The Dark Knight Rises

It occurred to me recently that Christopher Nolan's Batman films are mostly about fear. They explore the fears not only of everyday citizens but also of a man most of us likely thought was never scared: the Dark Knight. Batman probably follows the advice to never let anyone see him bleed, but we see his premonition that perhaps one day he won't be able to prevent terrible things from happening. There are some really scary, terrible things in our world. A recent Gallup poll found that the things Americans fear the most are terrorist attacks, spiders, death, being a failure, war, heights, criminal or gang violence, being alone, the future, and nuclear war. All of these (except spiders and to a lesser extent heights) are featured prominently in Nolan's "The Dark Knight Rises," his final installment of his Batman trilogy.

Years after defeating the Joker and Two-Face (while keeping the true identity of Harvey Dent secret), Batman has left Gotham largely in peace. The Dent Act has kept police officers on the streets, and there is no need for Batman. Bruce Wayne is still injured from previous events, and largely remains a recluse, with hardly anything to do in the world, certainly not protect Gotham.  

But then Bane enters. He is played by Tom Hardy, as chiseled and intimidating as he was in last year's "Warrior." Bane's main goal seems to be to give the power of Gotham "back to the people." But democracy without rules isn't a democracy, it's anarchy, and this is perfect for Bane. He plans on getting his hands on a nuclear bomb and doing a whole lot more to severely disrupt the order of things. Batman is hardly a match for Bane's strength, and Bane seems to enjoy taunting him. "Oh, you think darkness is your ally," he mocks. "You merely adopted the dark. I was born in it, modeled by it...The shadows betray you because they belong to me." (This is Shakespeare compared to the last time we saw Bane, in the dismal 1997 film "Batman and Robin.") How haunting he sounds as he instructs Bruce Wayne that once Gotham is ashes, only then does he have Bane's permission to die. But it's not simply Bane and his malicious army Batman has to worry about--Selina Kyle, better known as Catwoman (Anne Hathaway), is causing quite a bit of mischief as well.  

Nolan is a director who knows his visuals. The opening sequence is a reminder of his talent for unusual, acrobatic stunts, and he seems more prone to use minimalist makeup and a lack of green suits for his characters (which certainly makes him part of a minority among directors). When he does use visual effects, he convinces the audience that every effort was taken to make it look as realistic as possible. One of the previews before the movie was for Sam Raimi's "Oz: The Great and Powerful." The movie looks like it will be filled with computer-generated effects. I was reminded of the visuals of "The Wizard of Oz" from 1939 (the same year as the first "Bat-man" comic) and I thought to myself that while I basically know that Raimi and his team used CGI for the effects, decades later I still don't know how the effects were made for "The Wizard of Oz" and yet they look so much better. The feeling I get from "The Wizard of Oz" is the feeling I get when I watch a Christopher Nolan movie; I'm so amazed at the attention to detail, and his appreciation of visual imagery and his shunning of lazy film making.
 

There are some flaws, of course. Do we need all of these characters? Michael Caine as Alfred, Gary Oldman as Commissioner Gordon, and Morgan Freeman as Lucious Fox are all back, but why have Matthew Modine here as an ambitious cop? What purpose does Marion Cotillard's character really have here?  I'm as big a fan of Joseph Gordon-Levitt as anyone, but what is he doing here?  (My question was answered at the end of the film, and I had mixed feelings about it.) There's a henchman who kind of looks like Willem Dafoe, and I was more interested in him than I was in numerous other characters. The Catwoman scenes are nice, but also are unnecessary. Additionally, this might be the most confusing Batman movie ever. There's something about the stock market and something else about a congressman or something like that. Three hours is a lot to ask for from an audience, and "The Dark Knight Rises" is unjustifiably long, overly ambitious, and increasingly clunky as it moves along. My reaction to "Batman Begins" was excitement that Batman was back; my reaction to "The Dark Knight" was excitement because I recognized that I had just seen a masterpiece. My reaction to "The Dark Knight Rises" was a bizarre sense of being simultaneously overwhelmed and underwhelmed, though ultimately feeling that it was efficient and satisfying.

Likewise, I had mixed feelings about Tom Hardy as Bane.  I admired his physical force, his performance that relies heavily on his voice and eyes, and the thought he likely put behind it.  Still, my reaction to his peculiar voice was similar to my reaction towards Bale's voice as Batman.  At times it works perfectly, and at times it sounds utterly ridiculous.  

At times I was so bored with the movie that I began to compare it to the previous Batman movies by Tim Burton; I still believe his "Batman" from 1989 is the superior one, as I have a preference towards fantastical stories and prefer it to the grittier Nolan versions. Still, one cannot deny Nolan's talent or understate our appreciation for him resurrecting what was surely a dead franchise. Beyond saving it, he brought it back with intelligence and force. Nolan toys with our emotions, as is the case with the scene where Bane and his crew shoot up Wall Street; Nolan shows us the criminality and horror of such weaponry and visualizes the chaos of terrorism.  

Batman has been such an important part of Americana. Originally meant to be a complement to the pride and patriotism (and frankly, lack of realism) of Superman, Batman, particularly Nolan's version of him, has intrigued Americans as the darker, more psychologically and sociologically interesting of the two, and indeed of any American character. Britain recently has shown us a lot of its pride with the Olympics, and who can blame them? After all, they have Bond, the Beatles, and Mr. Bean.  But America has and always will have Batman.

Movies, movies, theater, cinema, watch, watching, watches, view,  see, saw, cinema,  film, flick, motion picture, Dark Knight Rises, Bane, Christian Bale, Christopher Nolan, Batman, Anne Hatheway 

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Prometheus

"Why should the thirst for knowledge be aroused only to be disappointed and punished...like a second Prometheus, I will endure this and worse..."
-Edwin Abbott Abbott

Ridley Scott's "Alien" is famously about a group of "truckers in space" who, out of contractual obligations, must investigate an unidentified object deep in space, where no one can hear you scream. Their ship becomes a haunted house, as a chest-bursting alien hunts them down. Here, in Scott's prequel "Prometheus," there is no economic reality but instead a thirst for knowledge and the reminder that curiosity kills. Its scientist, Elizabeth Shaw (Noomi Rapace), and her fellow scientist and lover Charlie Holloway (Logan Marshall-Green) believe they have discovered an invitation from an alien species on a far away planet. These aren't simply aliens, but in fact some kind of scientific creators of human beings. Their project is funded by an aging Peter Weyland (Guy Pearce), and their crew features a groovy yet hypothesis-providing captain (Idris Elba) and the supervisor of the operation, Meredith Vickers (Charlize Theron), a stern, by-the-book woman, as well as an android (Michael Fassbender), practically in control of everything.

I couldn't help but constantly compare this movie to "Alien," as I should have, and compared to "Alien" it disappoints. Some might argue that it would be unfair to compare the two, considering that living up to the legacy of "Alien" is too difficult a task. But many find James Cameron's "Aliens" to be superior to its predecessor, so the comparison is fair. Whereas "Alien" is one of the most visually stunning films of all time, "Prometheus" often is a mess, overboard in its computer generated imagery, looking like a cheap computer game and not utilizing its impressive sets enough. While "Alien" features one of the greatest casts in cinematic history, only Fassbender provides a comparable performance.

But is "Prometheus" a bad film? Not really. It has its moments and indeed gets better as it goes. It prefers, for better or (more often) for worse, to tackle bigger questions than the conventional horror approach of "Alien." Here in "Prometheus" there are questions on the origin of humans and end of times. Some have complained that there are too many questions left unanswered, but remember that one of the screenwriters is Damon Lindelof, a creator of and screenwriter for "Lost," a show famous/infamous for not revealing many answers. But the questions are unnecessary, as is the teasing of its audience as it hops from enigma to enigma. There are strange holograms. One of the crew members is poisoned. Another is somehow impregnated with some sort of alien; she figures out how to get a machine to perform a Cesarean surgery on her...the absurdities continue.

But as mentioned before, Fassbender is terrific in the film. His character is David, the film's android, and is impossible to ignore, simultaneously serving as an intelligence compass for the crew and yet having a cruel lack of emotion. The only times he does seem to emote are when he either is jealous that he's "not a real boy" or when his fierce loyalty to his master compromises the safety of others.  He playfully apologizes as he seemingly is aware that his actions are making the situations more dangerous. One can find obvious influences from "2001: A Spacey Odyssey," "Lawrence of Arabia" (which David studies), and one would imagine the previous "Alien" films, but Fassbender has stated that he avoided watching those. But other than this, there is not too much else to write about, and it unfortunately feels like a missed opportunity. There are talks of a sequel, but for better or worse, it seems like "Prometheus" should be the final installment and serve as the "Godfather Part III" of the series.


Alien, Prometheus, Ridley Scott, James Cameron, Michael Fassbender, Movies, movies, theater, cinema, watch, watching, watches, view,  see, saw, cinema,  film, flick, motion picture

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The Grey

It's my understanding that the perception of the wolf has evolved from two different areas. One (seen in Rome and Japan) viewed the wolf as god-like; in the other (European nations), the wolf is associated with malevolence. Unfortunately, "The Grey" takes the latter view of wolves. At a time when wolves are greatly perceived as being far more dangerous than they are--with occasional attacks in India and the former Soviet nations and only one fatal attack in North America in the past decade--"The Grey" unfairly portrays wolves as malicious man-hunters that can kill by the dozens.

Fortunately, that was practically all I disliked about it, for "The Grey" is surprisingly suspenseful, ignoring most cliches while providing lots of suspense and thrills. Take a look at its silly trailer and compare it to its practically Hitchcockian way of presenting the situations. These characters are lost in the Alaskan wild, and the blistering cold is the least of their concerns: there be wolves about them, and they are vicious and numerous. Beyond the wolves, there are several ways to die in the wild, not to mention compromising with other lost, angry, scared survivors. The crash scene reminded me a lot about "Lost" with its famous opening crash scene, and then I thought about how in "Lost," while the characters may have been running from smoke monsters, polar bears, and all sorts of stuff, they were still on a tropical island with apparently loads of conditioner and only needed to really worry about the occasional sand in their shoes. Not so in the frozen north, in which the only food you eat is a wild animal you might be able to kill. According to Liam Neeson, the film's star, it was -40 degrees during the filming in British Columbia and the blizzard was not accomplished with CGI effects.

Neeson is John Ottaway, a man hired by oil companies to protect workers from wolves. His wife has left him, and he is suicidal. The call of the wild (literally) changes his mind; he lives another day, to enter the fray and the fight. Now lost in the wilderness with only several other survivors, he more or less is the leader of the group, though there is the expected amount of competition over what to do. Some of the other survivors are played by Dermot Mulroney, Frank Grillo, and Dallas Roberts.
 
There are some additional flaws in the film. There is almost one "oh-come-on" moment after another, with several plot holes involved. Someone kept asking me afterward why they didn't simply stay put near the plane wreckage. But how thrilling would that be? The wolves aren't going to chase them in circles for two hours. Thus, a certain amount of suspension of disbelief is required, and it works in ways similar to other man-versus-wild films like "Jaws." You're frightened of the animals, but you can't hardly blame them for ripping people to shreds. But the film's grittiness and scares almost become gratuitous.

Neeson has been able to successfully reinvent himself numerous times, and now he is undoubtedly the toughest guy in the movies. He has several similar intimidating moments here, at one point threatening to beat a fellow survivor to the point where he will be choking on his own blood and another where he goes head to head with an alpha male wolf. As mentioned, Neeson has noted the terrible filming conditions in merciless cold. One day, according to Neeson, Nonso Anozie, who plays one of the survivors, started to recite Shakespeare at the top of his lungs and the experience happened to warm them. This has made me think of "King Lear." Upon relinquishing his kingdom to his ungrateful daughters, Lear went into a terrible storm. Allegorically, the storm represents the chaos Britain is in because his kingdom is divided. He is insignificant in such circumstances; he is mad. Mad indeed, "mad that thrusts in the tameness of a wolf..."  

Movies, movies, theater, cinema, watch, watching, watches, view,  see, saw, cinema,  film, flick, motion picture, Liam Neeson, The Grey, wolves, wolf, LOST, Jaws 

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The Strangest Movies of the 1970s

El Topo
Alejandro Jodorowsky's Western features a man in black accompanied by a naked child throughout the desert against little people and maimed people and naked women with a background of religious symbolism and drug-induced cinematography. This film, recently released on DVD and once a feature of midnight cinemas, is a better film than his follow-up, the even more psychadelic "Holy Mountain," and has its share of famous fans, from John Lennon to David Lynch. The element of absurdism is admirable and it's not an intolerable film; it's certainly an interesting step further to the left of Serigo Leone's Westerns, and it sure would make John Wayne furious. Still, this is one odd movie.


Arabian Nights
Famed Italian Pier Paolo Pasolini spent over two years in various different countries filming this silly wonder. The third part of his "life trilogy," (the other parts are a more watchable "The Decameron" and "The Cantebury Tales"), there is a nude character--full frontal, guys and gals--about every five minutes or so, and they're usually giggling, rarely acting, and often poorly-dubbed (even in its original Italian). Still, Pasolini somehow managed to get these naked actors to feel comfortable, and it properly prepared him for his next film and his actual masterpiece "Salo: 120 Days of Sodom." Beyond that, "Arabian Nights" is a chaotic, seemingly hastily-made movie that jumps from scene-to-scene with little thought. For further reading/viewing, read here, here and here, and view here (not work appropriate).


Black Samurai
Kierkegaard's "Fear and Tremblin" tells us that absurdism does not necessarily mean what is logically impossible but what is humanly impossible. "Black Samurai" is both. From 1977 (the year of "Star Wars" and "Annie Hall") this was blaxoitation gone far, far wrong. Jim Kelly from "Enter the Dragon" is a badass agent out to get a whiteass bad guy (who simultaenously plays with snakes and worships pagean gods). And Kelly has a pretty cool rocket pack.


There are others, like "Monty Python and the Holy Grail," Martin Scorsese's "The King of Comedy" and "Harold and Maude" which are all absurd in a good way. They are also more widely known and therefore not as relevant for a discussion here. I can't necessarily say if these first three films are recommendable or not. Pasolini was a gifted man and his "Salo" is a haunting film worth the watch for brave viewers; "Arabian Nights" was not. Jodorowosky is an acquired taste and not for everyone. "Black Samurai" might rank as an it's-so-bad-it's-good film. Regardless, they are three of the oddest movies I have ever seen.

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A Tribute to Tim Curry

When I was a kid, Tim Curry was in everything. He was the creepy (and by creepy I mean so scary that his fellow cast members avoided him) clown that helped make "It" regarded as the most frightening television miniseries in history. He was singing as a river of destructive oil in "Ferngully: The Last Rainforest". He stole the show from Tom Cruise as a demonic lord in Ridley Scott's "Legend" with hours of Oscar-nominated makeup on him. He was the best part of an all-star cast in "Clue," stumbling his away around a mysterious house with one or several murderers, and the only good part of John Huston's "Annie." He was also hysterical in "Home Alone 2: Lost in New York," as a hotel manager accused by a movie-within-a-movie character of smoochin' with a gangster's brother. He was practically omnipresent.

Before my time, there was of course the film that first made him famous: "The Rocky Horror Picture Show" in 1975. After the successful run in London and Los Angeles as "The Rocky Horror Show," the film version, with Curry as a Dr. Frankenstein-esque character singing and dancing his way around the house/space ship, has obviously become a cult class. It has also been in the news recently: "Glee" dedicated an entire episode to it, and Curry was honored as celebrities, including Evan Rachel Wood, Danny DeVito, George Lopez and Jack Nicholson, recreated the show on the stage for a benefit concert. (It didn't hurt, also, when vintage footage of a younger Russell Crowe performing in the show recently turned up.) "The Rocky Horror Picture Show," a film he once grew sick of due to the passionate (to say the least) response it had with many fans (it is the longest-running movie showing in history), acknowledged in an interview on "Fresh Air" that he recognizes it as a right-of-passage film for many. (One of the film's biggest fans, he claims, was Princess Diana.)

Curry will appear in John Landis's "Burke and Hare," and fellow star Simon Pegg seems thrilled enough that he has posted a picture of the two of them on Twitter. But to suggest that suddenly Curry has rebounded out of nowhere would be an inaccurate way to describe this talented individual. According to IMDb, he has appeared in over two-hundred projects as an actor, eight this year alone. Three of his films ("The Rocky Horror Picture Show," "Clue," and "It") will soon be remade.

Roger Ebert wrote in his review of "The Rocky Horror Picture Show," a film he didn't like, that Curry was the most enjoyable cast member to watch because, for one, he was the only one (according to Ebert) who looked like he was having fun. Indeed, Curry seems to be always having fun in his films. He has a taste for the hyperbole, which heightens the enjoyment, whether he's complimenting Sylvester Stallone's daughter's big, round diphthongs in "Oscar," or going toe-to-fin with Kermit the Frog in "Muppet Treasure Island," or butchering a Romanian accent in the guilty-pleasure film "Congo."

Tim Curry has never quite been a main-stream actor. Often he is "the guy from..." or something like that; many of his performances may forever be lost in the Nickelodeon vault of history and time. But many of his films have gained cult film status, such as "Times Square," in which he played a radio show host. The film was not particularly well-reviewed upon its release in 1980, but since has become celebrated by the queer community for its portrayal of young (implied) lesbians. "Clue," likewise, virtually became unknown despite its all-star cast, solid reviews, and famous title. It was only with the popularity of home video and its frequent showing on Comedy Central that it became well-known. Of course, "The Rocky Horror Picture Show" in 1975 was the firm visualization of surreal camp, with its tribute to B-horror and science fiction movies, rock 'n' roll, and transvestism. Curry, likewise, has never really been a leading man, and he has claimed in interviews that he doesn't want to be one. He usually is his best when surrounded by other talented performers.

He has won several awards, like an Emmy in the 1990s for providing the voice of Captain Hook in the animated show "Peter Pan and the Pirates." He has also been nominated for a Tony twice, first as playing the title role in "Amadeus" opposite Ian McKellen in 1980 and again as King Arthur in "Spamalot" in 2005. Still, something even as prestigious as a Golden Globe or even a Hollywood Star has been kept from him. (But he did open the Oscars one year.) In essence, Tim Curry is Hollywood's best kept secret for a quarter-of-a-century.

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