waller, don’t get much to do, and neither does the sacrificial lamb Slipknot (Adam Beach), who follows in the footsteps of other villains in Suicide Squad comic and cartoons whose sole purpose is to prove that the bad guys aren’t playing around. Davis, a blank slate lacking charisma and passion behind her delivery of lines, doesn’t do much more than manipulate a few minds and give orders, and Delevigne’s characters aren’t fleshed out enough for us to care all that much about her. Killer Croc and Katana have minor moments of asskicking, and Croc gets a couple of funny lines, but neither of them are all that relevant to the plot, and easily could have been removed from the movie altogether without hurting the final product. However brief they may be, the two much hyped cameos, which includes Batman himself (Ben Affleck), fit naturally into the movie, and lack the feeling of being shoehorned into the movie for the sake of having them there.

Now back to Harley. Margot Robbie, equipped with a believable Bronx accent, and a fresh take on the New 52 Suicide Squad comic iteration of Harley, brings life and a lot of love for the character to a performance many were worried would fall flat. She looks, sounds, and behaves exactly like the Harley Quinn fans know and fondly love, and it’s a joy to see her steal scene after scene. She’s also fortunate enough to have some of the funniest lines in the movie, which Robbie delivers with a glint of pure enjoyment in her eyes.

In my eyes, the performance I was most drawn to belongs to Jared Leto as the Clown Prince of Crime himself, The Joker. Seemingly drawing from previous Jokers such as Caesar Romero, Jack Nicholson, and Heath Ledger, as well as the vast number of animated incarnations, Leto gives us a fresh take on the iconic villain that doesn’t feel like any Joker that came before it. I’d equate the performance to that of taking all the best elements of the aforementioned Jokers, and building from the ground up a composite of what that may look like. He’s not better, or worse than Heath Ledger’s Oscar winning turn as The Joker, he’s just different in his own unique fashion. I do think he’s better than the Jokers pre-Ledger though. Leto is gleefully over the top, cackling and growling like a tiger waiting to tear the face off his next unsuspecting victim, but not too over the top. This Joker’s as unpredictable, crafty, and brutal as ever before, but not overbearingly so. Sadly, Joker’s vastly underused, with much of his screen time left on the cutting room floor. I’d love to see more of this new Joker. The relationship between he and Harley, while volatile and unhealthy, is perfectly reflective of the one seen in the pages and frames of various DC comics and cartoons, and seeing it come to life was also a rather joyous experience.

Throughout the second and third acts of the movie, the editing seems to be a bit on the choppy side, more predominantly in the third act than the second act by a mile. It became pretty clear to me that the push for a two hour crowd pleasing comic book movie got in the way of giving the sidelined characters more depth and more impactful screen presences. Somehow, despite the clunky nature of the editing (which isn’t very distracting, thankfully), these scenes that are affected by it still work fairly well until the editing seems to get back on track and working just fine.

Beyond the quibbles I have with the editing, the story, the character development, and the casting of Amanda Waller, I still enjoyed this movie a lot, in some ways more than I thought I would, and in a couple of ways, less. I do not feel that this is a bad movie by any means, I think it’s actually damn good, but it’s not quite as great as it could have been, though I wasn’t always wanting or expecting it to be great anyways. If anything, all I ever wanted was yet another fun comic book movie I could lose myself in while watching these badass villains kick all kinds of ass six ways to Sunday. David Ayer gave me that in spades.

Now where’s the sequel?

 

 

 

 

 

Batman Forever: A Review by Nate Hill 

It’s true, Batman Forever is a silly, overblown, cartoonish riot of buffoonry.  But so what? It’s also awesome in it’s own way, and inhabits a certain corner of the Batman culture, the side of things that is rooted in camp and unhinged wonderment. Now, there’s an important and discernable difference between taking things far and taking things too far. That difference is delineated on one side by a willingness to be goofy, colorful and not take this superhero stuff too seriously. The other side of that of course is a disregard for limits, throwing every ridiculous line, costume and awkward scene into it you can imagine. I’m referring to Joel Schumacher’s followup to this, Batman & Robin. Everything that is weird, wonderful and extravagant about Forever just revved up to much in Robin, resulting in a piss poor typhoon of mania and over acting. Not to say that Forever doesn’t have over acting. Ohhhh boy is there over acting. Between Tommy Lee Jones and Jim Carrey, the thing is liable to give you epilipsy. But it somehow works despite its madness, a lucky stroke that Robin couldn’t have cared less about adhering to. Val Kilmer is the sedating antidote to Jones and Carrey, a remakably laid back Bats and a pretty solid casting choice, both as Brooding Bruce and Buttkicking Bats. Eternally broken up about the death of his patents, Bruce fights off Harvey Two Face Dent (Jones) in a garish, disarming Gotham City that resembles Mardi Gras in Dr. Seuss land. Jones’s Two Face is so far over the top, so rabid that it’s a wonder he didn’t give himself a bloody heart attack in the first take. Anyone who’s interested can read up on his performance, and how he pushed himself right to the heights of bombast in order to try and out-Carrey the Jim. Carrey, playing the Riddler, is a ball of twisted nerves himself, set loose on the wacky sets and basically given free reign to.. well.. go fucking nuts. It’s one of his most physical performances too, prancing around like a loon in green spandex that leaves nothing to the imagination. Aaron Eckhart’s Two Face may have had the edge for grit, but Jones has the rollicking clown version, and runs away to kookoo land with mannerisms that even call to mind The Joker in some scenes. The only thing I’ve seen him more hopped up in is Natural Born Killers, but shit man its hard to top his work in that. The story is all over the place, involving a nonsensical subplot with a mind control device, multiple elaborate set pieces, endless scenery chewing and the eventual arrival of Robin, played by Chris O’Donnell who is like the cinematic Buzz Killington. Michael Gough and Pat Hingle dutifully tag along as Alfred and Commissioner Gordon, both looking tired at this point. Debi Mazar and Drew Barrymore have amusing dual cameos as Two Face’s twin vixens, and Nicole Kidman does the slinky love interest shtick for Bruce as a sexy psychologist. Watch for an uncredited Ed Begley Jr. Too. There’s no denying the silliness, but one has to admit that the achievment in costume, production design and artistry are clear off the charts with this one, and visually it should be a legend in the franchise. Say what you will about it, I love the thing. 

Batman Vs Superman: Dawn Of Justice – A Review by Nate Hill

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Batman Vs. Superman: Dawn Of Justice. Wow. Where to even start. What a symphony of scorched earth heroics, a two and a half hour maelstrom of thundering action, introspective gloom and very current vibes of apocalyptic dread. I’m not sure if I was watching an entirely different film from some of these bitter bottomed critics who are maiming it with inaccurately nasty reviews. Balls to them. Zach Snyder should be proud of this achievment, for in the face of both ruthless odds and rabid fans who would make any one of us piss down our legs at the thought of ‘getting it right’, he has mounted a titanic epic of a superhero flick, hitting all the right notes and fuelling both casual moviegoers and salivating super fans with a rekindled love for comic book films. A much welcomed grit and violent edge creeps into the proceedings here, a tone which Snyder has a passion for and is incredibly deft with. We begin with a visually arresting opening credit sequence, which Snyder previously perfected to hair raising brilliance in Watchmen, a ten minute opus set to Bob Dylan. Here he inter cuts shots of young Bruce Wayne, both discovering the prophetic swarm of bats and on the fateful night of his parents murder, a sequence done over a thousand times in film, but never quite with the inventive flair used here. We then arrive with adult Bruce (Ben Affleck) in Metropolis right as it’s being ripped to shreds by the Def Jam smackdown match of Superman (Henry Cavill) and Zod (Michael Shannon). There’s eerie shades of 9/11 as Bruce darts through the ashen rubble, attempting to save the employees in one of his towers. One senses the fear and rage in Wayne right off the bat (pun intended). He glowers in seething fury at the man of steel, primally threatened and haunted all over again by loved ones he couldn’t save a second time around. This film addresses the ludicrous amount of destruction that Superman wrought upon Metropolis in several ways. Political nerve endings are fried as Senate and State alike get hostile towards the god in the red cape. No one is more aggressive than Batman, though. This brings me to Affleck as Batman. Without a doubt my favourite cinematic incarnation of the caped crusader, and his debonair counterpart to date. Yes, even more so than Bale. Nolan’s The Dark Knight is still tops for me, but the  portrayal of Batman by Bale didn’t strike as harmonious a chord with me as Affleck. It just didn’t feel like pure Batman, it was real world Batman. Affleck feels much more rooted in the comics, and God damn it all if he isn’t the most savage, violent Bats to come our way, well… ever. I’ve always been bothered by the nagging fact that Batman refuses to kill. Even in in a beatdown he could easily inadvertently cause death, so why bother trying? Here, he doesn’t go out of his way to deliberatly kill, but he sure has no problem brutally breaking bones and stabbing his adversaries without an iota of faux-noble hesitation. That’s the kind of Batman I want to see. Fuming, fired up and full of rage demons that erupt into fantastic action scenes. One sequence involving a room full of thugs is just jaw dropping and probably my favourite sequence of the film, even over the titular smackdown with Superman. There’s an earthy, simplistic take to him as well, with a modest suit that gives nods to Frank Miller and even Batman: The Animated Series. He is by far the elemental force that the character should be, and the part of the film that I connected with most. I hope he gets his standalone film real soon. Henry Cavill has grace and intuition as Superman, and a surprisingly earthly aura as Clark Kent, in a fit about Batman’s vigilante tactics. He’s the outsider here, an orphaned deity truly trying to do his best in a world that often shuns him in fear. He was never my favourite superhero, or even on the list, but Cavill combined with Snyder make him a force to be reckoned with, and a hero I can get behind. The two eventually meet in a remarkably choreographed clash of the titans, a duel that really only lasts a few minutes and isn’t central theme, which raises questions in my head about the first part of that title. Their fight is composed of Batman’s hard hitting, blunt force physicality pitted against Superman’s fluid, elegent invincibility which is satisfyingly put to the test by the appearance of a certain green mineral we all know about. The James Cameron-esque suit Batman wears for the fight is a grinding wonder that looks like it weighs a metric ton and could level buildings alongside the man of steel. The combat feels urgent, from the gut and roars into action perfectly. Of course, that isn’t where the fireworks stop, but I ain’t sayin any more than that. Gal Gadot is truly wonderful as Wonder Woman, I also can’t wait for her solo outing, and wish she’d been in the film more. Her much talked about entrance is the definition of crowd pleasing, and will make you cheer in approval, which I did out loud. She’s  endlessly gorgeous, and has the toughness to go along with it, a great casting decision by anyone’s tally. Jesse Eisenberg wowed me as a young, jittery Lex Luthor, in what is probably the most clinically insane portrayal thus far. Forget bumbling Gene Hackman and hammy Kevin Spacey, this guy seals it for me. There’s a true madness to his Lex, which when given enough money and resources can have cataclysmic results. It’s a villain  to remember, and Eisenberg exudes palpable danger from every pore, his psychopathic sheen of logic barely shrouding the mania beneath. Jeremy Irons is a more restrained, jaded Alfred who is still unconditionally supportive of Wayne, but is reaching the end of his rope which is tethered to pure world weariness. He gets some of the only humerous bits of the film, albeit of dry, brittle variety. Amy Adams is reliably terrific, her eyes pools of perception that mirror the horror and spectacle of the events through the mind of a human, with every ounce of nerve and courage as those around her that have superpowers, or expensive toys. Diane Lane is weathered wisdom and maternal compassion as Martha Kent, nailing her scenes with the small town, kindhearted patience that a film this noisy deserves, tipping the scales to provide occasional serenity in the eye of the hurricane. Kevin Costner makes a brief appearance in one of the films numerous and often confusing dream sequences. He was a highlight in Man Of Steel, and brings the same baleful, gruff adoration here, in a wonderful but brief scene with Clark. Laurence Fishburne is another source of rare humour as the perpetually exasperated Perry, CEO of the Daily Planet. Aggravated and cheeky, he commands every frame he’s in and had me chuckling no end. Holly Hunter has forged a career of playing no nonsense hard asses, here a ballbreaking US Senator here who shares a moment of distilled intensity with Luthor proving that Superhero films can have some of the best written dialogue. Harry Lennix makes great use of said writing too as the steely Secretary Of Defense. Callan Mulvey and Scoot McNairy are memorable in supporting turns. Listen hard for Patrick Wilson and Carla Gugino, and look for a certain ocean dwelling dude in the briefest of moments. Jeffrey Dean Morgan also has a cameo that’s almost too good to be true. Hans Zimmer and Junkie XL, who was so top notch with Mad Max: Fury Road, combine efforts for a score that knocks it out of the park and several miles further. Batman has a soul rousing battle cry of an overture, with subtle shades of Zimmer’s work on the Nolan films, built upon to give us something truly unique and fitting for the character. Lex Luthor is accompanied by a fitful cacophony of strings that sound like the Arkham Asylum charity orchestra having a collectively unnerving seizure. My favourite riff though I think is for Wonder Woman, a deviously disarming jaunt that strays from the grandiose, baroque theme and feels wickedly subversive, getting you just so pumped for her character. Zimmer’s work on Interstellar made it my top score of 2014, because he leapt out of the box of his usual tricks and gave us something we’d never heard from him before. Here he shreds that box with ingenuity and creative output, a varied, explosive piece that assaults your ears splendidly. My one concern with the film was a dream sequence midway through concerning Batman, and anyone who’s seen the film knows what I’m talking about. I’m sure comic book fans have some point of reference or context regarding it, but the casual viewer doesn’t, and a little more explaining would have been nice. I will say though it showcases Batman in an entirely new light which took me off guard nicely. This is what a superhero movie should be, plain and simple. Big, bold, audacious, stirring and full of high flying action, dastardly villains, conflicted heroes clashing like the ocean tides and a sense of pure adventure. Forget what the critics are saying, this one comes up aces in all categories and is a perfectly wonderful start to the stories of a group of characters that I look forward to seeing in many a film to come. Especially Affleck’s Batman.

BATMAN V SUPERMAN DAWN OF JUSTICE – A Review by Frank Mengarelli

“That’s how it starts. The fever, the rage, the feeling of powerlessness that turns good men cruel.”

Zack Snyder’s BATMAN V SUPERMAN DAWN OF JUSTICE is unlike any superhero film we’ve seen before. It is brazen and it is bold, it is disjointed and over packed with setting up the new DC Universe. When I say that this film is a complete mess, I mean it in the way of how APOCALYPSE NOW is a complete mess. BvS cannot be compared to any existing, non-universe, DC film that came prior, and it certainly cannot be compared to anything that Marvel has done. Marvel likes to follow a template. They know what works and what doesn’t, and they certainly do not take many risks at all. BvS takes risk after risk after risk, and by doing so Snyder has made a remarkable film.

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The casting of Ben Affleck as the fifty year old Bruce Wayne/Batman was a brilliant move by Snyder and Warner Brothers. We know who Batman is. We’ve seen Batman’s story countless times. There’s nothing more that can be said about him. Michael Keaton was perfect, Val Kilmer was admirable; George Clooney fully admits his turn almost killed Batman, and the Bale/Nolan trilogy was a godsend to the Batman’s onscreen presence. Now, we get to see the version of the Batman that some of us have always wanted, and a lot of people didn’t even know they wanted. We see what comes after everything we have seen prior. The Batman is older; he’s even more cynical and jaded. He’s given up on hope and resorted to his anger, his vengeance. He has become a killer.

Affleck’s take on Batman may just be the best one yet. He has resorted to his primal brutish instincts with one goal in mind. He doesn’t want to make Superman submit; he doesn’t want Superman to stand trial and have society serve justice for the atrocity he’s brought to the world. He wants to kill him, and if he can’t, he will die trying. Affleck transforms the Batman into a battle worn warrior. He is a man who doesn’t care about peace and justice, he is a man who has a blatant disregard for hope.

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Zack Snyder is the epitome of a polarizing filmmaker. He has a solid fanbase who are passionate about his films. Snyder has an equally loud echo chamber made up of people who strongly dislike him. Who refuse to give him credit for anything positive. There is not another filmmaker alive who could have made a Batman/Superman film that sets up not only the Justice League, but also an entire new universe to be explored. Zack Snyder, takes everything that was thrown at him: a follow up to MAN OF STEEL, introducing a new Batman without spending a film giving him an origin, introducing Wonder Woman, Cyborg, the Flash, and Aquaman. Snyder not only did all these things, but excelled in a remarkable way.

Yes, it’s another superhero film. Yes it’s another big budget blockbuster. Yes, it’s going to set up multiple franchises that we’ve already seen. But it has never been done in such a magnificent way. Affleck, along with Jeremy Irons as the new Alfred, and Jesse Eisenberg as the smoke screen for the real Lex Luthor, all bring pre-existing gravitas with them. Immediately adding validity to characters so we don’t need to spend a movie a piece building up backstory for them

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Film critics, whether professional or Facebookers/bloggers, who don’t like this film, who are relishing in the critical shitstorm this film received, already made their minds up that they were going to hate this film. Much like IndieWire and a few other websites tried their absolute hardest to sink TRUE DETECTIVE season 2 before it even aired, the way some critics approached the new Star Wars film in a highbrow, disregarding way – DAWN OF JUSTICE suffered much of the same fate, but none of that matters. The film is going to and already has broken box office records, and the dark and dreary foundation of the new DC Universe is set.

There is a striking moment in the film that was shown in the first trailer. The second Robins suit is displayed in the Batcave with spray paint on it: “The joke is on you, Batman!” Not only does this tell us, in part, of why the Batman is so angry and rage filled, but I can’t help but think that is also a way of Snyder saying that to his haters, those who rallied hard against this film: the joke is most certainly on you.

CHRISTOPHER NOLAN’S THE DARK KNIGHT – A REVIEW BY NICK CLEMENT

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At this point, there isn’t much left to be said about The Dark Knight. The film grossed almost a billion dollars worldwide and its critical acclaim vaulted its director, Christopher Nolan, into the upper stratosphere of big-budget filmmakers. It’s a masterwork of comic book moviemaking, talking iconic imagery and filtering them through the prism of a Michael Mann crime epic, and featuring a tour de force performance by Heath Ledger as the most sinful of all superhero antagonists, The Joker. While I will always prefer the epic nature of The Dark Knight Rises (flaws and all, it’s my favorite in the Nolan series), there’s something so lean and tough-guy-poetic about The Dark Knight; it really does feel like Heat featuring men in masks. Picking up right where he left off after his excellent franchise re-boot Batman Begins, Nolan essentially made his first effort look like a student film by comparison, and that’s not to knock Begins, because it’s a wonderful piece of entertainment, a movie that reimagined Batman for a modern, more visceral style of storytelling within this particular genre. And what’s particularly awesome, and where the film is better than The Dark Knight Rises, is that The Dark Knight is both epic and intimate; this is a massive crime saga, taking cues from the aforementioned Heat and Brian De Palma’s The Untouchables, but never forgetting to stay true to the intense character dynamics that have made this universe of costumed freaks so especially memorable. By placing Batman and all of his cronies and adversaries in a real world setting, no matter how stylized his Gotham City is, Nolan was able to fashion a trilogy of films that felt all the more tangible and immediate, something that not one, single Marvel effort has ever done, with the possible exception of Captain America: The Winter Soldier.

Batman, again played with gritty determination by Christian Bale, who brought stoic seriousness to his dual performance as Bruce Wayne/Batman, is caught between his own sense of vigilante justice, crossed with deeper psychological issues. In The Dark Knight, the Nolans and David S. Goyer, stacked the deck with his arch nemesis, the Joker, played with such menacing glee by Ledger that you have to just assume that the preparation and performance might have affected his psyche; his posthumous Oscar trophy was indeed fully warranted, and not some nonsense done for sentimentality or good-faced-publicity as some dunderheads have suggested in the past. The plot is multi-layered, convoluted yet not impenetrable, and steeped in crime movie mythology that speaks both to classic film noir and the graphic novel roots that Nolan favored. The Joker is out to bring down Batman, while also trying to put a stranglehold on Gotham’s City’s overall criminal element. From the steely, Mann-esque precision of the film’s opening bank robbery sequence; you get the sense that Ledger’s Joker isn’t a playful clown, but rather, a certifiable psychopath. The way he licks his scarred lips and the way his sinister cackle fills a room with eerie rage are just two of the ways that Ledger left an indelible mark on this classic comic book icon; I wonder if any other actor will be up to the challenge in future installments. Harvey Dent, an excellent Aaron Eckhart, is trying to clean the streets up from city hall, and Jim Gordon, played with low-key integrity by Gary Oldman, is working his way up the police chain of command. Various gangsters figure into the plot and there is a morally complex chain of events that figures into the film’s gripping climax. But the real show is the duel between Batman and the Joker, and it’s here, with two of the comic-world’s most beloved characters, that The Dark Knight really excels.

Nolan, reteaming with his phenomenal cinematographer Wally Pfister, bathed the film in shadows and blacks; this is a dark movie, both in theme and in appearance, but in the end, serving a stylistic and narrative purpose. The tragic nature of Harvey Dent is highlighted in a powerful character arc that exposes the many faces (literal and metaphorical) to the character; Eckhart’s performance was one of his absolute best. And then there’s the film’s major action scene, occurring at the half-way mark, which is a towering triumph of choreography, seamless CGI integration, and old-fashioned movie magic. By the end of this haunting and beautifully crafted piece of explosive entertainment, the viewer can’t help but breathe a sigh of relief. The Dark Knight was one of the first superhero films to never feel like a traditional superhero film, and the topical, real-world grounding that Nolan infused into his trilogy has been felt on other, future projects from a variety of other filmmakers. And yet, at the end of 2008, the old farts in the Academy felt like dissing one of the most successful films of all time, which was truly a shame, because the film stands as a genre centerpiece, and a reminder that art within this particular canvass is still attainable even when toys and lunchboxes are being considered; rarely does big-budget, summertime filmmaking become this successful at fusing all of the creative elements together.

Tim Burton’s Batman Returns: A Review By Nate Hill

Tim Burton’s Batman Returns is my second favourite Batman movie thus far. It’s pretty underrated, stylishly cheeky and full of ornate, wonderfully oppressive, melancholic set design and drips with a gothic sensability that only Burton included in his versions, and seems to be missing from the franchise these days. It’s dark, comical and just a little bit campy, always a winning combination. Michael Keaton steps back into the batsuit for a second time, and he’s even more somber and downbeat than in Burton’s original 1989 film. Keaton is so talented, and one only needs to look at his zany work in Beetlejuice and compare it to the heft and restraint he shows as the caped crusader to see this. Here he’s faced with a snowy, blackened and endlessly corrupt Gotham City, this time under siege from three wildly different villains. Danny Devito plays Oswald Cobblepot, a.k.a. The Penguin, in what is probably the most outlandish character in the otherwise grim film. He’s a bad tempered, knobbly little gremlin, encased in sallow makeup and sporting disgusting, pasty little flippers. It’s hard to tell it’s even Devito at all until that little smart ass mouth opens up to hurl calculated obscenities at anyone and everyone. He aims to be mayor, and only in freaky deaky Gotham would a plan like that ever be taken seriously, from a sewer dwelling, animalistic mobster with an army of clowns following him. Christopher Walken plays evil, ghoulish Max Schreck, an amoral monster of a businessman with nefarious plans of his own, and a haircut that would make Andy Warhol run for cover. Last and most memorable is Michelle Pfeiffer as Selina Kyle, Schreck’s awkward, meek secretary who eventually becomes Catwoman. And what a Catwoman she is. Forget Anne Hathaway, Julie Newmar take a number, and we won’t even mention Halle Berry. No one played the pussy quite like Pfeiffer. She’s got a shiny, skin tight outfit with the body to match, a sassy, sexy attitude, a whip smart mouth on her and just a hint of psychosis, making her my favourite film incarnation of the character. “Meow” she purrs sensually as an incendiary bomb detonates behind her. Damn. They all get wrapped up in various schemes and scams. Penguin wants ultimate power, which apparantly involves kidnapping a bunch of infants. Schreck wants ruthless progress to tear Old Gotham up in worship of the almighty dollar, and Catwoman is content to slash and burn everyone’s plans, until she gets a bit of a smolder in her eye for Batman, providing some electric sexual tension between the two of them that’s a highlight of the film. Neither of them are sure whether they want to kiss or kill, fight or fuck the other, and it’s devilishly entertaining watching them hash out their hormones in naughty little action sequences and slow, slinky intimate scenes, involving both Bruce and Selina as well as their feral alter egos. Their chemistry revolves at the center of the piece, with all manner of circus sideshow madness happening around them. Pat Hingle and Michael Gough diligently put in work as Commissioner Gordon and Alfred Pennyworth, with Doug Jones, Michael Murphy, Andrew Bryarniarski and Paul Reubens rounding out the roster. Burton outdid himself with style on this one, his trademark eye for loving detail laboriously employed here to the point where it surpasses the artistry of a comic book and starts to look like some mad dream of Vincent Price. He dipped his toe in the water of the Batman universe with his first outing. Here he plunges headlong into it and fully commits to a style and tone that’s distilled to a satisfactory point that he wasn’t quite at with Batman 1989. A treasure in the franchise, and a wicked fun film at that.