My dear reader(s), if you have been with me for any length of time, you will know that I’ve gone from a twice-a-week movie-goer to a twice-a-year movie-goer, and my reviews these days are mostly limited to streaming options. If ever there were a person who could get me to face the talkers, the seat-kickers, the popcorn-bag-rattlers, and the straw-slurpers at the cinema again, that person is Christopher Nolan, who last week presented us with yet another masterpiece, Oppenheimer.
Spoiler level here will be mild, nothing you wouldn’t know from the trailers, possibly from real life, and from the paragraph above, wherein I pretty much spoiled my entire review. D’oh!
Yes, Oppenheimer is a masterpiece, among Christopher Nolan’s best work, and that’s a very high bar. It’s early goings yet, but people are already throwing around the “O” word (no, not *that* O-word, though Florence Pugh is pretty hot), and, with half the year behind us, I’d say that’s probably going to stick. Nolan makes a three-hour movie seem like three minutes, with mesmerizing storytelling, sharp dialogue, and a glorious visual landscape. Robert Oppenheimer is painted neither hero nor villain, but rather a man so consumed by whether a thing *could* be done, he failed to consider whether it *should* be done…until it was too late. While there are some gruesome images in Oppenheimer, there’s nothing over-the-top or gratuitous, and the movie never takes lightly the grave ramifications of the choices it depicts.
Cillian Murphy, of course, is brilliant in the title role. He’s never been less, and if anyone didn’t know that by now, this is their education. The whole cast really couldn’t be more perfect, and it’s a testament to the Power of Nolan how many big people took little roles just to be part of this project. Expect awards season to be lucrative for at least Murphy, Robert Downey, Jr., Emily Blunt, and (depending on the field) Ms. Flo, although her role is comparatively small. Exceptional work to a person, Oppenheimer left me breathless.
Oppenheimer clocks in at 180 minutes and is rated R for “some sexuality, nudity, and language.”
Oppenheimer is a masterclass in storytelling and performing, making fascinating work of a grim tale. Of a possible nine Weasleys, Oppenheimer gets all nine.
A feature biography from director Christopher Nolan, explores how one man's brilliance, hubris, and relentless drive changed the nature of war forever, led to the deaths of hundreds of thousands of people, and unleashed mass hysteria.
Director: Christopher Nolan
Cast: Cillian Murphy, Matt Damon, Emily Blunt, Robert Downey Jr., Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek, Kenneth Branagh
Release Date: July 21, 2023
Genre: Biography, Drama, History
Rated R for some sexuality, nudity and language
Runtime: 3h 0m
Christopher Nolan's Oppenheimer is a heady, engrossing biopic that makes a series of conversations feel just as thrilling as any large scale action set piece. Nolan's meticulous eye is laser focused throughout as he unveils a bendy narrative that jumps from two separate time periods and view points. His sweeping visual style is more focused here, taking plenty of time on faces and subtle ruminations from the main characters as they tackle some truly world changing concepts and the repercussions they bring. Cillian Murphy leads the film with a nuanced measured performance that maybe the best of his career. Murphy's hundred yard stare conveys a bevy of emotions as the character carries the weight of the world as his mind juggles through the countless challenges and ultimate ramifications of what his work creates after the fact Nolan uses his faces and expressions on more than a few occasions to communicate a slew of information occasionally without a single line of dialogue being uttered. He's the driving force in the film but he benefits from some truly impressive turns from a stellar supporting cast. Robert Downey Jr. gets the meatiest role as Oppenheimer's post war rival who is trying to secure a cabinet position. Downey Jr. sinks his teeth into the role with impressive ease as he reveals the character's duplicitous nature. His scenes play well in contrast against Murphy's more subdued, internalized sequences. Matt Damon and Emily Blunt have smaller supporting roles with each doing the most with their screen time with the latter playing against time with great effect. Florence Pugh is equally solid as Oppenheimer's mistress even if she is a bit young for the role. A slew of other familiar faces pepper the film giving it a rich textured quality, Tom Conti, in particular, is fascinating in his limited screen time as Albert Einstein. Their conversation revealed near the end of the film is particularly revelatory and devastating in its implications. Its these kind of moments that Oppenheimer revels and delivers in a steady stream throughout with the cast and crew all working in top form.
My dear reader(s), this week theaters that subscribe to the Flashback Cinema series were blessed — BLESSED, I tell you — with the return of one of the greatest films of all time: the Dark Knight.
The middle installment of Christopher Nolan's Bat-verse sees the Caped Crusader facing off with his iconic arch-nemesis, the Joker.
Spoiler level here will be...um...no promises. The movie's thirteen years old; I feel like, if you wanted to catch up with it, by now you would have.
There are four movies that, at any given time, I would call "my all-time favorite." The Dark Knight is one of them. I saw it 27 times in its original theatrical run. I've watched it hundreds of times since. It is at once entirely comfortable and entirely fresh. The current Flashback Cinema series represents the first time I've had the opportunity to "retro-review" something I reviewed upon its initial release. I guess that means I'm old. (Thanks to Facebook having discontinued its Notes feature, my original review is lost to time and the vast space of the ethernet.) It also represents my first opportunity to revisit TDK on a big screen since that original run. You needn't read further (though I hope you will) to be assured: the Dark Knight has aged better than the finest wine.
Christopher Nolan's Batman trilogy is defined by many things, not least of which is the exceptional actors his team assembled. If Ben Affleck is my favorite Batman, I don't think a finer actor than Christian Bale has ever worn the cowl, and his Bruce Wayne is surrounded by the best of the best. Michael Caine. Morgan Freeman. Gary Oldman. Aaron Eckhart. Cillian Murphy. William Fichtner. The movie also gave me some folks I now look out for in anything: David Dastmalchian, Keith Szarabajka, Ritchie Coster. And then there's Heath Ledger, of course, whose chilling, Oscar-winning turn as the Joker has become the definitive rendering of a character with a history stretching back more than 80 years.
The Dark Knight features (yes, wait for it...) one of the best, if not *the* best, openings in film history. The picture is distinguished by stunning visuals and extraordinary stunts, which are sometimes enormous but never comically absurd in the way of the Fast saga. The smart, meticulous story boasts well-crafted (and quotable) dialogue. The movie runs two and a half hours, but doesn't seem even one second too long. And the score — Oh! That score! — by Hans Zimmer and James Newton Howard is just exquisite. If Merriam-Webster were to loan me the whole of its collection of superlatives, I still wouldn't have enough to effectively convey the brilliance of the Dark Knight.
The Dark Knight clocks in at 152 minutes and is rated PG13 for "intense sequences of violence and some menace."
More than a decade later, the Dark Knight remains the gold standard for its genre, and one of the most extraordinary movies ever made. Of a possible nine Weasleys, the Dark Knight gets all nine, plus one for each Weasley grandchild that has come along since the inception (see what I did there?) of the Weasley scale.
The Dark Knight is now playing on big screens wherever Flashback Cinema is shown, and streaming on HBO Max.
Fangirl points: My Gary (of course). Cillian Murphy. My favorite director I've ever worked with*, Christopher Nolan.
*Statement is both technically true and terribly misleading.
My dear reader(s), after a six-month (!) absence, yesterday I made my way back to my local cinema. If you were wondering what got me out the door when I really wasn't quite ready, the answer is (as it always was going to be) Christopher Nolan. On the docket: Tenet.
Spoiler level here will be mild, nothing the trailers haven't already revealed.
Regular reader(s) will be well aware that I worship at the Altar of Nolan. That's not to say Tenet was guaranteed a glowing review — on the contrary, I find high expectations generally are not my friend — but Christopher Nolan has never let me down and Tenet definitely keeps his streak alive.
“People assume that time is a strict progression of cause to effect, but actually, from a non-linear, non-subjective viewpoint, it's more like a big ball of wibbly-wobbly, timey-wimey stuff.” ~ The Tenth Doctor
You've probably seen the Internet meme about someone's brain being like a hundred browser tabs open at once. This is very much how I imagine it is being Christopher Nolan. I'm not going to pretend for a minute that I understand everything about Tenet — especially not after a single viewing — but instead I'm going to tell you why I loved it, and I think and hope you will too.
Tenet bends time and space to tell a multi-layered and expertly-crafted story. It is massive, thrilling, and even funny at times. The movie features nail-biting action that rivals some of the best I've seen (look for the firetruck sequence) and a moment that is so Airplane!-ey that I can't decide whether or not it was deliberate. The score and sound effects are huge and loud, perfectly complimenting the enormous visual scope of the film. Tenet has a cast to die for, led by John David Washington. Washington (like his father) is an actor that grabs your attention and doesn't let go; I never wanted him to be off-screen. It's no secret that I am a huge Robert Pattinson fan (despite, rather than because of, Twilight), and Tenet gives him an opportunity to shine. Favorites and familiar faces flesh out the supporting cast. Tenet is better for having Michael Caine (of course), Elizabeth Debicki, Kenneth Branagh, Aaron Taylor-Johnson, Clemency Poesy, and Himesh Patel, even though some of them don't turn up for more than a cup of coffee. The movie runs a massive two and a half hours, but to me it felt like seconds. If you're looking for an epic excuse to get back out and see something on the big screen, Tenet is just what the doctor ordered.
Tenet clocks in at 150 minutes and is rated PG13 for "intense sequences of violence and action, some suggestive references, and brief, strong language."
I'm not here to promise that Tenet will make perfect sense after one or even ten screenings (hell, I'm still not sure I understand everything about Inception!), but I'm here to say it's magnificent regardless. I can't wait to see it again. Of a possible nine Weasleys, Tenet gets all nine.
Fangirl points: Cedric Diggory and Fleur Delacour, together again!
A secret agent embarks on a dangerous,
time-bending mission to prevent the start of World War III. Director: Christopher Nolan Cast: John David Washington, Robert
Pattinson, Elizabeth Debicki, Dimple Kapadia, Michael Caine, Kenneth Branagh Release Date: September 3, 2019 Genre: Action, Sci-Fi Rated PG-13 for intense sequences of
violence and action, some suggestive references and brief strong language Runtime: 2 h 30 min Review: Christopher
Nolan’s latest, Tenet, will leave audiences everywhere talking or thinking
about well after the film finishes.
Technically, it’s a marvelous piece of grand scale filmmaking with
enough thrills to keep nearly everyone on the edge of their seat. It’s everything Nolan has been perfecting
over the last decade or so of his career.
This puzzle box of a story though is overtly and aggressively complex
and convoluted, almost to the point of exhaustion. If you can keep up, the story is multi
faceted but simplistic at the same time.
If you’ve had any sort of experience with Star Trek or any other sort of
time travel story logic, the techobabble spouted out will feel routine but it’s
probably best to not over think it too much otherwise you’ll end up with a
splitting headache. Needless to say, I’m
sure there will be people dissecting character timeline after obsessively
rewatching the film. As for the
characters that live in this cinematic maze, they are thinly written but it’s
not huge issue since the actors and actresses deliver performances that make it
easier to gloss over the story’s shortcomings.
The best characters moments in the film occur when John David Washington
and Robert Pattinson share screen time mainly the two share strong and
naturalistic chemistry together. Elizabeth
Debicki and Kenneth Branagh do what they can with seriously broad characters
that don’t have much in the way of depth.
Those critics who complain about Nolan’s emotional distance probably
won’t be silenced here since the film keeps Kurbrick like distance from all the
characters. Tenet has flaws but those
movie lovers that want massive cinematic scopes and action will find plenty to
whet their appetites.
Dearest Blog: Yesterday it was off to Marquee Cinemas for Valerian & the City of a Thousand Planets and Dunkirk, after long-awaited home screening of Free Fire.
Spoiler level here will be mild, nothing you wouldn't know from the trailers or a history book.
First up: Free Fire.
In the late 1970s, a weapons deal goes awry in an abandoned Boston warehouse.
I had high hopes for Free Fire, likely due to the presence of two of my favorite actors, Cillian Murphy and Sharlto Copley...not to mention Armie Hammer, who generally can do no wrong in my eyes. It is perhaps due to an unreasonably high bar that I found the movie something of a disappointment, though it's not without a fair few merits.
Chief among Free Fire's positives is its cast. In addition to my aforementioned favorites, the picture features great turns from Oscar winner Brie Larson, Michael Smiley, and Sam Riley. The botched gun sale happens in real(ish) time, which is often a bore onscreen, but the movie is smart enough not to wear out its welcome. As you might have guessed from the whole "weapons deal goes awry" thing, violence is not in short supply here, though it seems these gangs of gun-runners can't even shoot well enough to join the Stormtroopers. One of Free Fire's really great moments features an Edgar Wright-ish use of an old John Denver tune, and--while it's hardly a hardly a character study--there is some backstory underneath all the gunfire. Unfortunately, aside from rooting for more screen time for my faves, I never much cared what happened to anyone, I just found the proceedings rather dull. Without divulging how the chips fall in the end, I will say for a brief moment I was hopeful the picture was cruising towards a finish that might have made amends for some of its shortcomings, but ultimately it goes a half-step too far for even that.
Free Fire clocks in at 90 minutes and is rated R for "strong violence, pervasive language, sexual references, and drug use."
While I didn't love Free Fire nearly as much as I'd hoped, it's a smart enough picture that I was left thinking, to paraphrase George Costanza: "It's not you, Free Fire, it's me."
Of a possible nine Weasleys, Free Fire gets six.
Next on Saturday's agenda was my first Pirate-less trip to the cinema in nearly two months, which kicked off with Valerian and the City of a Thousand Planets.
A long time from now, in a galaxy far, far away, Agents Valerian and Laureline are on a mission to save the future.
Dear reader(s): I gotta be straight with ya, Valerian and the City of a Thousand Planets is one of the worst movies I've ever seen. From the first trailer, something seemed off, a good enough idea that started going wrong even a two-minute preview, but I held out hope the film might surprise me. I didn't need Valerian to be Oscar-worthy; rather--like King Arthur and the Legend of the Sword--I just needed it to be watchable. Sadly, it isn't. As I'm frequently on the flip side of popular opinion, for reference I'll note that paying customers walked out on my screening, and the exit chatter from those who stuck around was positively grim. You might think a sci-fi epic such as this would have wonderful effects, but Valerian's are pretty pedestrian. It's lovely at times, but there's nothing all that interesting, nevermind ground-breaking. The plodding, convoluted story is propelled by awkward dialogue and attempts to force sexual tension between two characters who have about as much spark as a wet match. Oh...and was I supposed to be rooting for someone here? Valerian (the usually reliable Dane DeHaan) is a boorish lout; Laureline (Cara "Please Stop Treating This Person Like an Actor" Delevingne), a petulant child. The hippie aliens the movie hopes to make its most sympathetic characters are annoying with a capital A-N-N-O-Y-I-N-G, and the female who kept pinwheeling around like the highest person at an intergalactic Grateful Dead show made me want to throw something at the screen. There's a bit of saving grace in Bubble--portrayed with surprising skill by Rihanna--but her appearance is so brief it can't come close to salvaging this two-plus-hour mess.
Valerian and the City of a Thousand planets runs a painful 137 minutes and is rated PG13 for "sci-fi violence and action, suggestive material, and brief language."
While I'd never discourage anyone from getting out to the cinema, I shall beg everyone not to waste a penny on this dreadful movie. Go see Baby Driver instead. (Fine, then. See it again.)
Of a possible nine Weasleys, I can't, in good faith, give Valerian and the City of a Thousand Planets even one.
Finally, my closer for yesterday's movie-thon was Christopher Nolan's World War II epic, Dunkirk.
A desperate attempt is made to evacuate Allied soldiers, surrounded by the enemy, from a beach in France.
It goes without saying a big war epic plays to writer/director Christopher Nolan's strengths, and I am pleased to report that the best director I've ever worked with** does not disappoint. Since excessive length is one of my common complaints, I'll start by noting that Nolan has exercised great restraint in trimming Dunkirk to an efficient runtime of under two hours; however, he so masterfully immerses viewers in the terrifying sights and sounds of war, the tension makes some scenes seem very long indeed. In an age of increasingly bad behavior at the movies, my room sat in rapt silence for the duration of Dunkirk. Spellbinding performances from Mark Rylance, Kenneth Branagh, and Cillian Murphy effectively depict the horrors of war, of being unable to save everyone, of having to make impossible choices for the greater good. Visually, Dunkirk is colored in shades of grey, accenting the seemingly hopeless situation, but majestic shots of the beach and sea are still breathtaking. Hans Zimmer's glorious score sets the perfect tone, and the movie builds to a finish that strikes all the right emotional chords without feeling contrived.
Dunkirk clocks in at 106 minutes and is rated PG13 for "intense war experience and some language."
Dunkirk is equal parts summer blockbuster and potential awards bait, a deserving box-office hit that hopefully will be remembered when the industry starts considering its year-end accolades. Of a possible nine Weasleys, Dunkirk gets eight.
Until next time...
**I was an extra in The Dark Knight Rises. I never spoke directly to Mr. Nolan, but IT COUNTS, DAMMIT!
Acclaimed auteur Christopher Nolan directs
this World War II thriller about the evacuation of Allied troops from the
French city of Dunkirk before Nazi forces can take hold. Tom Hardy, Kenneth
Branagh and Mark Rylance co-star, with longtime Nolan collaborator Hans Zimmer
providing the score. ~ Daniel Gelb, Rovi
Director: Christopher Nolan
Cast: Tom Hardy, Mark Rylance, Kenneth
Branagh, Cillian Murphy, James D'Arcy
Release Date: Jul 21, 2017
Rated PG-13 for intense war experience and
some language
Genres: Action/Adventure, Drama
Review:
Christopher Nolan’s Dunkirk is an impressive achievement, a sprawling war epic
taken from multiple viewpoints.After
Interstellar, a rare misstep from Nolan, it’s good to see the director try something
new.What he delivers an interesting and
engaging non liner story told from different viewpoints and perspectives.As such it gives you a well rounded
viewpoint, from the ground, air and sea, of the events as they unfold.The characters are fairly simplistic but they
serve the story well with Mark Rylance, Tom Hardy and Fionn Whitehead all
deliver strong performances even though their scenes are about as bare bones as
they come.Nolan’s film is more about
the event than the actual people so they’re not really a huge emphasis on
unearned dramatics.It’s a big sweeping
film which shows off Nolan’s technical prowess throughout.Is it the greatest war film ever made, probably
not, it’s probably not Nolan’s best film, The Prestige still holds that honor,
but it’s a impressive none the less.
Dearest Blog, yesterday I set off for the cinema with a chip on my
shoulder about excessively-long movies. On the docket: Interstellar
(ahem) and Big Hero 6.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
First up, Christopher Nolan's newest epic, Interstellar.
With Earth falling to ruin, a group of scientists heads into space to find mankind some new digs.
My
reaction to the announcement of Interstellar's runtime: "Are you
%&$#@!& kidding me??" Most movies that exceed two hours don't do
much to earn the extra screentime, and I well and truly feared I might
be lulled to sleep by three hours of Matthew McConaughey's lazy drawl. I
repentantly admit I should have trusted in the Genius of Nolan.
Interstellar
is not a perfect movie. It's VERY long and, while it's too complex to
say, "Cut that ten-minute car chase and we're good!" a bit of cropping
here and there would have served it well. The performances are solid
across the board, but three hours of McConaughey IS a lot to take, and I
can't remember the last time I wanted to punch a fictional character in
the face as much as I did Anne Hathaway's. (I'm not among that curious
lot who despises Hathaway; on the contrary, she's a favorite of mine,
but this character...not so much). Some dialogue is inexcusably cheesy
for a movie that so wants and expects to be taken seriously. The score
is strangely and obtrusively loud at times.
The good news is none of
that keeps Interstellar from being a very, very good movie that easily
holds your attention for the duration. Performances are solid across the
board. Hans Zimmer's score is beautiful, despite those few jarring
blasts. I suspect those even may be intentional, as they create a stark
contrast with the absolute silence that follows. Interstellar boasts a
smart, intricate plot that takes many turns I did not expect. The pacing
is deliberate--almost a full hour is devoted to the setup--but it
doesn't feel slow or even all that long. Finally, Interstellar makes
Gravity look like a first-year film-school project; it is absolutely
magnificent and should be seen on the biggest screen you can find.
Interstellar
clocks in at 169 minutes (you heard me) and is rated PG13 for "some
intense perilous action and brief strong language."
Interstellar
won't be everyone's cup of tea.
The length may seem not just daunting,
but pretentious to some, and the story perhaps too convoluted.
To me,
though, it's a stroke of pure cinematic brilliance that has (for the
moment, at least) cured me of questioning the wisdom of Christopher
Nolan.
Of a possible nine Weasleys, Interstellar gets eight.
Next on the agenda was Disney's animated feature Big Hero 6.
A group of young scientists teams with the world's cuddliest robot to solve a mystery that strikes close to home.
Well,
dear reader(s), you know how I'm always saying low expectations are the
key to a happy life? Throw that out the window and have the highest
expectations you can imagine for Big Hero 6 and you still won't be
disappointed. I loved this so much I hardly know where to start,
but.......
...I guess we'll start with the obvious. When it comes
to animation, the biggest thing for me is always going to be: How good
does it look?
Big Hero 6 looks so amazing it jumps right off the screen,
and that's just in 2D. In 3D, I daresay it would be a feast for the
eyes like no other. The artwork and colors are stunning, and the action
sequences are possibly the most eye-catching I've ever seen. Big Hero 6
has plenty of great messages for kids (and adults), but it never feels
like one of those Message Movies that beats you over the head with its
point. The characters are terrifically diverse; I can't imagine there's a
kid anywhere who won't see himself and his own potential in at least
one of them.
The storyline is sad at times--though realistically, not
morosely, sad--but a hopeful tone runs throughout. Big Hero 6 is smart,
interesting, and laugh-out-loud funny, a perfect movie cocktail for
children and adults alike. Annnnnnnd...most importantly, Baymax is the
cutest animated lead since Nemo. I want one.
Big Hero 6 runs 108 minutes and is rated PG for "action and peril, some rude humor, and thematic elements."
Big
Hero 6 is my favorite animated film of 2014. I liked it even better
than the Lego Movie, and it's guaranteed a spot in my year-end top ten.
Of a possible nine Weasleys, Big Hero 6 gets eight and a half.
Until next time...
PS: Ever notice you can always spell "McConaughey" correctly if you only remember there's an "ugh" in the middle? ;-)
In Earth's future, a global crop blight and second Dust Bowl are slowly
rendering the planet uninhabitable. Professor Brand (Michael Caine), a
brilliant NASA physicist, is working on plans to save mankind by transporting
Earth's population to a new home via a wormhole. But first, Brand must send
former NASA pilot Cooper (Matthew McConaughey) and a team of researchers
through the wormhole and across the galaxy to find out which of three planets
could be mankind's new home. ~ Jason Buchanan, Rovi
Director: Christopher Nolan
Cast: Matthew McConaughey, Anne Hathaway, Jessica
Chastain, Michael Caine, Casey Affleck.
Release Date: Nov
07, 2014
Rated PG-13 for some intense perilous action and brief
strong language
Runtime: 2 hr. 49 min.
Genres: Action/Adventure, Drama
Review:
Interstellar aspires to be great but Christopher Nolan’s
newest film never reaches such heights.It’s a solid film even if it tugs at hearts strings a bit too much for
my liking.The cast deliver somber,
serious performances which is a clear reflection of how dedicated they are to
their director.Nolan delivers some
majestic visuals which will remind even casual movie goers of a certain sci-fi
classic.The biggest problem with all
the nods to 2001 is that it begs the comparison to the Kubrick classic.A comparison it never stands a chance to
win.On its own terms it’s a weird
hodgepodge of Contact, 2001 & the Lost in Space remake from 1998.That’s not to say it’s not an enjoyable ride
which is the good news especially considering the nearly 3 hour runtime.It’s bloated and could have been trimmed
substantially without losing any of its punch.Instead it’s a film that thinks it’s a lot better than it actually is.
Christopher Nolan's Batman trilogy concludes with this Warner Brothers release that finds The Dark Knight pitted against Bane, an unstoppable foe possessed of tremendous physical and intellectual strength. Nearly a decade after taking the fall for Harvey Dent's death and disappearing into the darkness, a fugitive Batman (Christian Bale) watches from the shadows as the Dent Act keeps the streets of Gotham City free of crime. Meanwhile, an elusive cat burglar seizes the chance to strike, and a masked anarchist plots a devastating series of attacks designed to lure Bruce Wayne out of the shadows. Determined not to abandon the people who he once risked his life to protect, The Dark Knight emerges from his self-imposed exile ready to fight. But Bane (Tom Hardy) is ready, too, and once Batman is within his grasp, he will do everything in his power to break Gotham City's shadowy savior. Oscar-winner Michael Caine and Gary Oldman return in a sequel also starring Anne Hathaway, Marion Cotillard, and Joseph Gordon-Levitt. ~ Jason Buchanan, Rovi
Director: Christopher Nolan
Cast: Christian Bale, Anne Hathaway, Tom Hardy, Marion Cotillard, Joseph Gordon- Levitt, Michael Caine , Gary Oldman, Morgan Freeman
Release Date: Jul 20, 2012
Rated PG-13 Intense Sequences of Violence, Intense Sequences of Action, Language and some Sensuality
Runtime: 2 hr. 45 min.
Genres: Action/Adventure, Suspense/Thriller
Review:
In a summer of movies where one anticipated film is followed by another, there was only one that truly and deeply had me waiting desperately and impatiently. After having digested The Dark Knight Rises twice now, I can say that Christopher Nolan has created one of the best trilogies of all time for one of the seminal character in pop culture. With TDKR Nolan has made the Avengers look quaint in comparison. Incredibly satisfying and emotionally impactful, this finale ends the series with a real bang. Borrowing pieces from graphic novels like The Dark Knight Returns, No Man’s Land, a sampling of Batman Beyond and even a bad Batman The Animated Series episode, TDKR is a cornucopia of delights for Batfans like me. Little winks and nods of fan service are peppered into the film making me about gleeful as an unsupervised child in a candy store. The story meshes incredibly well with the overall arch of the first 2 films especially Batman Begins. Bale is given the spotlight here, rightfully so, and he’s incredible. Bale portrays Wayne, Batman himself is actually only in about a third of the overall film, as a man dealing with the after effects of the 2nd film’s finale. He displays Bruce’s struggle to find meaning and direction in his life with textured nuance. Tom Hardy, who looks like Brian Urlacher dressed for an S&M party, is quiet impressive as the primary villain here. Sounding like a cross between Darth Vader and Sean Connery, his Bane is a shark to Heath Ledger’s wild dog Joker. Bane is menacing and intimating, brimming with confidence in every scene which is impressive considering Hardy only has his hands and eyes to act with because of the face mask. Equally impressive and perhaps more surprising is Anne Hathaway’s Catwoman. Hathaway just nails the character’s essence and persona right from the start. This is a more traditional Catwoman than the S&M Burton version. As such it feels more in keeping with her character from the comic and animated sources, a real delight. Joseph Gordon-Levitt & Marion Cotillard both do solid work in roles that are vital to the story arch. With all the new faces in this entry some of the series standby take a bit of a back seat but still leave their mark such as Oldman perfect pitch Gordon which is always a joy, as is Morgan Freeman’s Lucius Fox. Michael Caine though deserves special recognition as Alfred even though he’s in this film a lot less than previous entries. Caine has a few scenes that deliver potent emotional punches in his roles as Bruce’s paternal figure. Together this cast creates a lush and vivid Gotham that’s alive and earned through the other film’s set up. The film rolls towards it’s final act which itself is an impressive piece of directing by Nolan since it’s pretty much a very well orchestrated version of the 1966 Batman finale where Adam West was running around with a bomb over his head. Of course that’s an exaggeration but it’s a testament to the strength of the film that it works so well as a thrilling finale giving me many a goose bumps throughout. If there are a few nitpicks they are very minor. Some of the dialogue feels clunkier that the previous entries and some character’s like Matthew Modine’s Assistant Chief serve little to no purpose. Minor issues but apparent. Regardless, you’ll leave the theater wondering how that nearly 3 hour run time passed by so fast and when you can see it again.
An early gift has presented itself, maybe because Nolan doesn’t want fanboys to forget his little film with all The Avengers hype leading up to this Friday.
This final trailer is incredible, probably up there with the Prometheus trailer. It’s quiet, dark and full of foreboding mixed with plenty of new images to just make a fan like me go batty…..
The full trailer for The Dark Knight Rises is finally out on the web. I saw it on IMAX this weekend before Mission Impossible: Ghost Protocol and after watching it again I’ve had the same reaction.
The hairs on my arm just stand up as I witness the epic-ness that on display…..
First shot of Anne Hathaway as Catwoman from The Dark Knight Rises is out, kind of straight forward but high tech looking, would need to get a full look at the outfit to make a final decision.
From this it just looks kind of ho hum, a high tech jumpsuit. Less impressive than the Bane reveal if you ask me….
Below are some better looks at the outfit from the set while they are shooting....
Thursday, April 29, 2010
Movie Reviews: THE DARK KNIGHT
IN THEATERS
THE DARK KNIGHT
With the help of Lieutenant Jim Gordon and District Attorney Harvey Dent, Batman sets out to destroy organized crime in Gotham for good. The triumvirate proves to be effective, but they soon find themselves prey to a rising criminal mastermind known as the Joker, who thrusts Gotham into anarchy and forces the Dark Knight ever closer to crossing the fine line between hero and vigilante.
Cast: Christian Bale, Heath Ledger, Aaron Eckhart, Michael Caine, Maggie Gyllenhaal, Gary Oldman, Morgan Freeman
Director: Christopher Nolan
Opens July 18, 2008
Runtime: 2 hr. 32 min.
Rated PG-13 for intense sequences of violence and some menace
Christopher Nolan's follow up to Batman Begins carry such weighty and mature themes that it makes all the other superhero films seem childish by comparison. The Dark Knight is a tightly scripted thriller of a crime drama that's as dark as it is engrossing. Nolan's film feels more like a Michael Mann film than a comic book film, it's urban it's gritty and it winds you up like a top. Freed of having to deal with the origin story, Nolan is allowed to hit the road running right from the start. Nolan's comfort level with large action sequences, such as thrilling car chase about halfway through the film and his ability to film fight sequences better this time around, we can actually see what's happening now, make it much more enjoyable journey. The Dark Knight also benefits from having a much more expansive and epic feel than Batman Begins. Everything feels bigger this time around; the city, the story, the themes. The scripting also feels much tighter as well, we get less comic book sounding dialogue and more naturalistic debates about the concepts of good and evil. To say that this script might have more bubbling underneath the surface would be a bit of an understatement. There are plenty of real world issues being address here so it goes without saying that this is a complex multilayer film that will make you use your mind as much as your eyes and ears. While some may complain about the movie long run time, 2 hours and 32 minutes, it never becomes an issue as the film is so tightly edited that there's hardly a moment that isn't important, needless to say you should probably make sure to get your bathroom breaks out of the way beforehand. Nolan's work is superb for sure but his cast just makes his job so much easier. First off, Heath Ledger is just perfect as the Joker. He's captures everything the character has been in either animated or comic form that's been lacking in previous incarnations. I for one was never a huge fan of Jack Nicholson's take in Tim Burton's original Batman because it was more about Jack than about the character. As a Batman fan, mostly from the fabulous Bruce Timm produced Animated Series from the 90's, Nicholson's take seemed off, it was fun for what it was but it never captured the embodiment of the character. In The Dark Knight, Ledger hits every note right, giving the character the proper feel of a manic psychotic with a joke in his heart. The Joker feels more like an unleashed force of nature than a character. He is anarchy incarnate. In some way or form his character always has the upper hand all the while making the heroes just as complicit and responsible for every evil deed he commits. The fact that his motives and back story are pretty much non existence gives his character an even more sinister feel. The hype about his performance isn't an over exaggeration, every time he's on screen he demands your attention and doesn't release it until he's gone. Ledger's work is truly amazing to watch but so is the rest of the cast who answered the bell just as readily. Christian Bale again shows why he's my favorite actor to don the cowl. His work here is just as complex and textured as Ledger's. His character grapples with the meaning of his personal crusade and the general cost it tolls on people around him. Bale gets more time this go around as Bruce Wayne and he clearly enjoys playing that part of the persona as much as his alter ego. Bale and Ledger share a couple of great scenes which for me where the highlights of the entire film. Aaron Eckhart's Harvey Dent is equally impressive which, like Ledger, captures the real spirit of the character. Eckhart plays the part of civic hero on a mission but you can sense something more wicked simmering beneath his persona. His character's tale is perfectly set up even if it feels a tad truncated near the end it doesn't take detract from its tragic conclusion. Maggie Gyllenhaal thankfully takes over the role of Rachel Dawes and does more in less time with the character than Katie Holmes did in the previous film. Gyllenhaal feel more organic, even if its light script wise, in the role than Holmes ever did, so much so that I wish there were a way to go back and replace her in Batman Begins. Gary Oldman might be lost in the shuffle with all the bigger roles being played so well but his work as Jim Gordon is on par with any of the headliners. Even going back to Batman Begins and more so here, Oldman just is Gordon and it's a performance that can easily be lost but his nuances and speech inflections are so perfect it hard not to enjoy it. Michael Caine once again adds his fatherly charm to Alfred. Caine and Bale's interactions come across so naturalistic that you'd think they'd really known each other for decades. In a movie this large someone has to be short changed and along with Gyllenhaal, Morgan Freeman has even smaller role than the first go around but he does make the most of what he's given. Also in a very small role Eric Roberts has a lot of fun as crime boss Salvatore Maroni, giving him a great sense of slime mixed with criminal honor. If you haven't gotten the point by now, Christopher Nolan and the cast pretty much hit it out of the park here. A slight warning though, this film is pretty brutal and it really pushes the PG-13 limits throughout. This is a comic book movie in name only and it doesn't pander to younger audience instead it asks you to think about what's being presented. If you are looking for something light and fluffy this is not the movie for you. The Dark Knight is rousing success, one that feels incomplete and screaming for a sequel, let just hope Nolan and company return to finish this impressive story.
A
Bluray quality; Video is grade A across the board with the scenes that were shot in IMAX really showcasing how impressive the HD video is; Sound is display quality, working in perfect unison with the visuals.
I was hand-selected to be a member of Blu-ray Elite, a beta program from Warner Home Video which has graciously sent me this free Blu-ray disc.
