New Theatrical Trailer: Interstellar

interstellar_2014This weekend, when the Godzilla remake will be screening, audiences will be treated to another first. After wrapping up with the Dark Knight series, Christopher Nolan has taken a different route with this next project, title Interstellar. And with this latest theatrical trailer, moviegoers will finally see exactly what his new film is about. Basically, in the not-to-distant future, a global food crisis hits Earth, and to find solutions, humanity must look to the stars.

That’s the bare bones of it at any rate.  To be more specific, the plot revolves around Cooper (Matthew McConaughey) and his family. A former pilot and engineer who has had to turn to farming to feed his family, Conner finds himself being called upon to take part in an expedition in order to find a new place for humanity to live. As Michael Caine’s character is quoted as saying: “We’re not meant to save the world, we’re meant to leave it.”

Embracing such things as Climate Change and the public’s growing fascination with space exploration and the next great leaps humanity is likely to take, Nolan has announced his return to the world of epic space-exploration. And between the scenes of gritty desolation seen on planet Earth, to the majestic grandeur of the scenes set in space, it’s clear that Nolan is well suited to the medium, being a director who’s well known for his stunning visuals and ability to create atmosphere.

New Movie Trailer: Interstellar

interstellar-teaserposterI came across this trailer recently, thanks again to my bud over at Ellipsis Media. And although the clip is short, it does manage to intrigue and fascinate. And as the name would suggest, the movie is all about space exploration in the not-too-distant future, where humanity suddenly finds itself able to bridge the vast distance between the stars for the first time ever.

Here is the commercial description, courtesy of MOVIECLIPS:

Interstellar chronicles the adventures of a group of explorers who make use of a newly discovered wormhole to surpass the limitations on human space travel and conquer the vast distances involved in an interstellar voyage.

The movie is set for release in November 7th, 2014. Christopher Nolan is the director (Inception, Dark Knight trilogy), and the film has an all-star cast that includes Matthew McConaughey, Anne Hathaway, Casey Affleck, Topher Grace and Michael Caine. Enjoy!

Superman vs. Batman Anyone?

superman-vs-batmanWord around the comic book community of late is that the sequel to The Man of Steel will involve a bit of a crossover. Apparently, an aged Batman will be making an appearance in this movie, and the story may very well focus on a rivalry between the two. The news came earlier this month at Comic Con when director Zack Snyder announced that he had something of this nature in mind, taking many by surprise.

One such person was Frank Miller, the man who brought us The Dark Knight Returns, the classic graphic novel where Batman and Superman have a climactic showdown. with uber-freaking awesome results! For fans who were thinking this means that Snyder is looking to create a live-action version of TDKR, this is certainly good news indeed.

Sure, the animated version was certainly good, and the graphic novel itself is a wonderful standalone piece that really needs no adaptation. But I’m thinking few fans of either franchise would pass up an opportunity to see the big showdown between the two superheroes in Crime Alley on the big screen!

tdkr_batman_superman1And as if wanting to throw some gasoline on those flames ahead of time, Snyder even had actor Harry Lennix, who played General Swanwick in The Man of Steel, read a passage from TDKR. The line comes from the very climax of the fight scene between the two, where a victorious Batman is standing over a weakened Superman and is ready to deliver the coup de grace:

I want you to remember, Clark, in all the years to come… In your most private moments, I want you to remember my hand at your throat. I want you to remember the one man who beat you.

After the reading, Superman’s big S appeared on the screen behind the interview panel while the Batman symbol quietly superimposed itself. Fans were naturally excited and expressed themselves accordingly!

superman-vs-batman1Well, according to the latest industry gossip, a live-action version of TDKR is not quite had Snyder and the studio had in mind. David S Goyer, who co-wrote The Dark Knight trilogy with Christopher Nolan and Jonathan Nolan, recently revealed the Superman and Batman film may use a ‘versus’ in the title. But he was explicit about the fact that the film will not be adapted from Miller’s work.

At the same time, however, sources close to Miller confirmed that Snyder asked for a sit down to discuss what this crossover movie would involve. The source made a statement of this impending meeting, claiming that:

Frank had no idea the announcement in San Diego was going to happen so it did come as a surprise. He’s going to be meeting up with Zach in the next few days to go over the plans for the Superman film so things should be clearer after that.

batman_baleSet to be released in 2015, the Superman vs. Batman movie is likely to be a loose adaptation, from the sounds of things. And the very latest in industry gossip says that Christian Bale may be coming back to reprise the role of Batman, to the tune of $60 million! No indication has been given if he has chomped at the bit yet, but Bale did indicate that he might not be finished with the role.

As Bale said in a recent interview, when referring to the price tag, “Let’s not get greedy”. But at the same time, he didn’t rule out the possibility, claiming that “it all comes down to Chris [Nolan].”

Personally, I think this “loose adaptation” talk should be ditched in favor of a full-on TDKR adaptation. There’s plenty of potential to update the story, which was written in the late 80’s and featured a very Reagan-era Cold War-esque story, but with a few tweeks, it could easily be adapted to fit in the current era.

the-dark-knight-returnsAnd it might even tie the two franchises together nicely, with a supposedly dead Batman coming out of retirement, and a Superman who has been enlisted to serve the government finding themselves at odds. And since the storyline involves the Joker, it could be a fitting tribute to Heath to have him brought back for one final dance with the Batman.

It’s a tall order, I know, and like I said, it was already done. But if you’re gonna go big, Snyder, go REALLY BIG. Or just go the hell the home! You’re making some tall promises, and fans are expecting better from you after that bit of a letdown known as The Man of Steel. You got Batman and Superman in your hands now. Don’t screw it up!

Sources: indepedent.co.uk, badassdigest.com

The Dark Knight Returns: The Animated Movie

the-dark-knight-returnsRecently, I finished watching the animated movie of the classic comic, known as The Dark Knight Returns. Adapted from Frank Miller’s four-part graphic novel, this movie came in two parts that were released separately over the past year. And now that I have both parts under my belt, I feel that a review is necessary. Not only was this an overdue feature, in my opinion, it was also one of the biggest installments in the Batman franchise and the greatest accomplishments of Miller’s checkered career.

Originally published in 1986, TDKR tells the story of Batman many years after the official story arc where he and others like him have gone into retirement. Borrowing from such franchises as The Watchmen, it experiments with some limited alternate-history, showing how the 80’s would have been different had superheroes been around and worked for the government. In and around all that, Miller also takes the time to make some social and political commentary, examining Batman’s quest to save Gotham from multiple angles and presenting it as a controversial issue within the story.

With only some minor liberties and changes, the animated movie presents the story as it happened in the graphic novel and was true to the spirit of Miller’s creation. Intended as a sequel to the 2011 animated film Batman: Year One, the film was directed by Jay Oliva, who worked as a storyboard artist on Man of Steel, Batman: Year One and Batman: Under the Red Hood and stars Peter Weller (Robocop) as the voice of the Dark Knight, Michael Emerson (Lost, Saw) as the Joker, Ariel Winter (Modern Family, Kiss Kiss Bang Bang, Speed Racer) as Robin and David Selby (Dark Shadows, Unknown, The Social Network) as Commissioner Gordon.

Plot Synopsis:
TDKR_part1The story opens on Gotham City, with Bruce Wayne now 55 years old and in retirement. Nearly all superheroes, with the exception of Superman who works for the government, have gone underground since the government made their activities illegal and the population turned against them. Unlike most, Batman went willingly due to the death of Jason Todd, the second Robin, which left him scarred and dejected.

Naturally, Gotham City has descended into a state of chaos and near-anarchy and a new gang of thugs called the Mutants has taken control of the streets. At about this time, Harvey Dent is released from Arkham Asylum after undergoing reconstructive surgery which has restored his face. His therapist, Dr. Bartholomew Wolper, insists that Dent is a healed man and wants to return to normal life and repent for his past crimes. Like many Gothamites, Wolper is not a fan of the Batman, blaming his obsession with order for Dent’s psychosis.

TDKR_batmanSimilarly, the mutant boss begins to release statements saying his gang is going to take control of the city and kill Gordon. After meeting with him for drinks and visiting Crime Alley where his parents were murdered, Bruce Wayne realizes he can no longer stand idly by and decides to don his cape and cowl again. His first stop is to a robbery in progress where he takes out several armed hooligans and is met with nostalgic praise by one police officer, and fear and trepidation from a rookie.

Batman’s return is met with mixed reviews, with some condemning his actions and others hailing the return of the crime fighter who teaches common people to be brave and rise up. His sudden appearance is also noticed by the Mutant boss, who begins to add Batman to his list of people to kill. But more importantly, a masked man holds the city ransom and threatens to blow up the cities “Twin Towers” if he doesn’t get a ransom. Batman is convinced its Harvey and intervenes.

tdkr_dentAfter taking down his thugs, Batman realizes that the bombs Harvey set were meant to go off no matter what. When he confronts Harvey himself and disarms him, he realizes the entire thing was an elaborate suicide attempt to demonstrate how he has not healed. Rather than being cosmetic or physical, his psychosis is deeply rooted in his psyche and can’t be expunged. He surrenders to Batman and is returned to Arkham.

The city breathes a sigh of relief and once again begins endlessly debating the Batman’s actions. One person who takes particular notice is a young woman named Carrie Kelley, whom Batman rescues earlier on in the story from a mutant attack. After witnessing him save the city, she buys a knock-off Robin costume and decides to pursue him, hoping to become his new sidekick.

tdkr_mutantBatman’s next confrontation takes him to the city dump where the Mutants are assembling and getting ready to assault the city. In his souped-up version of the Batmobile, which is now an armored tank, he disperses the thugs quickly using rubber bullets and rockets. But the Mutant leader comes before him and challenges him to a one-on-one fight. Batman cannot refuse, and the two get into it.

The fight goes poorly as Batman realizes the Mutant boss is in his prime, clinically insane and virtually immune to pain. Despite his best efforts at beating his down, Batman suffers some severe injuries as the mutant bites into his shoulder, breaks his arm, and slams him to the ground. He is narrowly saved when Robin intervenes and distracts the boss and Batman is able to pacify him. Together, they retreat back to the Batcave while Gotham PD arrives and places the Mutants into custody.

tdkr_tankWhile recovering from his wounds, Batman has a talk with Kelley about being his sidekick. He agrees to take her on provisionally, provided she doesn’t disobey his orders or put herself in needless danger. The mayor meanwhile attempts to step in and come to an agreement with the Mutant boss, but is murdered when he steps into the room alone with him. Batman decides that the only way to crush the mutants is to defeat their boss publicly and permanently.

After arranging for his escape, the Mutant boss is lured to another dump where the Mutants have all assembled. Engaging him in knee-high mud which slow him down, the Batman has the advantage and manages to pacify the boss further with nerve pinches and strategic blows. He finishes him off by getting him down and breaking his arm and leg, then punching him until he’s unconscious. To all the Mutants watching, it is clear who is top dog in Gotham now!

Thus ends part I of the story.

tdkr_part2In part II, things once again open with people debating the actions of the Batman, especially since his defeat of the Mutants has led to the creation of a new gang known as the “Sons of Batman” who assault and kill criminals. Commissioner Gordon retires and is replaced by a Ellen Yindel who issues a warrant for the arrest of Batman. And in Arkham Asylum, another person takes notice of Batman’s latest actions with interest… the Joker!

Meanwhile, Superman is called to the White House to discuss putting and end to Batman’s actions. Superman indicates that it won’t be easy and he doubts Wayne will listen to reason, but agrees. He arranges to meet with Wayne and tells him that his coming out of retirement is a violation of their agreement and that if he persists, Superman will have to bring him in. Wayne responds only by saying “may the best man win”.

tdkr_jokerSuperman is then forced to head to Corto Maltese, a small island that is being contested by the Soviets and the US. After open fighting begins, Superman intervenes and begins destroying the Russian forces. The American forces are declared victorious, but a full-scale nuclear standoff results and a terrible sense of fear sets in.

After convincing Wolper that he has recovered, the Joker decides to come out of retirement himself by going on a late night talk show. Whereas Wolper is presenting him as a recovered man who regrets his actions, the Joker arranges to kill everyone in the studio using his Smile-ex gas, which his assistant disperses using a pair of robot children. Batman arrives on scene but is forced to fight it out with the police, and everyone in the studio dies.

tdkr_showdownThe Joker finds Selina Kyle (aka. Catwoman), who now runs an escort service, and drugs her to make her do his bidding and orders her to send one of her girls to give the same mind-control drug to a local Senator. This man then jumps from his hotel window after saying a full scale first-strike is the only recourse they have with the Russians, which intensifies the panic and keeps the police busy. After learning of this, Batman and Robin head to Kyles place where they find her bound and beaten in a Wonder Woman costume. Barely conscious, she tells them, “he’s worse than ever”, and they realize he has headed to the county fair.

They arrive to find the Joker’s already killed many people and Batman begins pursuing him while Robin tries to stop his associate and his lethal robots. Batman finally corners Joker in the Tunnel of Love where he breaks his neck, but not before the Joker has critically wounded him with a knife. The Joker then taunts the Batman by saying he will be charged with a murder he couldn’t bring himself commit, then twists his own neck to complete the break and kill himself.

Batman narrowly escapes police but knows they will stop at nothing to end him now. Retreating once again to recover, things once again escalate as the Russians respond to Superman’s intervention in Corto Maltese with a tactical nuclear strike. Superman manages to divert the missile from landing in Corto Maltese, but diverts it to the upper atmosphere where its detonation causes a massive EMP to short out all electricity in Gotham.

tdkr_batman_horseSuperman himself is nearly killed by the blast and the resulting cloud cover, and must drain energy from nearby plants and trees in order to recover. Batman also awakens from his bed to find the city rioting and looting in the midst of the blackout, and rides in with Robin on some horses to begin recruiting people to help. He finds willing assistants with the Sons of Batman, former Mutants, and common citizens alike. Commissioner Gordon also manages to enlist the help of people to stop a fire and manages to find his wife after thinking he lost her in the blaze.

With the city once again saved and Superman recovered, the stage is now set for the final confrontation. Passing overhead of Wayne Manor, Superman etches the word WHERE? on the lawn, to which Batman responds “Crime Alley”. After doing an inventory of some specialized weapons, which includes a powered exoskeleton, he is met by Oliver Queen (aka. Green Arrow), who he agrees to let help him. Having lost his arm to Superman in their last confrontation, he is bitter and eager to help the Dark Knight bring him down.

tdkr_batman_superman

The Gotham Police and National Guard cordon off the area as Superman and Batman both arrive. The Batman gets out of the Batmobile and tells Robin to keep it running and follow the orders he left her with. Robin asks if there is a plan here, but is left with the impression that Batman will not be returning from this fight. He confronts Clarke in the street and they begin to fight it out. Outmatched, Batman employs several special weapons to slow him down, including a sonic blaster, a massive electrical shock, acid, and finally, a kryptonite arrow fired by Oliver.

The arrowhead explodes after Clarke catches it, filling his lungs with the dust. Batman delivers several more punches and is all set to deliver the coup de grace, but takes the time to let him know that he just wanted to defeat him, not kill him. In the end, he wanted Clarke to know what it was like to feel mortal, and to know who defeated him.

Meanwhile, Alfred torches Wayne Manner and collapses outside, suffering a stroke and dying in front of the home of the family he spent his life in service to. The police and army arrive and find Superman wounded but alive and Batman on the ground. Superman refuses to let them touch him and carries his body away.

Shortly thereafter a funeral service is held which is attended by Kyle, Gordon, Superman and a young veiled woman. Kyle blames Superman for his death and Gordon is heartbroken. However, as Clarke turns to leave, he hears a quiet pulse coming through the ground. He turns and looks to the young woman and sees she’s carrying a shovel under her robe. He realizes the truth and winks at her.

tdkr_exoCut to the final scene, where Robin, Oliver and a group of people arrive at a cave and begin setting up equipment. Bruce arrives and tells them they are setting up here, that this will be their new “Batcave” and he will teach them everything he knows. Henceforth, they will work from the shadows, protecting Gotham and not drawing attention to themselves. The movie ends with Batman saying he spent the last few years searching for a good death, but feels he can now make a good life.

“Well… good enough!” he finishes by saying. Roll credits!

Summary:
Personally, I thought this movie was done right. The casting, and character-acting were all spot on, and I especially enjoyed the animation. Not only was the quality quite good, but it managed to capture a great deal of the aesthetics and even iconic images from the original comic itself. Not easy to do when your adapting graphic novel material, especially when its Miller’s work!

tdkr_batmobileWhat’s more, I thoroughly enjoyed how they captured the tone and feel of Miller’s original comic. Not only did it possess the dark,  gritty and just-realistic-enough tone of things, they also managed to smooth down some of its more rough edges. For one, many people who enjoyed the original comic did have some complaints about all the social commentary and the way the talking heads and mass media asides kept coming up. While I agree that Frank leaned on these a little too heavily, I think they struck a fine balance in this movie. Basically, they managed to present the issue without getting too saturated by it.

The same is true of the whole controversy surrounding Batman’s actions and the big question it raised. In Miller’s comic, you kind of got the feeling you were being beaten over the head with the moral, but these guys did it right by not overdoing it. It’s like, we get it, vigilantes must consider the consequences of their actions, whether or not their fighting crime is a form of “social fascism” and leads to more kinds of “legitimized violence”. Put it in the background and let the show go on…

tdkr_battleAnd yes, they did change a few things. For one, Batman’s confrontations with the Joker and Superman happened a little differently in the books. In all four cases – Dent, the Mutant leader, Joker, Superman – they kind of sexed up the actions scenes, adding more punches, kicks and acrobatics. No complaint there, they were awesome! Especially the fight with the mutant boss, which I felt really captured the essence of Batman schooling his younger, crazier enemy in the ways of pain!

Dark_Knight_ReturnsBut they when it came to the latter two, they changed things a bit in a way I didn’t like so much. For example, in the comic, the Joker’s taunted Batman for not being able to kill him, whereas here he simply laughs for having made him “lost control”. In truth, Batman still couldn’t kill the Joker, despite how many more people he’d killed and the fact that he now blamed himself for not doing it sooner. It was a brilliant theme, loaded with subtext and something they touch on numerous times throughout the series. Here though, it was kind of minimized.

tdkr_fightThen there was how Batman told Superman he didn’t intend to kill him but just wanted to let him know he could beat him. In truth, Batman was not so merciful to him in the comic. After disabling him with kryptonite, he made sure Clarke understood why he was beating the tar out of him. First, he felt Superman had sold them out by agreeing to serve the government, that he resented him for being a boy scout who blindly did as he was told, and that he could never understand what life was really like. Only after all that did he tell him he wanted him to remember who had beaten him and how he could have killed him.

And that was the real point here. In the end, the fight was a contest of who’s way was better, Batman’s dark and realistic appraisal of things, or Superman’s naive and idealistic way. That’s part of what made it so brilliant. It was a commentary on two parallel stories that were years in the making, and the ironies and consequences that grew out of them.

Superman, for all his power and idealism, is basically an expression of the American Way, with all the naivete and denial that goes with it. Batman, on the other hand, is like a reality check, a cynical and dark admission of what really is. The significance of how they collided in the end and one could have killed the other, but stopped short of doing it, was magnificent!

Batman_gothamUltimately, The Dark Knight Returns was a great series and its little wonder then why Christopher Nolan drew inspiration from it to fashion his relaunch of the Batman franchise. In the first and second movie we get into the issue of “escalation” in the creation of the Joker and the responsibility of the hero, both of which bear a striking resemblance to what happened in this comic.

Then there was the issue of Batman coming out of retirement to face a younger, meaner, stronger opponent in Bain, which seems ripped from his confrontation with the Mutant boss in this one. Add to that Batman’s apparent death at the end of the last movie and all roads seem to lead back to this comic at some point. Hell, even the name of final movie in the franchise is practically the same as the comic: The Dark Knight Rises (TDKR) – The Dark Knight Returns (TDKR).

And with the final release from the Nolan series, I’m guessing the time seemed ripe to show the adaptation of the classic comic and show people just where so many of the original ideas came from. You’re welcome Nolan, and I strongly recommend anyone who has not read the comic and/or seen this movie yet to get out there and do both. You might say it’s required reading and viewing for any fan of the Batman franchise!

Ellipsis Media Reviews Dredd 3D

Hey all. It seems my bud, David Lim, over at Ellipsis Media has come out with a review for the new Judge Dredd movie. Overall, he was pretty impressed with the result, likening it to the Batman franchise in that this new look has updated the look and feel and made it a hell of a lot darker and grittier than the original. Ah, listen to me prattle on! Click the video below for his full review.

The Dark Knight Rises!

Well, I’m back. Some three weeks after it made its big debut, my wife and I finally got around to seeing The Dark Knight Returns. And how to describe the experience? I feel I must come at this chronologically because otherwise, I might blow this review. So please bear with me and be warned that some spoilers follow…

The First Few Scenes:
As the movie began, we got some low-key expository scenes where they recapped all that happened with the last movie. Harvey Dent is dead, his memory is being honored years later, and the big lie that saved Gothamites from the Joker’s madness has been carefully maintained. And despite Commissioner Gordon’s success at nearly eradicating organized crime in Gotham – under the Dent Act – the mayor is quietly entertaining plans to get rid of him.

Meanwhile, we learn that Bruce Wayne has effectively drooped out of the public eye and become a bit of a recluse, a la Howard Hughes. However, this changes when a cat burglar is nearly caught stealing his mother’s pearl necklace while trying to obtain his prints. In addition, her kidnapping of a Senator leads to a manhunt which takes police into the sewers and face to face with a mercenary terrorist by the name of Bane.

This man recently kidnapped a nuclear physicist overseas and made his way to Gotham, apparently at the behest of someone who’s paid for his services. After a brief but nearly fatal encounter between him and Jim Gordon, Wayne is approached by one of his detectives, a young man named John Blake, tells him Batman needs to come back. He resists these demands, but finds he cannot when the nefarious Bane unleashes his plan and the true scope and nature of it become clear.

Suffice it to say, all these things occur within the first 30 minutes and I felt that every scene suffered from the same basic problem. They felt rushed, expository, and kind of like they were just getting the obligatory stuff out of the way. However, as soon as those passed and the plot began to truly unfold, things improved immeasurably. In a way, the action of the movie told its own story and had a degree of depth that these earlier scenes lacked, and they carried on through to the end of movie.

Plot Development:
As I mentioned last time, this movie was connected to the first in terms of plot. I shan’t go into too much detail since many people still need to see it. But suffice it to say, Bane’s motivations go well beyond being a mere mercenary. While his skills in that regard are legendary, his purpose in returning to Gotham go to the very heart of the first movie’s plot, resurrecting the League of Shadows and the aims of Ra’s al Ghul.

But of course there are twists and subplots along the way. For instance, the man who brought Bane to Gotham turns out to be one of Wayne Enterprises own, a man who thinks a little controlled chaos will destabilize the company and ensure his nefarious rise to power. Against that, there is a project to fund the development of clean energy which Wayne invested half his fortune in but then abandoned, mainly because some scientist found a way to weaponize it. Recall the bit about how Bane kidnapped a nuclear scientist? Uh-oh!

On top of all that, the movie makes some pretty strong points about revolutionary justice and the fact that people can so easily be misguided by self-styled “liberators” into becoming their own worst enemies. At many points throughout the movie, allegorical similarities are made to revolutions in France, Russia, and elsewhere where the mob is incited by the bad guys and themselves become a force of malevolence and revolutionary justice that transforms their world into a place of terror and oppression.

And here, quite brilliantly, connections are made to the second movie and the many lies that were told in order to protect the people of Gotham from the terrible truth. Here too we see another fitting theme, which was the flip-side to what was argued in movie two, about how sometimes the truth isn’t enough. Even if a lie may be more convenient, sooner or later, it comes back to haunt you, and those who lied to protect you end up having to answer for a lot. And the worst thing of that is, those who may have been trying to protect you lose your trust at a crucial moment.

The Third Act:
Unlike the The Dark Knight, this movie didn’t suffer from third act problems. This was something I was on the lookout for after last time and I really wanted to see them succeed, which they did in spades! Yes, things were a little slow to get started, but by the time the climax was happening, things blended together quite seamlessly. Like TDK, there were three strands happening at once, but this time around, they worked with each other, not against. It pains me that I can’t give any details to say why they worked so well together. But trust me, this time around, the climax was done right!

And yes, this is definitely the biggest of the three movies in terms of plot and consequences. In movie one, the League of Shadows hoped to tear Gotham apart by driving it mad. In movie two, the Joker hopes to turn it against itself by inducing mass anarchy. But in this one, Bane and his followers want to do annihilate it, body and soul. For them, there are no compromises, no quarter asked and none given.

It pains me even more that I can’t mention the twists that come at the very end. There are two, to be sure, and I really would like to know what others thought of them. once again, can’t mention them by name. But for those who haven’t seen the movie yet, I will say there are some treats which you have to wait til the end to see. For those who have seen it, then you already know what I’m talking about! What did you think of them and do you think they were alluding to another possible sequel?

Inspirations:

“When Gotham is in ashes, then you have my permission to die.”

Overall, this movie boasts a plot that was clearly inspired (at least in part) by The Dark Knight Returns. A number of fans anticipated this and it was good to see that they went with it after all. Not only were the same themes there – Batman coming out of retirement, forced to deal with age and deteriorating health, and going up against a foe in his prime – there was even some subtle shout outs to the comic itself.

The one which really stands out is the scene where two police officers are chasing after some perps, and Batman zooms in on his bike. The older cop says to the rookie, “You’re in for a show!” and spends the next few minutes trying to tell him just stay out of his way. Right out of the comic! And of course, the fact that Batman actually loses in his first confrontation with Bane and has to recoup and recover, forcing himself to overcome his own demons and complacency to defeat him, that too was something from the The Dark Knight Returns.

But as I said last time, the character of Bane originally comes from the animated series. Though he was little more than a massive, steroid-juiced freak in that version, here they gave him a much more nuanced and believable persona. While he is a gigantic, muscle bound villain, Bane’s real power comes from the sort of imposing, badass, evil nature that Tom Hardy is famous for.

As Alfred was sure to point out, Bane is a man who was forged in the worst conditions imaginable. Being born into misery and darkness, he has no fear of it, and is prepared to deal it in spades to anyone who gets in his way or incurs his displeasure. Whenever that occurs, everything you need to see comes through in the eyes and the baleful glares he gives, which is what makes the fact that they kept his face hidden all the more poignant.

In this respect, he and Batman are highly similar. Having both grown up with their fair share of pain and anguish, they both enlisted with the League of Shadows hoping to find their way. But whereas Bruce eventually betrayed the League for reasons of conscience, Bane was excommunicated for having none whatsoever. Much like Batman and the Joker, we see a sort of “two sides of the same coin” thing happening.

The Villians:
And while I would never want to get into direct comparisons, Tom Hardy’s portrayal of Bane was fantastic and truly badass! Granted, he didn’t have the same low voice that he did in the commercials, more of a Connery-esque accent minus the slurred S’s. But this only added to his imposing nature. He speaks like a oddly upbeat British person, but his imposing size, scary eyes, and sheer badassery round that out quite nicely. When he speaks, you know to be afraid, even if he’s not using an evil voice.

Overall, I’d say he was no better than Heath, but certainly comparable. Whereas the Joker was a sheer force of crazy malevolence, Bane is an unstoppable juggernaut, forged from suffering to become an instrument of terror. How do you compare two titanic forces like that? It’s like comparing apples to oranges. So no real conclusions there, just equally awesome portrayals!

And of course Catwoman was very well played by Anne Hathaway. True to form, she begins as a villain who is working with the forces of evil, but with her own agenda in mind. In time, she comes to see the bad guys for what they are and realizes that she is better served fighting alongside Batman rather than against him. And she did it all believably, faithfully, and managed to pull off some fight choreography that was pretty impressive. In fact, hers was even more impressive than Bales, though he did have to convey an aging Batman and couldn’t exactly steal the show!

Summary:
Alas, the big question… was this movie better than The Dark Knight? Hard to say. On the one hand, it managed to avoid the same problems the last movie had, which was the feeling that things had climaxed before the ending, leading to pacing problems towards the end where there seemed to be a mad rush to wrap things up and the audience was left breathless and kind of confused.

At the same time, they had an awkward opening which the second movie didn’t have. There, Nolan and the writers did a good job weaving action and exposition together to let us know what had happened since the last movie. This time around, they seemed to be rushing through all the introductions in order to get to the action. It’s hard to say which is more important, introduction or conclusion, since both are crucial to how the overall plot is going to be perceived. And ultimately, both movies manage to succeed in spite of these problems.

Second, the villains were well paired. Bane and the Joker were both masterfully portrayed and captured my imagination and literally got me on the edge of my seat. They were the kind of bad guys you didn’t exactly root for, but which made you think being bad could be cool! As for the lesser villains, Dark Knight and Rises differed considerably. Harvey Dent, being a third act introductee, was pretty rushed and never really got to be more than a crazed shadow of his hero self. Catwoman, on the other hand, got a pretty good development through it all, going from being a cynical, “look out for number one” kind of girl to actually caring what happens to Gotham.

So really… I can’t say at this point. Given time, I might be able to say one was better than the other conclusively, but right now, it feels like a neck in neck race. So I think I’ll just call it as dead even. Movies two and three were equally good, and whatever your individual preference, you’re cant go wrong!

Dark Knight Rises is here… and stirring up controversy!

Well, it’s official! The Dark Knight Rises has hit the theaters, and audiences seem unanimously stoked! In less than 12 hours, the Twitter-sphere, blogosphere, and Rotten Tomatoes have been cluttered with people pouring in to sing the movie’s praises. And yet, more interesting is the controversy which seems to be taking root once again. Much like last time, those who have deigned to give the movie a critical review have caused an uproar, in many cases from fans who haven’t even seen the movie yet.

That is apparently what happened shortly before the release of The Dark Knight. At that time, a critic for New York Magazine expressed some negative opinions for the movie, especially with regards to its plot twists. This unleashed a flood of hate mail and online anger towards the critic, on behalf of franchise fans who, as already noted, hadn’t even seen the movie. This time around, the controversy is much the same. Having viewed the midnight premier, critic Marshall Fine posted a review on Rotten Tomatoes that attracted so much hate mail, his website crashed.

Since that time, the review has moved from Rotten Tomatoes, mainly so Fine can get his server running again, but tempers continue to boil. This prompted Matt Atchity, the editor-in-chief of Rotten Tomatoes, to order that the site’s comments feature be disabled for The Dark Knight Rises. He also published an open letter pleading for people to be civil on the issue. But of course, it’s not all the fault of the fanboys. It seems that, again, like last time, trolls have been doing what they do best (i.e. trolling) and inserting links to bogus reviews which are even more harsh just to stir up the shark tank.

And even Christopher Nolan chose to weigh in on the kerfuffle, saying that the fanboys are within their rights to criticize the critic. Sure they are, so long as they understand that freedom of speech cuts both ways. At least he didn’t go to Jacksonian lengths to silence the critic, calling on fanboys to get the person fired. Yes, shortly after a New York Times critic slammed the Avengers, Samuel L. Jackson responded by denouncing him on Twitter. Not good… not good.

I for one look forward to seeing this movie, and not letting one bad review throw off my opinion of it or get me all worked up. Hell, even the last movie had its faults, but that didn’t take away from it being an awesome and memorable movie, especially where Heath’s portrayal was concerned. And if behind-the-scenes photos of Batman and Bane have taught us anything, it’s that even mortal enemies can kiss and make up! Seriously, check out these photos. Tell me that aint the perfect example of a heartwarming bromance!

Update: In the course of writing this, I read about a terrible tragedy in Aurora, Colorado, where a gunman broke into a theater and shot up the premier of The Dark Knight Rises, killing 15 people and wounding at least 50. The man is in custody and police indicated he tried to booby trap his apartment too. What kind of psycho lunatic is this weirdo?!

Luckily, he’s out of circulation for good and will have nothing but bad food, cold showers, whoopings and cavity searches to look forward to for the rest of his unnatural life. You know, events like this make me think we need REAL crime-fighting superheroes out there!