The first Expendables movie was a fun romp through memory lane, as the collective bad asses through the 80's, 90's, and Aught's joined together to form a collective group of mercenaries out to fight the dregs of humanity. It was a typical tried and true 80's movie plot, nothing that we haven't seen in the original Rambo movies, or any of the Van Damme or Schwarzenegger flicks that rotted our brains as we picked them up from the video store. It wasn't a great movie by any means, but it was entertaining and all in all, a good bit of cheesy fun.
The second Expendables film takes the original film and expands the premise and cast accordingly. In this film, Barney Ross (Stallone) and his rag tag band of psychopaths (Statham, Lungdren, Crews, and Couture, with a brief appearance of Li) are dispatched by omnipresent CIA man Church (Willis) to obtain an item from a safe with one of Church's best operatives (newcomer Nan Yu). However, upon the retrieval of the item, a detailed plan for a buried soviet stockpile of weapons grade plutonium, the group is ambushed by mercenary Jean Vilain (Van Damme). The plans are taken, but the Expendables lose one of their own (hello and goodbye to Liam Hemsworth). With the grief of losing their comrade in arms, and the embarrassment of having been taken by surprise still stinging, the Expendables head off on a journey of vengeance and mayhem, as they hope to avenge their loss while stopping Vilain from pulling off his deadly nuclear caper.
For starters, let's get the bad out of the way. This is essentially every nuclear scare movie that those of us who remember the cold war got to be entertained with, with the added twist of the heroes of these movies still kicking ass. The writing is average for the most part, the villains (especially Van Damme's Vilain) are nothing more than caricatures of every evil mercenary stereotype encountered, and the plot is fairly predictable, with very little in the form of twists. This isn't Oscar material, in other words.
Thankfully, the film knows that, and doesn't try to do anything more than simply entertain. And because of that, this is a very fun film. In terms of the character development department, we get very little, the only real nugget of knowledge being that Ross owes Church a huge debt of service from years before and that Gunner (Lungdren) was a chemical engineer before he went insane. But beyond that, we simply get to see the Expendables go out and kick ass in predictable, and over the top ways, many of which are beyond the laws of physics.
The best part of the film, and which makes it superior to it's predecessor, is that there is much more interaction between the entire group, while the previous film tended only to focus on Stallone and Statham. With this addition, there is a great deal more comedy, usually involving Lundgren, Crews and Couture, all of which is at another's expense. It's hard to describe, but the dynamic is hysterical. Even Yu, who really just replaces Jet Li as the asian component of the group, is funny, both in terms of her dialogue, and in some of the facial expressions that she makes out of her seemingly genuine disgust of Lungdren's crush on her.
The action isn't just limited to the Expendables themselves. Others get in the act, namely Van Damme, Willis, Schwarzenegger, and Norris, both in the fighting and wisecracking departments. Willis and Schwarzenegger are comedic gold during their asskicking sequence, and even trade each other's trademark catch phrases. Norris is hilariously portrayed as a human force of nature, and even manages to integrate his infamous Norris jokes into his sequence. And even Van Damme, who really has never played a villain before, does a good job of being rather disgustingly evil and ruthless. It's almost a shame that he meets his end in the film so permanently.
Overall, it's not a great film, again, but it is a very entertaining one, and worth seeing it in theaters for the novelty of seeing these old codgers kick ass once more, and hearing them drop one liners on each other with the frequency of Caesar's Automatic shotgun.
Friday, September 21, 2012
Friday, August 31, 2012
My Weird Love Affair With Moleskine Journals
Sorry about the absence. Life kinda got in the way. Don't worry, I'll be back on my usual tangent of comic books, booze, and movies shortly. But in the meantime, I'd like to talk about something different.
I like to draw, and when I came back to the hobby around 2008 after a five year hiatus or so, I wanted something different that I could carry around, but not be bulky. The regular sketchbooks that I would purchase from Target were little more than large, spiral notebook bound piles of almost cardstock, which had the nasty habit of not just smudging, but showing deep lines from where the previous drawing had stood. It looked awkward, and rather ugly to boot. Plus, like spiral notebooks tend to do, they would fall apart if they took too much abuse, which mine did while in a backpack.
I discovered the larger, bound sketchbooks over at Barnes and Noble not long after, and found them to be rather spiffy. They were bound, first off, and didn't have that tenancy to fall to shit after some abuse. They also had a rather nice quality paper inside, almost like Bristol, that erased well unless you were using some really dark leads. Plus, they scanned well, which is nice, and they were sturdy for the events when I was doing a life draw, and didn't have a flat surface. Only one problem: these were rather massive beasts, and were a bit too large to have around for everyday carrying purposes.
It was at Barnes and Noble, when I was debating about purchasing yet another of the latter sketchbooks when I noticed a display proudly showing off the entire selection of Moleskine journals. Whether it was due to me really being in need of a solution, or more than likely due to me not having anything else better to do then quest for sketching mediums, I headed over to check them out.
For those not in the know, this was what your basic Moleskine consists of:
It's nothing really special. It's sixty pages of thin paper, sewed at the spine between two slightly larger pieces of board, usually black, although red, navy, and tan editions also exist. They also come in different forms, like planners, small sketchbooks, and city guides. But those are unimportant to the purpose of this blog post. What I'm speaking of are the journals, which come lined, in a grid, or plain. And I was excited as all hell when I found the plain. And I never looked back, and and pleased as punch to say that I now have a stack of completed Moleskines in my studio, all filled to the brim with my mediocre art.
So what is it about these rather remarkable unremarkable sketchbooks that make me giddy? It's probably because they are just so simply and unassuming, which makes them all the more flexible for one to do what they will to make them each a unique and individual piece. Aside from the individual art inside, which is as different due to simple time and improvement, the exteriors are usually pimped out with all matter of stickers and assorted items that I encounter in my journeys. Each sketchbook is a kind of snapshot, a peek into what was in my head, and where I was at the time. And these sketchbooks are a cool medium to do that.
Granted, they do have their downsides. They aren't nearly as durable as the other big beasts from Barnes and Noble, both in terms of their build and their paper. They can't survive an overeager five year old, as I also discovered. But they are really cool journals, and are more than versatile enough to tag along with me, no matter where I go. And in the end, that's what matters.
I like to draw, and when I came back to the hobby around 2008 after a five year hiatus or so, I wanted something different that I could carry around, but not be bulky. The regular sketchbooks that I would purchase from Target were little more than large, spiral notebook bound piles of almost cardstock, which had the nasty habit of not just smudging, but showing deep lines from where the previous drawing had stood. It looked awkward, and rather ugly to boot. Plus, like spiral notebooks tend to do, they would fall apart if they took too much abuse, which mine did while in a backpack.
I discovered the larger, bound sketchbooks over at Barnes and Noble not long after, and found them to be rather spiffy. They were bound, first off, and didn't have that tenancy to fall to shit after some abuse. They also had a rather nice quality paper inside, almost like Bristol, that erased well unless you were using some really dark leads. Plus, they scanned well, which is nice, and they were sturdy for the events when I was doing a life draw, and didn't have a flat surface. Only one problem: these were rather massive beasts, and were a bit too large to have around for everyday carrying purposes.
It was at Barnes and Noble, when I was debating about purchasing yet another of the latter sketchbooks when I noticed a display proudly showing off the entire selection of Moleskine journals. Whether it was due to me really being in need of a solution, or more than likely due to me not having anything else better to do then quest for sketching mediums, I headed over to check them out.
For those not in the know, this was what your basic Moleskine consists of:
It's nothing really special. It's sixty pages of thin paper, sewed at the spine between two slightly larger pieces of board, usually black, although red, navy, and tan editions also exist. They also come in different forms, like planners, small sketchbooks, and city guides. But those are unimportant to the purpose of this blog post. What I'm speaking of are the journals, which come lined, in a grid, or plain. And I was excited as all hell when I found the plain. And I never looked back, and and pleased as punch to say that I now have a stack of completed Moleskines in my studio, all filled to the brim with my mediocre art.
So what is it about these rather remarkable unremarkable sketchbooks that make me giddy? It's probably because they are just so simply and unassuming, which makes them all the more flexible for one to do what they will to make them each a unique and individual piece. Aside from the individual art inside, which is as different due to simple time and improvement, the exteriors are usually pimped out with all matter of stickers and assorted items that I encounter in my journeys. Each sketchbook is a kind of snapshot, a peek into what was in my head, and where I was at the time. And these sketchbooks are a cool medium to do that.
Granted, they do have their downsides. They aren't nearly as durable as the other big beasts from Barnes and Noble, both in terms of their build and their paper. They can't survive an overeager five year old, as I also discovered. But they are really cool journals, and are more than versatile enough to tag along with me, no matter where I go. And in the end, that's what matters.
Friday, August 10, 2012
Battle Royale As A Show Would Work Rather Well
Well, the news coming from the weekend was that the CW was in talks about turning Battle Royale into a television series. While there are questions as far as to just how true to the original novel that the CW would stay, or even if they know what the book is about, turning Battle Royale into a TV series rather than a movie actually would be much more effective medium of translating the book into a visual presentation of the subject matter. Here's why:
Allows For Fully Fleshed Narrative
The original book, Battle Royale, is not a small book by any means. It's a rather large and detailed tome that covers the horror and depths of the central characters, and the wider world of the island, within it's handsome red cover. And while the original narrative has been covered twice in both the movie and in it's subsequent manga, the movie, despite it's attempt to cover almost all of the main events that take place within the book, does have to cut corners. As Stephen King once said about his truncated version of The Stand, and I'm paraphrasing this from memory, it's like a classic car, but with the paint and chrome sanded off. It goes somewhere, but it isn't, you know, boss! And that's how I felt about Battle Royale: The Movie. The basic narrative of the story is there, with it's highlights, but a lot of the other little details that help develop the book, and allow for what I believe is a more enjoyable experience are missing. A TV series, while lower budget, does allow for a fantastic medium from which to tell a story.
My favorite show at the moment, Breaking Bad, while blessed with excellent writing, wonderful characters, and great visuals, would still be an incredible movie. However, it would also not nearly be the gripping thrill ride that I experience week to week if everything was forced to be condensed into a three hour flick. And while this isn't a bashing of movies by any means, it is an admission that movies, while wonderful, are limited in terms of how much they are allowed to bring out and flesh out their subject material.
Allows For Focus On All Characters
Another great feature of the Battle Royale novel is that every student in the doomed class is given their own moment in the sun, whether it is their own portion of a chapter, or enough of a mention in the narrative that you do get at least a small piece of the person's essence, just enough for you to feel a slight twinge of pain or slight amusement whenever you see or feel that person die in the novel. And while each and every student is shown whenever they've assumed their end in the film, you don't get that sort of emotional experience that you get in the book. In the end, they're simply just mindless numbers.
However, in a television series, you would not only be able to show more than just mindless death, but also genuinely get to know each person, get the gist of each student in the class, and be able to mourn and honestly feel an emotional attachment to the characters that we see on screen. But this doesn't just extend to the characters that are involved in what is called "The Program" in the novel, but also those who are in charge of the event. From the average soldier that is charged with simply guarding the main fortress, to the parent who has suddenly realized that they will likely never see their child again, to the average man on the street, a television series would be able to weave each of the elements into the semi-voyueristic nature of Battle Royale, allowing for not just great story telling, but also a great way of advancing a narrative.
Allows For Exploration Of Entire Battle Royale Universe
The manga is even more expansive than the novel, with a great deal of original content covering both the characters backstories, as well as the wider world outside of the Program. It makes for a richer piece of story telling, and allows for the creation of newer characters that don't have a stake in the actual program per se, but could in the future, whether they are in favor or opposed to the purpose of the Program itself.
Going back to Breaking Bad for a moment, the center of the show's universe is essentially the adventures of Walter White and Jesse Pinkman as the two attempt to survive their very dark world of meth cooking. However, the show is not purely about them, as it often takes detours exploring the other characters of the show, whether it is the struggles of loyal wife Skyler White, the personal vendetta of Gus Fring, the various misadventures of Jesse's fellow band of stooges, to the machinations of Mike The Cleaner and Saul Goodman. It's more than just the two central characters. It's the entire ensemble and the whole wide universe that makes the show what it is. And turning Battle Royale into Battle Royale: The Series would give the narrative such a canvas from which to work.
Allows For Multiple Classes Over The Course of Several Seasons
Finally, what a television series allows is for a series of multiple classes that find themselves victims of the program. This wouldn't be something along the lines of Saved By The Bell, where we are forced to watch a class over the course of six or seven seasons as the gradually whack each other, but we are instead treated to a single class each season, with the potential for a larger conspiracy that seeks to end the slaughter by the end of the show's run. It's an absolutely fantastic plot element, and keeps the central theme of the show going, but without the loss of a advancing, overarching narrative that will eventually come to a head in the final seasons. Overall, it's perfect.
In the end, it all depends on who is placed in charge of the show, how willing the CW is willing to embrace Battle Royale's beautiful chaotic core, and how willing they are to choose not to try and adapt it toward a teen or tween audience (as many of the CW's shows are). If done right, Battle Royale could be an instant classic. But that's still a big If.
Allows For Fully Fleshed Narrative
The original book, Battle Royale, is not a small book by any means. It's a rather large and detailed tome that covers the horror and depths of the central characters, and the wider world of the island, within it's handsome red cover. And while the original narrative has been covered twice in both the movie and in it's subsequent manga, the movie, despite it's attempt to cover almost all of the main events that take place within the book, does have to cut corners. As Stephen King once said about his truncated version of The Stand, and I'm paraphrasing this from memory, it's like a classic car, but with the paint and chrome sanded off. It goes somewhere, but it isn't, you know, boss! And that's how I felt about Battle Royale: The Movie. The basic narrative of the story is there, with it's highlights, but a lot of the other little details that help develop the book, and allow for what I believe is a more enjoyable experience are missing. A TV series, while lower budget, does allow for a fantastic medium from which to tell a story.
My favorite show at the moment, Breaking Bad, while blessed with excellent writing, wonderful characters, and great visuals, would still be an incredible movie. However, it would also not nearly be the gripping thrill ride that I experience week to week if everything was forced to be condensed into a three hour flick. And while this isn't a bashing of movies by any means, it is an admission that movies, while wonderful, are limited in terms of how much they are allowed to bring out and flesh out their subject material.
Allows For Focus On All Characters
Another great feature of the Battle Royale novel is that every student in the doomed class is given their own moment in the sun, whether it is their own portion of a chapter, or enough of a mention in the narrative that you do get at least a small piece of the person's essence, just enough for you to feel a slight twinge of pain or slight amusement whenever you see or feel that person die in the novel. And while each and every student is shown whenever they've assumed their end in the film, you don't get that sort of emotional experience that you get in the book. In the end, they're simply just mindless numbers.
However, in a television series, you would not only be able to show more than just mindless death, but also genuinely get to know each person, get the gist of each student in the class, and be able to mourn and honestly feel an emotional attachment to the characters that we see on screen. But this doesn't just extend to the characters that are involved in what is called "The Program" in the novel, but also those who are in charge of the event. From the average soldier that is charged with simply guarding the main fortress, to the parent who has suddenly realized that they will likely never see their child again, to the average man on the street, a television series would be able to weave each of the elements into the semi-voyueristic nature of Battle Royale, allowing for not just great story telling, but also a great way of advancing a narrative.
Allows For Exploration Of Entire Battle Royale Universe
The manga is even more expansive than the novel, with a great deal of original content covering both the characters backstories, as well as the wider world outside of the Program. It makes for a richer piece of story telling, and allows for the creation of newer characters that don't have a stake in the actual program per se, but could in the future, whether they are in favor or opposed to the purpose of the Program itself.
Going back to Breaking Bad for a moment, the center of the show's universe is essentially the adventures of Walter White and Jesse Pinkman as the two attempt to survive their very dark world of meth cooking. However, the show is not purely about them, as it often takes detours exploring the other characters of the show, whether it is the struggles of loyal wife Skyler White, the personal vendetta of Gus Fring, the various misadventures of Jesse's fellow band of stooges, to the machinations of Mike The Cleaner and Saul Goodman. It's more than just the two central characters. It's the entire ensemble and the whole wide universe that makes the show what it is. And turning Battle Royale into Battle Royale: The Series would give the narrative such a canvas from which to work.
Allows For Multiple Classes Over The Course of Several Seasons
Finally, what a television series allows is for a series of multiple classes that find themselves victims of the program. This wouldn't be something along the lines of Saved By The Bell, where we are forced to watch a class over the course of six or seven seasons as the gradually whack each other, but we are instead treated to a single class each season, with the potential for a larger conspiracy that seeks to end the slaughter by the end of the show's run. It's an absolutely fantastic plot element, and keeps the central theme of the show going, but without the loss of a advancing, overarching narrative that will eventually come to a head in the final seasons. Overall, it's perfect.
In the end, it all depends on who is placed in charge of the show, how willing the CW is willing to embrace Battle Royale's beautiful chaotic core, and how willing they are to choose not to try and adapt it toward a teen or tween audience (as many of the CW's shows are). If done right, Battle Royale could be an instant classic. But that's still a big If.
Monday, July 23, 2012
My Pumped Up Kicks
This past weekend, I did something that changed my life, at for the most part, my sense of comfort, my sense of self, style, and possibly even my sense of who I am will never be the same.
I bought two new pairs of boots. The first is a pair of Timberland boots that I got on sale. The second, a pair of Doc Marten's, will be replacing my much worn and much beloved pair of Sketcher's black work boots, which have been my default pair of kicks (well, those and my Chuck Taylor's) since 2005.
It's funny how attached we become to shoes. For the most part, they aren't meant to be anything special. They are to simply protect our feet from the assorted barbs, rocks, discarded gum, and possible bits of animal feces that we may encounter over the course of the day. They are meant to provide extra support, in order to protect our tootsies from the abuse that concrete can inflict on you. And even to provide some extra warmth when it's extra fucking cold outside, and snowfall decides to see just how difficult it can make life on you.
And yet, we love our shoes. Women spend hundreds of dollars on a single pair of what they deem to be hot ass shoes. Men take pride in making their various pairs of shoes shine, and look like new. There are limited edition pairs of Chucks and Vans made with artwork designed by hip hop artists, graffiti artists, and comic book artists. Hell, there are even sexual fetishes when it comes to the types of shoes a person will wear.
Perhaps it is simply that shoes are meant to be an extension of ourselves, one more way in which we can take something relatively simply and make it a symbol of our own individuality. It can be something plain, simply, and functional, or something extravagant and off the wall. It can be extremely sexual or extremely casual and laid back. Shoes, despite their simply intentions, just are one of our ways to show off who we are. They are our constant companions, our simplest friends. They go with us on our adventures to various parts unknown. They choose our outfits, and decide what looks good with what. And, when we need them the most, they allow us to run for cover, run for our lives, or run to the next point of interest, with us laughing all the way.
And my Sketchers did that for me. They were there for me when I went to Albuquerque numerous times. They were there for me as I walked across the stage for my diploma. They were there when my best friend and I explored Chicago. They were there when I went to Vegas for the first time. In almost all of my good times, that pair of simple black workboots were there, supporting me and taking me on my next adventure.
And now, after seven years, it's time to move on. It's time to see what this new pair of boots can take me, what new adventures they'll allow me to experience in my 30's. While I'm not confident that they'll last as long as my Sketchers have, perhaps they'll last me long enough to experience the next phase in my life, in all it's wonderful joy, sadness, heartfelt and heartache, all the gamut of positive and negative emotions that are to be had in this life. We'll see, but they'll definitely be given the chance.
As for the Sketchers? They're still in my closet, beat up, but still more than willing to take me to a few more places. Like the best of old friends, they'll always be there for me, and always be ready to experience that next adventure.
I bought two new pairs of boots. The first is a pair of Timberland boots that I got on sale. The second, a pair of Doc Marten's, will be replacing my much worn and much beloved pair of Sketcher's black work boots, which have been my default pair of kicks (well, those and my Chuck Taylor's) since 2005.
It's funny how attached we become to shoes. For the most part, they aren't meant to be anything special. They are to simply protect our feet from the assorted barbs, rocks, discarded gum, and possible bits of animal feces that we may encounter over the course of the day. They are meant to provide extra support, in order to protect our tootsies from the abuse that concrete can inflict on you. And even to provide some extra warmth when it's extra fucking cold outside, and snowfall decides to see just how difficult it can make life on you.
And yet, we love our shoes. Women spend hundreds of dollars on a single pair of what they deem to be hot ass shoes. Men take pride in making their various pairs of shoes shine, and look like new. There are limited edition pairs of Chucks and Vans made with artwork designed by hip hop artists, graffiti artists, and comic book artists. Hell, there are even sexual fetishes when it comes to the types of shoes a person will wear.
Perhaps it is simply that shoes are meant to be an extension of ourselves, one more way in which we can take something relatively simply and make it a symbol of our own individuality. It can be something plain, simply, and functional, or something extravagant and off the wall. It can be extremely sexual or extremely casual and laid back. Shoes, despite their simply intentions, just are one of our ways to show off who we are. They are our constant companions, our simplest friends. They go with us on our adventures to various parts unknown. They choose our outfits, and decide what looks good with what. And, when we need them the most, they allow us to run for cover, run for our lives, or run to the next point of interest, with us laughing all the way.
And my Sketchers did that for me. They were there for me when I went to Albuquerque numerous times. They were there for me as I walked across the stage for my diploma. They were there when my best friend and I explored Chicago. They were there when I went to Vegas for the first time. In almost all of my good times, that pair of simple black workboots were there, supporting me and taking me on my next adventure.
And now, after seven years, it's time to move on. It's time to see what this new pair of boots can take me, what new adventures they'll allow me to experience in my 30's. While I'm not confident that they'll last as long as my Sketchers have, perhaps they'll last me long enough to experience the next phase in my life, in all it's wonderful joy, sadness, heartfelt and heartache, all the gamut of positive and negative emotions that are to be had in this life. We'll see, but they'll definitely be given the chance.
As for the Sketchers? They're still in my closet, beat up, but still more than willing to take me to a few more places. Like the best of old friends, they'll always be there for me, and always be ready to experience that next adventure.
Friday, July 20, 2012
Movie Review: The Dark Knight Rises
Before I begin, again, I'd like to send a moment to honor those that were senselessly murdered in last night's showing in Aurora, Colorado. If you have anger, despair, or some other emotion that inspires you to even toe that line where you would do something, Stephen King said it best: do something constructive. Don't be an asshole.
And now, the review.
Synopsis (as spoiler free as I can make it, using the elements from the trailers): Eight years have past since the end of the events of The Dark Knight. Gotham has settled down into a relative peace. Thanks to the decision to sacrifice The Batman in order to protect the work of Harvey Dent, Commissioner Gordon has virtually wiped out crime in Gotham, although the decision to do so weighs heavily on his soul. As for the Batman himself, he has mostly become a memory, and urban legend.
All that changes with the arrival of Bane, a former member of the League of Shadows, who arrives to Gotham to essentially perform the same task that Ras Al Ghul desired to accomplish: Gotham's downfall. Bane strikes at the fragile foundation that this peaceful Gotham has been built upon, and as the entire structure falls, and chaos reigns over the city, the city must once again turn to the protector that they once shunned, to try and save Gotham City, one last time.
Thoughts: The Dark Knight Rises (DKR for the rest of the review), already was behind the eight ball with the expectations heaped upon it from the raging success of The Dark Knight (DK). However, the film didn't shrink in the face of such stress, and rather than produce something that was merely average (Batman Forever, Terminator 3), or something that was absolutely steaming crap (Spider-Man 3, The Matrix Revolutions), DKR instead elevated itself to the rare platform of being a third film that successfully concluded the narrative with all the style and substance of it's predecessors, while leaving the audience feeling satisfied and saddened that the series is over, and wanting more.
The film draws upon several different Batman story arcs, mainly Knightfall and The Dark Knight Returns, with some elements worked in from No Man's Land and A Lonely Place of Dying worked into the mix. However, these are only the most notable of the story arcs, as Nolan gathers elements from all of the Batman universe to create this movie that feels familiar, and yet is uniquely original. There are even a few elements that are quite sneaky, but once you see them, you wonder how you missed them in the first place.
There are a great many themes at play in this film, but the two main ones being the importance of truth and loyalty. In the case of the former, the decision to hide the actions of both Harvey Dent and Rachel Dawes continue to be felt, and both still have a looming presence over the beginning of the movie. The consequences of the creation of their near sainthood weigh heavily on the two caretakers of the lie, Jim Gordon and Alfred Pennyworth. In both cases, the law of unintended consequences takes effect, as a very different outcome surrounds the original good intention of the action, and in both cases, the caretakers wonder if it was really worth it. As for loyalty, that also plays a large role in the film, as the relationships surrounding much of the early characters of DKR are ambiguous, and often come off as relationships of convenience rather than true loyalties. Only when times truly get dire do we see the intricate web of personal connections among the two different factions, including some that we never really do see coming.
Christopher Nolan does another dynamite job in this film. The visuals are stunning, maintaining that dark, gritty feel that has come to be identifiable with Chris Nolan, while also showing various other sequences meant to portray the depth of despair, the opulence of wealth, and the dark shroud in which the Batman operates all help contribute to the rich tapestry of the film. The music is fantastic, as can only be expected from Hans Zimmer, who hands down is probably one of a handful of movie composers that can legitimately tap into the soul of a film to draw out its inner melody.
Christian Bale reprises his role as Batman, making him the only member of what I believe George Clooney has dubbed “The Brotherhood” (I’m assuming from this interview on Grantland, linked here), to have portrayed the role for three films. And he certainly delivers, giving a solid performance in both halves of his role. And it also brings to mind a question explored somewhat in the comics, but never in the movies until the Nolan franchise, the physical and mental cost of being Batman. In his zeal to assume his ideal, Wayne has sacrificed and been drained of so much of himself, that at some point, there is a breaking point where he will turn up empty.
Anne Hathaway, who received a lot of scrutiny over her casting as Catwoman, delivers in her part of the film, being a sassy, morally ambiguous, that hides the shards of her humanity deep within herself in order to be able to do her job. Her action sequences are also well done, and while the outfit itself isn’t quite what one would have expected when the announcement of the role was released, it’s quite appropriate for what it’s original intended role was. Overall, she did a good job, and while I’m not quite ready to crown her as the greatest Catwoman ever, she just might be (especially considering the competition.)
Bane is excellently portrayed by Tom Hardy, and is an upgrade to the abomination that was placed onscreen in Batman And Robin. He is close to what he was in the comic source material, that of a brute, but highly intelligent criminal, cut from the same cloth as Batman, but rather than sewn into the shroud of justice, he instead was sewn into the standard of evil. He also symbolizes another theme in the film: class warfare. Without giving away too much, Bane shows little empathy for those that are in power or wealthy, and has no problems deposing and possibly disposing of them. That said, I will admit, that it is in this department that there is some weakness in the film, but only from the standpoint that it was nearly going to be impossible to top Heath Ledger as the Joker, and almost any villain, despite how well he is implemented and created, would see slightly dimmer in the wake of that performance.
The supporting cast delivers as well, which is one of the strengths of the series that cannot be overstressed. I loved Michael Caine in this movie, who shows again all the fatherly love that Alfred in the modern comics feels for Bruce. In a way, you feel for him, as he knows that he cannot stop Bruce from donning the cowl again at some point, and likely wonders just how much longer he can continue to indulge Bruce's urge to place himself in danger, knowing that each night, there is a chance that the son that he never had will never return. Likewise, Morgan Freeman returns, and again, serves as not just a trusted armorer, but also a capable operative of the Batman when necessary. There are even a few characters that you may recognize from previous films, which solicit a variety of reactions, including one that will make you laugh your ass off once you recognize him.
Gary Oldman and Joseph Gordon-Levitt also are solid in this film, and form a solid tandem. Oldman is solid as always, and while I can't elaborate too much on his actions or role, let's just say that he continues to amaze as a man who is just as devoted and shackled to his city as the Batman himself. Levitt is a welcome addition to the series, showing the melding of the two philosophies of both his mentors. He's rapidly developing into one of the better rising stars of Hollywood, and I look forward to seeing his work that will be coming in the near future (I'm already making plans to see Looper.)
It was also neat to see the different technologies from the prior two films worked in. While I'm not all that enthused about the design of the newest addition, the Bat, it does fit in with the function over style motif of the series, and, I will admit, it was an incredibly useful addition. I loved seeing the return of both the Tumbler and The Batpod, and even what appeared to be the return of the Batman Begins batsuit, although due to sleep deprivation and a caffeine binge, I'm not certain if it was.
All in all, it was a worthy conclusion to the Dark Knight series, making it the rare trilogy in which all three of the films are legitimately solid movies in their own right. It is the final stanza of Nolan's grand opus, and in the end, we are left pleasurably in awe and probably better for the experience. All in all, if more movies were made with the intent of telling a fantastic story, with all the quality writing and style that is available, maybe people wouldn't be so jaded with Hollywood. It'll never happen, though, which makes these cinematic treasures all the more valuable.
Okay, Minor Spoiler: There is no post credit scene, so go ahead and leave.
Thursday, July 19, 2012
Batman On Film: From West To Bale
Some quick Batman film thoughts about each one of the current flicks before the marathon starts....
Batman: The Movie
Batman At The Helm: Adam West
Other Cast Members Of Note: Burt Ward
FourWorld Review: Classic, although highly stupid
Thoughts: Honestly, if I were to sum up Batman the Movie, it would be something like this. It's essentially everything that was both good and bad about the original series. It was fun as all hell, campy, with no real dangerous or threatening characters. It had bat gadgets galore, including the infamous shark repellant, and the campiest of campy acting ever assembled. It's very much a time capsule of not just the series, but also of what comics were at the time: tame, fun, and non-threatening.
Batman
Batman At The Helm: Michael Keaton
Other Cast Members Of Note: Jack Nicholson, Kim Basinger
Four Word Review: Trailblazing Modern Comic Classic
Thoughts: Who'd a thought that Tim Burton could have not just successfully created a comic book movie, but also virtually wrote the template of how to make one. While it's not a completely faithful translation, it is a great movie. The cast is excellent, with Keaton playing a reclusive jericurled Bruce Wayne that fights crime as Batman on the weekends. That said, the big issue I do have is that Batman does not kill, which Keaton's Batman clearly has no problems doing so. Jack Nicholson is the outgoing criminal psychopath who is charming and deadly at the same time. Gotham City is beautiful, art deco fantasy city that perfectly allows for the characters to run around. And it has the greatest Batmobile of the film series, one which would replace it's predecessor as the template of the comics Batmobile.
Batman Returns
Batman At The Helm: Michael Keaton
Other Cast Members Of Note: Danny DeVito, Michelle Pfeiffer, Christopher Walken, PeeWee Herman
Four Word Review: Underrated, but solid sequel.
Thoughts: Burton returned to Gotham, continuing the saga of the universe he created. Keaton continues to mind the cowl, and does well. It took some balls to try and translate the Penguin into a main villain, which still is a problem in comics to this day, but DeVito's portrayal is a treat, showing a tragic figure that doesn't garner much sympathy because he is a truly evil bastard. Pfeiffer is also excellent, portraying the Catwoman as a femme fatale that would probably make love to you in the corner of the alleyway just as like as she would slit your throat. This is a much more violent movie, and is a lot more frightening than it's predecessor. In fact, this is probably more of what you would expect from a Tim Burton film than Batman. That said, while it was panned and not as profitable when it first came out, history is very kind to this film.
Batman Forever
Batman At The Helm: Val Kilmer
Other Cast Members Of Note: Jim Carrey, Tommy Lee Jones, Nicole Kidman, Chris O'Donnell
FourWord Review: Better Than You Think
Thoughts: Because of the darkness of Batman Returns, Burton stepped aside for Joel Schumacher, who took the series to a new direction. The focus was turned to a mainstream audience, while whoring out plenty of bat merch. Keaton left the role, disliking the direction, but Kilmer was a worthy successor, whose Batman was honestly a lot closer, though less dark, to the original comic source material. The focus of the movie moved toward the campy, paying a sort of indirect homage to the 60's Batman series. O'Donnell was an adequate Robin, not outstanding, but served his purpose. Carrey stole the show, portraying a manic genius, although I do think that his master plan could have used some tweaking. Jones was awful, and shows that sometimes even the best actors can't turn a turd into a diamond. This film also has the ugliest of the Batmobiles, and it's mercifully destroyed toward the end. I also hated how they decided to call into question Batman's purpose for being Batman, as there was no need for it. I could have done without the Bat nipples, and hated the departure of Burton's Art Deco Gotham and the arrival of Schumacher's combination of Tokyo and Vegas, with some Ecstasy and LSD> Still, it is an entertaining film. although the trilogy should have ended there.
Batman and Robin
Batman At The Helm: George Clooney
Other Cast Members of Note: Chris O'Donnell, Arnold Schwartzenegger, Alicia Silverstone, Uma Thurman
Four Word Review: Fucking Flaming Shit Pile
Thoughts: This is just a terrible writing, with too many plot lines, all of them under developed, detestible characters, and too many characters and villains. Clooney's Batman could have been something, but instead he was given terrible writing and is also a bystander in his own movie. O'Donnel and Silverstone are terrible, and while I would give them the benefit of the doubt just because of how rotten the writing is, it did kill their careers. Schwartzenegger is terribly miscast as Mr. Freeze, and probably should have just been Bane from the beginning. Bane himself is strictly cast as dumb muscle, which is an injustice to the character. Uma Thurman sucks as Posion Ivy, losing all of her Pulp Fiction cred and being cast into show biz limbo until Kill Bill. All in all, this is really just an extended commercial for Bat merch and it killed the franchise. Things could have been so much better, but instead, greed and half assed effort took over.
Batman Begins
Batman At The Helm: Christian Bale
Other Cast Members Of Note: Michael Caine, Liam Nielson, Morgan Freeman, Gary Oldman, Ken Watanabe, Katie Holmes, Cillian Murphy
Four Word Review: Fantastic First Film Effort
Thoughts: Rather than try and resurrect the basis of the original franchise, Christopher Nolan instead attempted to do a realistic and grounded film, completely trying to do a actual film with a superhero than a superhero movie. Bale is the best of the Batmen, and is the closest to come to the comic source material. The visuals are stunning, and the writing and symbolism are off the charts fantastic. All in all, this is how comic movies should be made, and it looks like the studios took notice.
The Dark Knight
Batman At The Helm: Christian Bale
Other Cast Members Of Note: Heath Ledger, Michael Caine, Morgan Freeman, Gary Oldman, Aaron Eckhart, Maggie "That Thing!!!!" Gyllenthall
Four Word Review: Rare Sequel Surpassing Orignal
Thoughts: Nolan outdoes himself, giving Batman a threat that is his equal. Multiple storylines, but unlike Batman and Robin, all are developed well and come to a satisfying resolution. Again, the visuals are stunning, and the action sequences are top notch. The writing is brillant, and there are acting gems to be had everywhere. Ledger is the talk of this film, giving his Joker a sense of pure and insane deadliness, while Bale gives a solid performance of a man who is torn between his desires and his duty. The cast is wonderful, and even The Thing is tolerable in her scenes, although I wish that Holmes had returned (Fuck You, Tom Cruise). Eckhart does the job that Jones couldn't or wouldn't, and gives Two-Face that sense of humanity and pity that he has in the original comic source. All in all, it's not just a great superhero movie, it's a great film period, and should have gotten more awards attention than it did.
The Dark Knight Rises
Batman At The Helm: Christian Bale
Other Cast Members of Note: Gary Oldman, Tom Hardy, Anne Hathaway, Michael Caine
Four Word Review and Thoughts: Coming soon......
.
Batman: The Movie
Batman At The Helm: Adam West
Other Cast Members Of Note: Burt Ward
FourWorld Review: Classic, although highly stupid
Thoughts: Honestly, if I were to sum up Batman the Movie, it would be something like this. It's essentially everything that was both good and bad about the original series. It was fun as all hell, campy, with no real dangerous or threatening characters. It had bat gadgets galore, including the infamous shark repellant, and the campiest of campy acting ever assembled. It's very much a time capsule of not just the series, but also of what comics were at the time: tame, fun, and non-threatening.
Batman
Batman At The Helm: Michael Keaton
Other Cast Members Of Note: Jack Nicholson, Kim Basinger
Four Word Review: Trailblazing Modern Comic Classic
Thoughts: Who'd a thought that Tim Burton could have not just successfully created a comic book movie, but also virtually wrote the template of how to make one. While it's not a completely faithful translation, it is a great movie. The cast is excellent, with Keaton playing a reclusive jericurled Bruce Wayne that fights crime as Batman on the weekends. That said, the big issue I do have is that Batman does not kill, which Keaton's Batman clearly has no problems doing so. Jack Nicholson is the outgoing criminal psychopath who is charming and deadly at the same time. Gotham City is beautiful, art deco fantasy city that perfectly allows for the characters to run around. And it has the greatest Batmobile of the film series, one which would replace it's predecessor as the template of the comics Batmobile.
Batman Returns
Batman At The Helm: Michael Keaton
Other Cast Members Of Note: Danny DeVito, Michelle Pfeiffer, Christopher Walken, PeeWee Herman
Four Word Review: Underrated, but solid sequel.
Thoughts: Burton returned to Gotham, continuing the saga of the universe he created. Keaton continues to mind the cowl, and does well. It took some balls to try and translate the Penguin into a main villain, which still is a problem in comics to this day, but DeVito's portrayal is a treat, showing a tragic figure that doesn't garner much sympathy because he is a truly evil bastard. Pfeiffer is also excellent, portraying the Catwoman as a femme fatale that would probably make love to you in the corner of the alleyway just as like as she would slit your throat. This is a much more violent movie, and is a lot more frightening than it's predecessor. In fact, this is probably more of what you would expect from a Tim Burton film than Batman. That said, while it was panned and not as profitable when it first came out, history is very kind to this film.
Batman Forever
Batman At The Helm: Val Kilmer
Other Cast Members Of Note: Jim Carrey, Tommy Lee Jones, Nicole Kidman, Chris O'Donnell
FourWord Review: Better Than You Think
Thoughts: Because of the darkness of Batman Returns, Burton stepped aside for Joel Schumacher, who took the series to a new direction. The focus was turned to a mainstream audience, while whoring out plenty of bat merch. Keaton left the role, disliking the direction, but Kilmer was a worthy successor, whose Batman was honestly a lot closer, though less dark, to the original comic source material. The focus of the movie moved toward the campy, paying a sort of indirect homage to the 60's Batman series. O'Donnell was an adequate Robin, not outstanding, but served his purpose. Carrey stole the show, portraying a manic genius, although I do think that his master plan could have used some tweaking. Jones was awful, and shows that sometimes even the best actors can't turn a turd into a diamond. This film also has the ugliest of the Batmobiles, and it's mercifully destroyed toward the end. I also hated how they decided to call into question Batman's purpose for being Batman, as there was no need for it. I could have done without the Bat nipples, and hated the departure of Burton's Art Deco Gotham and the arrival of Schumacher's combination of Tokyo and Vegas, with some Ecstasy and LSD> Still, it is an entertaining film. although the trilogy should have ended there.
Batman and Robin
Batman At The Helm: George Clooney
Other Cast Members of Note: Chris O'Donnell, Arnold Schwartzenegger, Alicia Silverstone, Uma Thurman
Four Word Review: Fucking Flaming Shit Pile
Thoughts: This is just a terrible writing, with too many plot lines, all of them under developed, detestible characters, and too many characters and villains. Clooney's Batman could have been something, but instead he was given terrible writing and is also a bystander in his own movie. O'Donnel and Silverstone are terrible, and while I would give them the benefit of the doubt just because of how rotten the writing is, it did kill their careers. Schwartzenegger is terribly miscast as Mr. Freeze, and probably should have just been Bane from the beginning. Bane himself is strictly cast as dumb muscle, which is an injustice to the character. Uma Thurman sucks as Posion Ivy, losing all of her Pulp Fiction cred and being cast into show biz limbo until Kill Bill. All in all, this is really just an extended commercial for Bat merch and it killed the franchise. Things could have been so much better, but instead, greed and half assed effort took over.
Batman Begins
Batman At The Helm: Christian Bale
Other Cast Members Of Note: Michael Caine, Liam Nielson, Morgan Freeman, Gary Oldman, Ken Watanabe, Katie Holmes, Cillian Murphy
Four Word Review: Fantastic First Film Effort
Thoughts: Rather than try and resurrect the basis of the original franchise, Christopher Nolan instead attempted to do a realistic and grounded film, completely trying to do a actual film with a superhero than a superhero movie. Bale is the best of the Batmen, and is the closest to come to the comic source material. The visuals are stunning, and the writing and symbolism are off the charts fantastic. All in all, this is how comic movies should be made, and it looks like the studios took notice.
The Dark Knight
Batman At The Helm: Christian Bale
Other Cast Members Of Note: Heath Ledger, Michael Caine, Morgan Freeman, Gary Oldman, Aaron Eckhart, Maggie "That Thing!!!!" Gyllenthall
Four Word Review: Rare Sequel Surpassing Orignal
Thoughts: Nolan outdoes himself, giving Batman a threat that is his equal. Multiple storylines, but unlike Batman and Robin, all are developed well and come to a satisfying resolution. Again, the visuals are stunning, and the action sequences are top notch. The writing is brillant, and there are acting gems to be had everywhere. Ledger is the talk of this film, giving his Joker a sense of pure and insane deadliness, while Bale gives a solid performance of a man who is torn between his desires and his duty. The cast is wonderful, and even The Thing is tolerable in her scenes, although I wish that Holmes had returned (Fuck You, Tom Cruise). Eckhart does the job that Jones couldn't or wouldn't, and gives Two-Face that sense of humanity and pity that he has in the original comic source. All in all, it's not just a great superhero movie, it's a great film period, and should have gotten more awards attention than it did.
The Dark Knight Rises
Batman At The Helm: Christian Bale
Other Cast Members of Note: Gary Oldman, Tom Hardy, Anne Hathaway, Michael Caine
Four Word Review and Thoughts: Coming soon......
.
Wednesday, July 18, 2012
Third Movies in a Trilogy are a mixed bag
With The Dark Knight Rises coming out in two days, I was thinking about the history of three movies, and how they typically turn out. So, with that said, here are some thoughts of some three movies that I have seen. It's not at all comprehensive, as there are some notable ones (Indiana Jones, The Transporter, Nightmare on Elm Street, and others) that aren't listed. But, let's take a look, and see what will can possibly be an outcome for the Dark Knight Rises.
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