 A modern western. There sure aren't as many as there used to be. The ones that actually get financed certainly have a tough road ahead. Many younger audiences in particular just don't care to see anything under the "western" banner and losing that core movie-going audience sure doesn't sit well with producing studios that want profitable box office grosses. An older audience may also hold a "been there, seen that" feeling. Still, there needs to be that part of you - the movie watcher - that realizes that any western film that gets released to theaters today must be watchable and inherently good.
Now I'm not going to change anyone's mind on the subject, but even if you're not watching these sorts of films, it behooves you to at least embrace western cinema as the pure Americana that it is. The ones made and set in America can often feel more like a part of history than today's modern period films. This is probably due to the outsize presence of John Wayne feeling as important a movie star as there has ever been. Foreign influence can never be forgotten, of course. The best examples being the classic spaghetti westerns filmed in Europe by Sergio Leone and the scores of Ukrainian-born composer Dimitri Tiomkin, who was a favorite of many great directors (Capra, Hitchcock, Hawks) creating some of the most iconic western themes in cinema.
APPALOOSA centers on two men in the gun trade, played by Ed Harris and Viggo Mortensen. They arrive in the small town and are quickly drafted into service to be the new marshalls of Appaloosa. The previous local law enforcement has been murdered and there is an ill feeling that the guilty party who's done the deed may make a grab for more power. This man is played by Jeremy Irons, a powerful actor in any film, here shining with dark glee in his first western role. A lovely belle of a gal (Renee Zellweger) arrives in town as the hotel's new piano player and she is immediately eyed by both Harris and Mortensen. With a love interest now in the picture as well as the impending threat of Irons, the two men are now put to the test.
Harris directs himself here again (after great acclaim with POLLOCK in 2000). He has a strong support at his right-hand with Mortensen (ask yourself when's the last time you saw a film of Viggo's that you didn't enjoy). The pair worked together very well in David Cronenberg's A HISTORY OF VIOLENCE and it was there that Harris handed over the script to see if it piqued Viggo's interest. We are well-suited as viewers because of it. The great part here is how neither character falters in their admiration and respect for the other. Their partnership has lasted a good long time and the recent events in Appaloosa are not those that would rend assunder this strong bond. The last act proves how strong it really is and the acts that one friend must do for another. Friendships of this strength are rarely seen in any film, but it is comforting to see them in a powerful western like this.
If the last western you laughed out loud with was BLAZING SADDLES, then APPALOOSA will be a surprise for you. The friend I saw the picture with really enjoyed it more than she thought she would. I was very amused at the banter between the two leads and the dialogue (co-written by Harris) has an easy air about it ("You know me... just as long as I've known you.")
There is gunfire, but little blood. Similar to OPEN RANGE with Kevin Costner, there is tremendous impact with every single gunshot. The views are pleasant to look at and that has always been one of the enduring treats of seeing a western on the big screen. Appaloosa itself seems a bit of a shanty town that could pick up and blow away with the next sandstorm, but luckily for the people who reside in its proximity, they have a new strong anchor to hold it down from other outside forces. The film itself is also anchored by the pairing of Harris and Mortensen. Fans of both these great actors will appreciate them here and there may even be a new western fan or two among the bunch.
My favorite westerns: THE SEARCHERS (1956) http://www.youtube.com/watch?v=WI2AZb04HAc
and ONCE UPON A TIME IN THE WEST (1968) http://www.youtube.com/watch?v=49FsaizH9tQ
 Hoo-boy. Are you sitting down? Well, if you're at a computer, then odds are good the answer is yes. If during the reading of this page you suddenly find that your phone rings and a strange voice on the other end tells you to run out the door in 30 seconds, then I'll understand. The phone rules. That's what happens in EAGLE EYE. The phone rings and suddenly Shia LaBeouf and Michelle Monaghan are pushed forward into action.
Just look at how enslaved some folks are during their normal daily routines. Answering the beckoning of the almighty cell phone at a moment's notice: in the store, on the street, while riding transportation, even at the movies! For some people the need to be in constant communication is a bit of a disease. I refuse to answer my cell phone if I know there's no urgency to it. Any caller can leave a message and I'll take the next step to respond afterwards. Unfortunately, this is not an option available to the film's two leads.
They are thrown into the turmoil against their wills. She has been persuaded her son is in danger and he is being blackmailed with a room full of illegal and secretive paraphernalia. The plot is simple: follow the orders on the phone or suffer the consequences. When this happens it is assumed a character would take a moment to find an authority figure who will believe them. In Movieland we all know that's not going to happen, so the best thing is to just run with it.
And run they do. Once the chase is set into motion there is a bevy of patrol vehicles (and assumedly, officers inside) that pay the price. A ton of cars get flipped, squished, crunched, and battered in the first chase sequence alone. Still, who could be doing this and to what ends? To tell that would be giving away too much, but needless to say, it's not a simple kidnapper or terrorist on the other end and EAGLE EYE is a more interesting film than it's trailers first revealed because of it.
Shia LaBeouf is charismatic and can lead a movie. That much was proven with last year's entertaining DISTURBIA, also guided by EAGLE EYE's talented director D.J. Caruso. As a former child star now enduring constant media attention and being cast in blockbusters, Shia has alot of pressure to live up to, but I like his track record and find each film he's in to be very enjoyable. I discovered Michelle Monaghan in KISS KISS BANG BANG (you should too!) and she has also proven herself to be a capable screen presence. That holds true here. A terrific cast of support in Billy Bob Thornton, Rosario Dawson, Ethan Embry, and Michael Chiklis due their dilligence on the side of the law to get to the bottom of everything. Billy Bob leads the chase and does a solid job, but wouldn't it be fun if he played a version of Carl from SLING BLADE in a movie like this? "Mmm, I'm afraid they might keel sumbuddy...mmmf." I thought of that initially, but soon let it go as the pace of the movie picked up.
I was having such a better time during the film's second half as it really became a much wilder trip. There's a scene at an airport that feels like EAGLE EYE: THE RIDE. The effects are good throughout and this has to be the most fun spectacle out right now (especially coming so soon after a strong showing of summer blockbusters).
The city of Chicago makes an appearance again this year (but not as much as in THE DARK KNIGHT and WANTED). Still, a quibble that Chicago dwellers will notice: the train ride from the Quincy brown line stop on the loop heading north to the Wilson red line stop takes ALOT longer (not to mention a train switch). Downtown and the north side just aren't that close, but the magic of the movies fools me enough other times that it's no matter, just a fun FYI footnote.
There is plenty of Hitchcock to be felt here (as well some other strong influences). One moment that does not work is a scene in a field that has a character reach his end in a way that is almost laughable (the NORTH BY NORTHWEST bi-plane strafing would have been more believable). THE MAN WHO KNEW TOO MUCH is echoed in the film's climax. Shia's character has become the wrong man here, but his acting is great and the film is alot of fun with thrills abound. Upfront I tried to take EAGLE EYE too seriously, but by the second half was rewarded with a fun end to a roller coaster ride.
 A time capsule of events. NICK AND NORAH'S INFINITE PLAYLIST captures the essence of today's youth. The youth of the 2000's, when "fame" can be achieved through a simple YouTube video. Youth that has moved on from "mix tapes" into "mix cd's". Youth that lives for the ultimate pleasure of seeing their absolute favorite band in a highly secretive location in a last minute event. A pin-point of coolness. A moment in time.
Two of my favorite films involving the discovery of "unexpected love" are BEFORE SUNRISE and GARDEN STATE. Both have male protagonists faced with a certain timeframe. Suddenly there is a girl who shows up and wows him into a possible future. She is unmistakably wonderful and he, the protagonist, knows to not let her go but must now choose which new path to take. Both films end on a moment of hope for the respective couples.
In PLAYLIST, Michael Cera (Nick) is the centerpiece and it is his time to shine after bright supporting turns in "Arrested Development", SUPERBAD, and JUNO. His hottie girlfriend, his love, has broken up with him (on his birthday no less) and he is trying to cope with the near future of going on without her. He takes a "personal day", absent from school, but is coerced into going out to a gig with his band, The Jerk-Offs (though this name is under construction and may soon be changed).
His two bandmate buddies are both gay and their songs reflect that. This is a novelty in film. Really, when's the last time you had a straight male protagonist that only relied on his two gay buddies for support? There's not even one smart-ass pal to be found. This is supplemented by the fact that there is no friendly bashing of sexual preferences, each character is clearly accepted as is and there is no crude name calling (which is now, sadly, fairly commonplace among males and females in their comfort level with their friends). Once, Nick's ex-girlfriend even answers the phone, "hey bitch". This tossed-off greeting underscores a shade of her true personality (that Nick often times has not seen) and presents a lack of care towards her friend in need. Typically, I find such remarks toward close friends to be lazy. Classless banalities like these are artificial and blandly cover a true expression of feelings. Sadly, most friends do not reveal good, positive emotions to one another until prompted by specific events or crisis, but a friendly put-down can be dished out casually. Why down someone just because you can? You only hurt the ones you love? Maybe, but show some respect. There's my two cents and your free advice for the day.
Kat Dennings (Norah) finds herself at the gig where Nick and his band are playing. She is on the prowl for the night to see her favorite band (Where's Fluffy - a name that truly embodies the chase of the elusive "white rabbit", the mystery of which that further drives Alice into Wonderland). She is immediately faced down by a classmate (Nick's ex) and randomly chooses Nick as her "boyfriend" (oops?) so she can avoid the condemnation of being at the concert without someone (horrors). She is the daughter of a well-to-do business man and is clearly known around these NYC clubs as someone of wealth, though she herself tries to downplay it. Dennings has done nice supporting work recently in such films as THE HOUSE BUNNY and CHARLIE BARTLETT, while being best known as Catherine Keener's daughter in THE 40-YEAR-OLD VIRGIN. Like Cera, she comes into her own here.
While Nick and Norah's night in New York City keeps them on the hunt for the band, they simulaneously confront their exes and support a drunk friend (who definitely pushes the line on how long a piece of gum should be chewed, as is demonstrated in a surprising gross-out scene). They manage to find awkward love despite wild events pushing them from one destination to another. There is a sweetness to the reactions that Nick and Norah have toward one another, as can be the case with first true love. Surely their exes were never as tender as they can be towards one another. Cera is great at being the underdog that doesn't have to do much on-screen to be loved and he is well-served by his role here that will have young female fans dreaming over him (I heard the "ohh"s and "aww"s from gals in the theater all around me, so I know this to be true). Norah is the romantic aggressor (at one point she even pushes him away and begins to leave), but Dennings imbues her character with sweet shyness and has the audience yearning for her to reach out further to connect with the confused Nick. Come on ladies, if you just let us know how you really feel, we men won't be as dense. It's not so tough really.
The two kids both comment on the "straight-edge" lifestyle of the other. This is a fresh change of pace for two leads in a "hip" film. Most teen characters want to cross the line of rebellion to be "cool" and by Nick's own account he "doesn't subscribe to any labels". Good for him. With Norah's drunken girlfriend as an antithesis to their sobriety (as well as becoming a constant problem all night), the film does serve as a strong reminder of the trouble that drinking to excess can be when it falls upon the sober friends to prop up and care for their drunken compatriots. Without Norah's watch her friend would have been completely lost, time and again. Hopefully there will be some embarassment (or even slight reformation) to audience members who recognize their friends, or themselves, in the drunken girl's antics.
The soundtrack itself plays in the background throughout the film, but is only prominent in a few moments that do not concern Nick and Norah as a couple. Their bond over the music is supplementary to their bond together over the course of the night. There is no one song that brings them together. Even given a rare musical opportunity, Nick realizes his heart and true passion lead directly to Norah.
A chick flick that doesn't feel like it. A teen film that aspires for more. NICK AND NORAH'S INFINITE PLAYLIST does not go on infinitely. The running time is about an hour and a half, which feels just right. After all, there is a time limit on a mix cd, a maximum capcacity for an ipod, a dawn to end an evening. The timeframe is enough for Nick and Norah (themselves similarly named like William Powell and Myrna Loy's romantic sleuthing couple from the classic 1930's THIN MAN movie series) to have discovered each other. No magnifying glass necessary. At various moments there is a strong draw for each to return to their exes, but they both find the right reasons to be with their new match. We should all find such happiness in the span of one evening before sunrise.
 Do you enjoy films by the Coen Brothers? Director Joel and Producer Ethan will often share credit for both duties and when successful, all credit goes to both of them. They tackle numerous genres and find success with most. After last year's critical masterpiece, the Academy Award-winning Best Picture, NO COUNTRY FOR OLD MEN, they have bounced back in an entirely different direction and found a different sort of success here. Time for another dark comedy: BURN AFTER READING.
If you love yourself some John Malkovich then you'll find a heapin' helpin' of fun here with his performance as the befuddled Osborne Cox. The first 15 minutes are all his! Soon enough the other characters begin to appear and the Coens bring out some big guns by the names of George Clooney and Brad Pitt. Both actors are having a great time in the Coens' land (the third trip for Clooney, the first for Pitt). If you're a hater of Pitt for the simple reason that he's a famous pretty boy, then you'll find some definite enjoyment seeing him here as a complete goofus named Chad.
The wife of Osborne Cox (played icily by recent Oscar winner Tilda Swinton) is secretly formulating a divorce from her husband since she's been having an affair with Clooney's character, a government agent. Seeing the two of them together is a strange afterward to their pairing in last year's strong MICHAEL CLAYTON (a definite recommendation if you'd missed it). She downloads some of her husband's computer files for the banking records. This disc is harmless to anyone else, but when it is found at the Hardbodies gym and comes into Chad's possession, it becomes the "MacGuffin" of the movie. [A "MacGuffin" is Alfred Hitchcock's term for the thing in the movie that doesn't matter and the audience doesn't care about, but only serves to make the plot move and put characters together.]
Frances McDormand (Oscar-winning star of her husband Joel's classic FARGO) is a Hardbodies gym employee who feels she needs to remake her entire appearance from lipsuction to facelifts. This isn't cheap. By teaming up with Pitt, they decide to use the "secrets" on the disc to exploit the governement and make some cash. Truly nothing good can come from this, but then where would our movie be?
It's fairly ludicrous to describe anything else that goes on as it's truly just a fun ride taking the time with most of these characters and a surprise to see what happens next. Additional cast members also find time to shine: Richard Jenkins as the love-lorn Hardbodies manager and the scene-stealing J.K. Simmons as the FBI chief who knows nothing about what has gone on. In retrospect, it's fun to see Malkovich letting loose and still probably Pitt's dim-bulb Chad that shines the brightest.
BURN AFTER READING is just over an hour and a half in running time and the ending is a bit abrupt, surely irritating some audience members expecting more. Still, it's really just a peak into some crazy intersecting lives. Due to the effect they've seemed to have on one another, it's just safer to enjoy from a distance, backing out before we become caught up in their shenanigans too.
 Al Pacino and Robert De Niro team up in RIGHTEOUS KILL, an average cop thriller. It really is sad to write that. Their marquee names at the top make it worth seeing for them, but it's a B-grade picture. If it starred the other two cops who are paired up together in this film (John Leguizamo and Donnie Wahlberg) then you'd really know the level of B picture that it is. No offense to those guys, but we should expect better from Pacino and De Niro. The problem is over the years has been both men succumbing to pictures that are weaker than they are (THE RECRUIT, 15 MINUTES). The same is true here.
In HEAT, directed by the great Michael Mann, the greatest pair of actors of their generation finally are given a scene worthy of them. One is a crook, the other is the cop. RIGHTEOUS KILL has them on-screen constantly as partners but doesn't give either one much to say to the other that is worth noting. The plot is fairly straight forward. A bunch of cons have been allowed freedom despite their heinous crimes and someone has decided to exact vengeance upon them. The outset of the movie has De Niro admitting to the killings on camera, but the question throughout the film becomes whether or not he is telling the truth and why.
I admit to having an easy fondness for Carla Gugino, in both acting and looks. She does a fine job here in the little she is given. It must have been easy to sign on for the film when it stars such heavyweight actors. Her portrayal of Karen Sisco (the marshall formerly played by Jennifer Lopez in OUT OF SIGHT) in the ABC series of the same name from 5 years ago, is easily her best work. Shame on you for missing it! http://www.youtube.com/watch?v=Z2141yvAwPo She holds her own with the two alpha males here, but again, there should have been a stronger movie built around the entire cast (which also includes Brian Dennehy and Curtis "50 Cent" Jackson).
RIGHTEOUS KILL provides an amusing cop thriller that you may or may not figure out before the ending. Pacino and De Niro have both done better separately. It's definitely a let down when you consider how many other great scripts could have been used to pair the two. Recently there's talk of them actually re-teaming to do a comedy, but time will tell if that will eventually happen. If you want to see two of the best living actors in top form you'll have to go back to their work in the 70's. To be satisfied with them on-screen together, you'll definitely have to stick with HEAT.
 Missing those John Hughes teen movies of the 80's? I have no idea why the man has not continued to make movies. I suppose there's no reason to make anything inferior, not when his work from 20 years and older survives so well and has made him a sort of living legend in the field. His influence continues on in things like AMERICAN TEEN, a new documentary by Nanette Burstein (director of the documentaries ON THE ROPES and THE KID STAYS IN THE PICTURE). The original ad campaign even featured a poster of the five teen protagonists posing similarly to THE BREAKFAST CLUB (as seen in the comparison photo on this page).
The film follows five Indiana high schoolers during their senior year. It's that simple. There's a geeky guy (who's poor face is riddled with rotten acne every few scenes), a friendly jock (competing each and every game to make a college scholarship and avoid the army), an athletic heart throb (not as much a lead character as supporting, but a good guy who rides a tough line in balancing his popularity with liking "an outsider"), an artistic rebel (the heart of the movie, the girl wants to leave her sleepy burg and hit the big city), and a girl who should just be described as a queen bee (set as the film's only human antagonist of sorts; very focused on her collegiate aspirations, drones and workers of all kinds circle around her constantly). Each kid needs support in a different way and each is shown in a positive light on that account. They each have their desires and we watch their efforts hopefully, remembering the time we were also their age and had to deal with some of the same hurdles (though the advent of the internet and cell phones has already put a decided generation gap between their class and mine).
Some speculation has arisen over the truthfulness of certain scenes. There are portions of the teens' lives you wouldn't normally see had the filmmakers not been granted total access (even providing audio body mikes as not to miss anything). Ask yourself: what is the responsibilty of the crew when they are recording under-age drinking and hostile acts of vandalism? I say the camera needs to be a passive observer as the teens knowingly enact their lives so that "reality" may be captured in a true manner. Of course, in the event that something dangerous may go on there should always be some sort of intervention. They are all aware of the cameras, but there are bound to be times when it just becomes habitual to have them around and easily pay no mind. A terrific reveal comes when we see the jock being told by his father a very important lesson about his future. The camera is held in closeup until pulling back to see the father dressed completely in his Elvis-impersonator costume.
AMERICAN TEEN has been in release for nearly a month. It is entertaining and will be a nice rental for those of you who are curious about peering closer into the lives of today's youths. There are supporting teens who don't get much of the spotlight, but they may not have desired it. That's a very refreshing thing in today's age of instant YouTube stars and celeb-reality.
Bonus paragraph, radical! Since I made mention of the slight connection with THE BREAKFAST CLUB, I feel you should know that this is my favorite of the Hughes' 80's movies from that time. It really embodies a strong spirit, respects each of its characters, while breaking them out of stereotypes. It holds its ground very well as the years go on. Have you seen the recent "Don't You Forget About Me" ad on tv? That's gotta be the original library set, right? No better way to capture the attention of twenty through thirtysomehings than by recalling one of the classics.
Oh and one of my favorite songs of that early-80's era is "Love My Way" by the Psychedelic Furs. A very creepy come-on to be sure. http://www.youtube.com/watch?v=-P09gm_I5RI
 TROPIC THUNDER a film that is a complete satire of Hollywood, the people within it and the way movies are made. It's an action-comedy. It's ridiculous. It's hilarious. I've never seen a movie that begins the way this one does with it's faux ads and trailers, introducing you to the stars of the picture one at a time. It starts off very strong and is overexaggerated in just the right ways.
Ben Stiller and crew are making a Vietnam war movie. For realism, they get dropped into actual 'Nam and that's where the real trouble begins. Stiller's character does not believe it's all real until it's way too late. Jack Black (who channels both Eddie Murphy and Chris Farley) is a big-time comedy star/drug fiend who's in need of a new high. Robert Downey Jr is a white Australian portraying an African-American who "doesn't break character until the dvd commentary". You can see why things might go wrong. Each does a great job at giving their all here and TROPIC THUNDER is a success because no one steps on each others' toes.
At this point you may have heard that Tom Cruise is in this film. It's true and I'm not spoiling anything by telling you it's far more than a cameo appearance, it's a full-blown supporting role (as is that of Matthew McConaughey as Stiller's devoted agent). The part seems inflated to give Cruise room to play and the film doesn't suffer for it. He's clearly having a good time and the audience can enjoy him in what is far from his normal on-screen presence.
Downey Jr. steals the film. Each scene, each line of dialogue, he owns it. That's a big deal for a guy in a comedy filled with stars like this one. He's had such a comeback year and has risen above his former drug problems; his is a success worth cheering. [Go back and watch his performance as CHAPLIN while you're at it and see how great he's been over the years.]
There is plenty mentioned about "going full retard" and it's gotten heat from mental disability groups denouncing the film. I understand their disapproval and I agree that the usage in the film is surely a bit much, especially when "Simple Jack" returns later in the story. A rated-R comedy is going to offend someone somehow, it's just surprising that Downey's "blackface" hasn't drawn the same storm.
The film is packed with excitement as Stiller proves he can direct action. There's also a ton of personalities in all corners of this movie (not just the aformentioned stars, but also a grizzled Nick Nolte, the raucous upcomer Danny McBride, British comic Steve Coogan, and other cameos I will not spoil). It all comes together quite well and if you're looking for a big-time comedy to finish off the summer movie season, TROPIC THUNDER is decidedly it.
 What blasphemy is this? A sequel to one of the Bard's greatest tragedies? If you find that ridiculous, then that's exactly the point.
Being released into theaters is the indie HAMLET 2. Steve Coogan (seen here at left) stars as a washed up actor doing his best to keep his dying drama department afloat by staging his self-written musical, "Hamlet 2". It even features Albert Einstein, Jesus Himself, and a time-machine so none of the main characters have to die! His former student productions were adaptations of award-winning films where you wouldn't expect to find high schoolers portraying the leads. His new script has certainly enraged the local community and they want to stop it before it starts.
The film itself has a very WAITING FOR GUFFMAN-esque quality in it's humor (the goofy drama guy assembling the local aspirants for a grand-scale show meant to turn around the whole works). It was directed with quirk by Andrew Fleming, who's most known filmwork includes THE CRAFT (teen witches), DICK (teens in Nixon's White House), and most recently NANCY DREW (teen sleuth). You know, I hate to give anything away about a film set at a high school, but there are teens in this film too.
Steve Coogan is a superstar over in Great Britain and has a loyal following here based on his most-favored roles (24 HOUR PARTY PEOPLE, "I'm Alan Partridge"), but you may have also seen him in last year's huge hit NIGHT AT THE MUSEUM and he's got a small part in TROPIC THUNDER. He really throws himself into this film (literally, when rollerskating through town) and it's easy to have fun when he's onscreen, despite his sad-sack life crumbling around him. I liked when he tried to sway his new Latino students by mentioning DANGEROUS MINDS, that's just funny yo.
Elizabeth Shue is even found here portraying a role she was born to play... herself. Apparently, when we all weren't looking, she abandoned Hollywood and has taken up as a nurse in Tuscon, Arizona. Now you know!
Overall, the gags are hit and miss. I found the opening ten minutes funnier than the final ten with the production going on. I also didn't think a former alcoholic getting his drink spiked was a funny bit at all, and though it did make a paralell to LEAVING LAS VEGAS it was just sad. Still, it's a show worth seeing for Coogan alone as his fun in the role transcends through to the audience.
The film is a small independent with lesser-wattage stars, which means its release will be limited. You'll have heard about it here or from another trusted source, then it will disappear from theaters and reappear as a home rental. Unless it turns into a sleeper hit of some sort, this is the way these things happen with small films now. This film lives in the shadow of GUFFMAN (and I say wholeheartedly for you to see that if you have not), but HAMLET 2 is at least a rental.
Amy Poehler turns up in the second half to support the legal right to let the show go on; a show with a musical number sung by "Sexy Jesus". At least HAMLET 2 is getting a chance on the big stage when other productions don't get that far. The show will go on... to dvd.
 "And here... we... go!"
BOFF! WHAM! POW! That's what you'll be feeling as this sucker goes along (just without the pop art graphics). This is it kids. This is the Batman film that most fans have been waiting for. I've been a fan since 1988 at least. I had watched "Superfriends" and "Superpowers", but by '88 they began airing the 1960's "Batman" series starring Adam West. This was a prelude to the release of Tim Burton's '89 film. By the time the animated series began in 1992 I was hooked deeply. I bought the comics each month and taped each animated episode the day it premiered (still got 'em). BATMAN RETURNS disturbed my young mind. Being too dark and too bloody for this young man, I didn't finish the first screening (but now I own it, so I guess I won after all). I saw BATMAN FOREVER twice on opening day mostly due to my Jim Carrey fascination at the time (and the Riddler has always been my favorite antagonist). For crimes against the legend, we shall not speak of the film that starred Arnold in his most-puntastic role, Mr. Freeze. Only the cartoons on tv (including "Batman Beyond" and "Justice League") kept the character afloat onscreen.
It was quite a few years before Christopher Nolan's first film of the reboot, BATMAN BEGINS, delivered as promised and filled in portions of the Batman mythos that had heretofore been undiscovered in the past 60 years. The hype leading up to this summer continued to grow and grow, until finally it opened... to sold-out showings and record-breaking box office. Folks learned that it's a good movie and they shouldn't really be that hard to make. The tale told within THE DARK KNIGHT is timeless: good vs. evil. It's really that simple, though the good must sometimes shade themselves within shades of gray (if not entirely black) to meet their goals.
Onscreen, it's the elephant in the room: Heath Ledger died in January 2008 and left behind a classic performance as the Joker that will live on forever. He is amazing and it's not just bluster. That "magic trick" is one of the more audacious entrances a character has made in ages... and it's played purely as a whim by the Joker, naturally. You realize as the movie goes along that he never really laughs either. What? Oh it's true, listen as he makes his debut to the mobsters, this version of the character is more of a put-on. His facial scars are real, but his white face only makeup. He claims to be simply an arbitor of chaos. He's simply riding the gimmick through straight to the land o' crazy... just because.
The remaining cast have also proven themselves worthy of entrance into history as each stands tall in their relative roles, most reprised from the first film (Christian Bale as Bruce/Batman, Gary Oldman as Gordon, Michael Caine as Alfred, Morgan Freeman as Lucius Fox). It is the film's new blood of acting that elevates it further, as the story goes deeper and darker. I do think Maggie Gyllenhaal was an improvement over Katie Holmes and each actress suits her respective film.
I've kept this all relatively spoiler-free, but really, it's made over $400 million at this point (and climbing) so I'll assume you've seen it. Fair warning, but at this point it's time to talk about the meat of the film and the surprising potatoes surrounding it.
Can you believe they killed Alfred like that? Holy crap salad, Batman!
Alright, sorry, that was to freak out anyone who still wants to see it but hasn't yet. Alfred didn't die. And neither did Gordon. As a die-hard fan I wondered how much of the other audience may have been fooled by this ruse. His triumphant return causing the capture of the Joker was a greatly laid scene nonetheless and Oldman has proven that this role rightly belongs to him.
So how about that interrogation scene? It's Batman vs. the Joker like never before onscreen. The showdown with the truck vs. the Bat-pod. "Come on, hit me!" It was the clash of the titans.
The real spoiler here comes in the form of Harvey Dent. As the city's crusading district attorney he's trying to clean up what the Batman and Gordon's men mop into the station. He's the filter through which the slick mobsters cannot slip away. His relentless good nature above all is such a slap in the face of those he's surrounded by. 'Who expects good people anymore?' would seem to be the thought of the Gothamites. Their city is still probably THE most fraught with trouble and evil in all comics. Sure, Superman has to save Metropolis from an alien invasion or crashing meteor each week, but Batman's city is filled to the brim with stinking, ugly evil. Most of the costumed villains even claim their garish guises to be their own reactions to Batman's dynamic nature. How sad that it is that Dent himself also falls prey to the city and the darkness within himself.
The Two-Face makeup and effects were incredible. Yeah, that's how it's supposed to look alright. It's a sad character for sure, but Aaron Eckhart surely was the scene-stealer of the film. It's easily one of Eckhart's best roles right up there with THANK YOU FOR SMOKING and IN THE COMPANY OF MEN. His downfall is the soul of the movie. As he goes, so goes the heart of the city, plunged into darkness. Some have said that his role was altogether un-necessary, but I disagree. Without his storyline you don't feel the effect that the ending has on Batman. He loses alot. By the credits, we feel his loneliness and the persistence he must go through in order to keep peace in his city and within himself.
Having a cameo of sorts by the Scarecrow in the first half hour was a great reminder that it's not just the big dogs like the Joker that Batman must face down. He must also scratch the fleas before they fester within the skin of the city and eat it alive. The classic 90's story-arc, "Knightfall", featured all Batman's rogues gallery being released from Arkham Asylum at once. He had to deal with one after another after another, the minor foes mixed in with the most evil. It's the story of a man driven to his very end. It came at a pivotal time for comics and the character. THE DARK KNIGHT comes at a pivotal time for films as well.
The "comic book movie" revolution is in full-swing, love it or hate it. Some are good, some less so. What THE DARK KNIGHT does is it grants entrance to a comic book world, but one that parallels that reality with which we are faced daily. There may not be a crazed clown looking to blow up your ferry ride, but there is a sense of sitting terror that presides over the country. One that has never quite released its grip since 9-11-01. The movie plays on that fear and asks, "Who can save us?" As the ferry resolution proves, sometimes we just have to save ourselves.
If you're not a Batman fan, there may be no turning you onto the film. The quibbles made by those who do not like it are valid quibbles. However, the film has grown leaps and bounds in its history-setting run on the box office and that is beyond dispute. Is it too dark for kids? I would say yes, but that depends on the kid. For adult die-hard fans like me, it has just the right visuals, just the right character, and just the right feel of how Batman and his city exist. The forthcoming sequel can never live up to this one, but I'll enjoy seeing it try. After all, THE DARK KNIGHT is that rarest of sequels that eclipses its original in greatness. It's truly amazing that this movie could be made with no Batcave and no Wayne Manor. They're not even really missed. That would have been virtually unthinkable before, but now that it's been done (and done well) the gates of possiblity have been even further opened.
I'll finish here as only a Batman geek can, by giving you my favorites within the Batman universe:
-The late Frank Gorshin as the Riddler was my favorite villain on the 60's tv series and helped inspire me to be a performer.
-As much as other folks rave about Frank Miller, my favorite Batman authors are Paul Dini and Jeph Loeb. Dini is one of the craftsman of the 90's animated series (the best incarnation of Batman to date) and he's a writer who knows his stuff. Loeb's "The Long Halloween" tale is a true noir mystery filled with everything that one could love about a Batman story. There are elements of it in both Nolan's films. I recommend it highly.
-For my money, "The Laughing Fish" is the best Joker episode of the animated series. The score was made exclusive to that episode and it's apparent. Plus, you can never have enough Harley Quinn ("They're finny and funny and oh-so-delish...")
 Ever feel alone? Performing a job wondering if anyone else really cares or if your existence is even recognized? Sure. When you finish at the end of the day, you feed your cockroach and hang up your treads for tomorrow... or something like that. This is the life of WALL-E.
Steadfastly continuing to order and process all the refuse we humans have left upon our abandoned Earth, WALL-E has but one real friend (a cockroach). "He" (WALL-E is clearly identified as a "male" robot) finds all manner of interesting treasure from out of our disrespected trash. Like a child with new toys, he fiddles with a Rubix cube, curiously presses a car key alarm, places a brassiere over his eyes, and wonders why all of these various things have been left behind. The music of his heart is embodied by an old recording of "Hello Dolly" and through its thoughtful lyrics we feel his need for companionship.
Not long afterwards, we meet his object of desire - a droid from outer space named EVE who comes a callin' on a secret mission. The story at this point now has WALL-E devoted to learning more about "her" as she relentlessly searches for... something. Soon, their journey off-world will begin and a real adventure will occur as we learn where all the humans have gone.
Simply put, WALL-E the movie, is about discovery.
First and foremost, WALL-E the robot's discovery of love. What love means - beyond an affectionate gaze from two optical lenses and beyond the clasp of two robotic appendages. Listen to the song lyrics, that's what he knows of love and if that's all he's going on, it's enough. It's not that EVE is just another robot, but she's THE robot and he knows it. Over in Oz, the Tin Man discovered he had a heart all along and the same holds true with our clockwork protagonist here. The "dance" shared by the two in the film's second half is one of the most romantic moments put on screen in years.
There's been public issue that the filmmakers were trying to push a moral on the audience with the human side of the story. The humans' over-pollution and constant need for entertainment is clearly shown as a detriment to their current livlihood. Their own discovery of what their ancestors had done is enough to propel them back towards Earth to lives that are assumed to be akin to humanity as we enjoy it today (if not even simpler).
If you love animation, this film will be one of the most beautiful you've ever seen. The pyramids of trash on Earth, the strafing of starships flying through space, the calamity of countess human blobs sliding one way and the next (plus, a little robot called "Mow" who is a put-upon character who continues ever forward). Most important of all may be the desire in WALL-E. How does an animated character give you hope and feeling behind it's eyes? Unknown. Though this fella here certainly has that power and pushes the film to great heights because of our affections for him.
When did you last go see an animated film in the theater without a young one at your side? Well, I should say it's high time you check out WALL-E. As of this writing, the film has been in the theater for well over a month and should find its way to home-viewing on your dvd player in time for the holidays. You too will discover this film is a masterpiece and a new classic. It behooves you as a lover of film and lover of spirit to check out WALL-E and see a robot who may hold more humanity in his circuits than some live people you know.
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