Batman: The Dark Knight Rises

Oh boy, you are in for a show tonight, son. 

What do you do when you can't get hold of a ticket for the new Batman film? Well after the initial panic and nausea you take stock, weigh up your options, then drive 30 miles to catch the midnight showing on a Saturday night. Then get mad at someone for choosing to commit suicide on the bridge you plan to cross, thus prolonging your journey. Selfish, don't they know Batman is on at the Imax?

With all of this hassle and sleep deprivation, was Batman worth it? You bet your cape-covered ass it was. Easily the best film of the year so far (I can't see it getting beaten). 

Scene

Where do I start? Running the risk of spoiling anything, I'll keep the synopsis light. Eight years after Joker's escapades, and with a new baddy in town in the shape of Bane, the Dark Knight must once again rise to save Gotham from a new terrorist threat.

I am literally itching to write more but I don't want to. Just get your ass off to the cinema (preferably an Imax) and find out more.

Take

The Dark knight Rises (TDKR) was inevitably going to be compared to it's predecessor 'Dark Knight', and it was inevitably going to come up short. Dark Knight, with one of the best acting performances in any comic book film ever (and not just because he's dead) was ground-breaking. TDKR was never going to achieve that level of fame. But it came close.


I saw it at the Imax and it was epic. 72 minutes of Imax-shot footage made it into the final cut, more than any other studio film - and it showed. Some of the scenes were truly breathtaking and, for me, worth the fiver more for a ticket.


I have no doubt it would be epic at the cinema too though, don't worry. The sheer scale of the film is impressive. Christopher Nolan doesn't normally do things by half (see Inception) and  TDKR was no exception. 

From the scene seen in the trailer of the football stadium to the epic battle scenes on the streets of Gotham, TDKR goes big on all fronts. Including the story line.


Again, I won't ruin everything but, for me, it was a perfect ending for Nolan's trilogy. I was giddy afterwards.


The only minor discrepancies for me were around Bane's character. I wasn't sure of his voice at first (there was some controversy around this on the sneak preview night if you remember) - it was just a little odd. Menacing certainly but a little odd. I got over it though because Hardy was awesome and his physical presence was exceptional.


The other minor issue was Bane's followers, I'm not sure what I'd call them, and that's kind of the point. As an audience member you're kind of left to guess why they're so fanatically on Bane's side. There are hints at them being 'terrorists' but it isn't explained. I guess the studio didn't want that political angle, probably right considering what happened in Denver.

Director

By now Christopher Nolan needs no introduction. He is easily in the top five directors in Hollywood right now (behind Michael Bay, naturally) and rightfully so. Again, with TDKR, the direction was flawless. 


Considering the vast amount of extras used throughout the film and the hype surrounding the film it is remarkable that Nolan pulled it off. And let's not forget that he co-wrote the film as well. The man is a maverick.


Again the casting was flawless. The usual gang were solid as ever, in particular Michael Caine; his performance was powerful and moving. 


And the tainted Catwoman role was also pulled off with surprising aplomb. I was dubious going in with Anne Hathaway in the PVC, but she handled herself very well. She was sassy and strong enough to be Batman's equal and had enough depth to form an integral part of the subplot.


It goes along way to explaining Nolan's talents when you discuss a Batman film without really mentioning Batman.

And... Cut

Batman was also good by the way. Christian Bale was solid as ever but didn't put in a mind blowing performance, once again outshone by his arch-enemy - this time Bane. The star of the show though is Christopher Nolan.


Nolan has sealed his place in cinematic history. Not just for comic book adaptations, for which the Dark Knight is undoubtedly the King, but for all films ever. 


Opening weekend figures are around the $160 million mark, similar to Dark Knight, which is no mean feat. It's now the third highest grossing film of all time. 


We must all remember that TDKR would also have been affected by that moron shooting innocent people on the opening in Denver. Analysts have predicted that the shooting probably cost the Warner Bros around $15-20 million.


I hope that psychopathic terrorism of the shooting in Denver doesn't take anything away from the genius of Nolan's trilogy and that it is remembered for what it deserves; truly exceptional, epic cinema.

Prometheus

Big things have small beginnings. 

I didn't bother writing a review of Avengers Assemble because, if the box office is anything to go by, every man and his extended family has already seen it. Prometheus however will not be as popular but should still do enough to prove the recession is a myth. And for me Prometheus more than holds it's own with The Avengers.

Scene

Prometheus is Ridley Scott's triumphant return to the sci-fi arena. The film falls within the confines of the Alien Mythology as a 'prequel' to Scott's 1979 masterpiece (however much Scott denies this, stop lying!), but thankfully steering clear of any Predators. From the opening shots of Prometheus you'll note it's similarities with Ripley's ship, albeit with a few more Apple-esque gizmos. The film charts the progress of a group of scientists and explorers who, using an ancient 'map' and trillions of Weyland Industries dollars, set out to meet their maker. However, inevitably, shit doesn't go to plan.

Take

The general consensus amongst the critical elite is that the film tries to tackle some grand issues but ultimately ends up a little muddled, and it's hard to disagree. It lacks the simplicity and directness of the original Alien films. Ultimately Prometheus explores a complex subject matter and asks some poignant philosophical questions, but the answers are watered down by confused lines of narrative and annoying plot holes.

Whilst not visceral then, it doesn't lack on the visual. In terms of cinematography the film is a behemoth. As you would expect from a reported $130 Million budget the CGI was fantastic. That budget probably went some way in securing the acting talent of Noomi Rapace, Idris Elba and the show-stealing Fassbender. The latter plays the android 'David' and, like in all good sci-fis, his ambivalent intentions are a constant tension builder. Rapace too was excellent. I expected her to be a modern Ripley (Sigourney Weaver) but she was surprisingly feminine, with an inner strength that grows with the need to survive.

It is difficult to discuss the plot without giving anything away and, like the trailer, I don't want to spoil the fun. What I will say is the film does aim at exploring the origins of the Alien species and tackles the almighty question of who created the human species.  But as I said above the answers just seem contrived. I left the cinema in awe of CGI, not the storyline. Unlike Inception, which was both beautiful and thought provoking, Prometheus lacked precision in the script. My friends and I discussed various plot points sure, but for a film with  a script of such grandeur, I wanted more. Reading more online I soon realised that I am not alone and various sources have drawn my attention to some upsetting plot holes. Obviously, you'll not want to read if you haven't seen it, but if you have this forum post is worth a read.

Director

I would have hoped that Ridley Scott would have stamped his authority and told the script writers Jon Spaihts and Damon Lindelof to buck their ideas up. But, out of love for the man's genius, let's just say he was overruled and told to focus on making it look breath taking. So he was a winner! Scott used 3D cameras for the entirety of the film and the results are remarkable.

With Prometheus critics and viewers are obviously going to draw comparisons with Scott's previous works, in particular Alien and Blade Runner. In this case Prometheus falls flat but this is hardly fair. If you view Prometheus as a standalone film it triumphs. Kind of. Even now, after giving it a lot of thought, the plot holes niggle at my insides like a chestburster [sorry]. If you forgive the plot's shortcomings, stick on your 3D glasses and leave your analytical mind at home, I think you can enjoy yourself. Maybe go hungover?

And... Cut

Don't listen to me, go and see it. Seriously, ignore what I just said about the plot holes and lack of satisfactory answers and go and see it. You'll love it, honest. That wasn't sarcasm, I genuinely think it was an excellent film. As Ben Child of The Guardian writes; "I  enjoyed Prometheus, but I wonder if it may come to be seen as a textbook example of how no amount of money and talent can guarantee a great work of art." Negative yet annoyingly accurate. But it is important to remember that Prometheus is jaw-droppingly beautiful and has a plethora of excellent actors. This is not enough to make it film of the year, or mark it as another Ridley Scott masterpiece, but it is enough to ensure you should visit the cinema.

The Raid: Redemption

Pulling a trigger is like ordering a takeout...

Like injecting caffeine into your eye socket, this film packs a punch. And a stab. And a nightstick to the kidneys. Think Enter the Dragon, if Tarantino directed it and you’ll get the idea. Pure, brutal, action in all it’s glory. I don’t pack enough hyperbole in my lexicon to do justice to the choreography and camera work involved in some of the fight scenes.

Scene

Blink and you’ll miss the back story. The film opens with Rama (Iko Uwais), a rookie SWAT cop, saying goodbye to his pregnant wife before going off to raid the multi-storey flats that a drug baron calls home. There’s a couple of wee twists in there but don’t have any illusions; the premise is cops trying to reach the top of the apartment block and a whole mess of fighting in between.

Take

It’s as simple an action story as Die Hard, and just as awesome. There are some truly inventive shots and you really get a sense that you are physically watching each knee and fist connect with it’s opponent. Not in a fast-paced, I’m-getting-nauseous-watching, Bourne kind of way, but just excellently choreographed fight scenes. Oh and the gore, the gore is glorious. The film obviously had a reasonably low budget but you never notice, probably because each of the stab wounds inflicted by Rama’s hunting knife are so lightning quick.

After the film finished I stood up and felt like I needed to sit down again, such was the pace of the film, it was almost exhausting. The end fight scene is incredible. This isn’t it but gives you an idea of what’s in store:

Director

I have no idea how Gareth Evans, in many respects a rookie director, made such an excellent film in Indonesia with an entirely Indonesian cast. Does he speak Indonesian? You bet your ass he doesn’t. He couldn't be more Welsh. Nonetheless, let's not hold it against him. This man will get a bigger budget and will come back with something special, I guarantee it. I just hope he doesn’t agree to get involved with the remake. See here to read about it but try not to cry.

And... Cut.

It’s a two hour action sequence, what’s not to love? You must see this in the cinema, it is fantastic. Oh and I didn’t mention the soundtrack. Mike Shenoda from Linkin Park was the man and he did a fantastic job. Also, check out the credits at the end, all the bodies gave the crew a bit of a tough time in coming up with feasible character titles so I think they just gave up. 

Pirate bay to be blocked in the UK.

Our Poor Friends in Sweden

In what I am sure will be the first of such acts, our friends in Sweden, aka Pirate Bay, will be blocked by five ISPs in the UK. I know this isn't technically movie news but I felt moved to write something. I am still reeling from the horror of this communist act by Dave Cameron and his cronies.

Although, just to throw the cat amongst the pigeons, we don't feel any animosity towards the British Government intervening with the take down of child abuse websites (interfering would have been the wrong word), do we? Child abuse is rightfully outlawed and websites promoting the act are outlawed too. So why shouldn't a website like Pirate Bay be illegal also? It actively allows it's users to obtain illegal material which directly infringe copyright. 

Ahoy Bill, you CISPA supporting mother trucker.

I would never pay for a film like, say, Conan the Barbarian, that would be absurd. Yet I would download it, which is the point of this blog. In society today there is a line between what we would pay for and what we would, if we don't get caught of course, obtain illegally. I don't care what you say; downloading a film/CD/etc is not the same as sticking up a bank or pinching a Milkybar from the co-op. I don't care if some fatcat at Universal doesn't get his bonus this year, or some coked up rockstar doesn't sell as many EPs. I speak in hyperbole but so do politicians, my point is that even with piracy the industry will still make a profit. Most people, like myself, download shit that we wouldn't pay for, and would gladly pay to go and see a film that is worth it. 

Anyway, rant over, what do you make of it all? This Guardian article is quite interesting. Feel free to comment (UNLESS THEY BAN FREE SPEECH...).

Lockout

I'm getting beat up by a guy named Rupert?

Luc Besson wrote it so you’re in right? RIGHT? It’ll be like Fifth Element but with more cheese and bigger guns! Well Guy Pearce’s arms at least.
Reading about the film I was sold by Besson alone. But then I heard it was to be an unashamedly 80s throwback and I giggled like a schoolgirl. The question of course is did it deliver? It was meant to be a film without any pretenses; a cool sci-fi with some awesome action sequences and sharp one-liners. Unfortunately it lacked any real explosive power and I was left wanting more.

Scene

Set in the near-future (obviously) Lockout follows a falsely convicted ex-government agent who is given the chance of freedom. All he has to do is break into a maximum security prison where the prisoners have escaped and rescue the president’s daughter. Oh, and the prison is in space.

Take

If you’re looking for an intelligent, tense and powerful sci-fi wait for Prometheus, because Lockout ain’t it. You really need to find out a bit about the film before you go and see it, hence why I’ve stuck the first five minutes below. I went in with low expectations, with the main attraction being a dry script with plenty of humorous quips. And, to be fair, it didn’t disappoint on that front.

The disappointment lay in the lack of tension, the poor CGI and the predictability of the screenplay. The 'futuristic' motorbike chase in the beginning of the film is a joke, like someone made it on their home PC and the production team copied and pasted it from youtube. The script genuinely saves the day. That and Guy Pearce's delivery of it. It is proof that post-Die Hard one-liners can still be credible, if only as deadpan sarcasm.


Whilst Guy Pearce's performance was sterling, for it was Joseph Gilgun's role that stole the show (see above). You'll know him This is England (all of them), he played Woody, but you wouldn't recognise him in Lockout. He plays a crazy-ass Scottish lunatic who is always fucking up, with hilarious consequences. I really hope to see him in more stuff.

Director

The Directors, James Mather and Stephen St. Leger, who also co-wrote, can hardly claim to be masters of the craft but there weren't any glaring errors. Of course the CGI was shit, there was a lack of urgency in moving the narrative along and there was a lack of inventiveness in the editing for a sci-fi, but let's not focus on the negatives you know? The few fight scenes were reasonably sleek and there was palpable chemistry between Guy Pearce and Maggie Grace so let's leave it at that.

And... Cut.

Well they say Love is blind, and it couldn't be truer than my perception of Lockout. It was slammed by the critics and arguably they're right. But I love Luc Besson, the script was cool and the film was buoyed by some strong performances. I didn't mention Maggie Grace (Taken) who was smoking as ever. 
[Whilst writing this I have just discovered that Luc Besson is working on Taken 2 and now I’ve become distracted.]
So whilst it was disappointing in places, and it's certainly not Besson's finest work, it's definitely worth watching. But it's not worth wasting £8 at the cinema, that'll just make the bad CGI bigger.

Rampart

You are the most Beautiful Woman I’ve ever seen... In this bar.

Woody Harrelson- Everyone’s favourite vegan. Mine anyway. And Rampart is classic Woody territory; indie, quirky, brutal and achingly cool, it is truly an excellent film.

Scene

Woody Harrelson plays David Brown, an LAPD cop and classic (some would say cliché) anti-hero. He’s a drunk, a womaniser and he doesn’t play by the rules, but man does he get it done. He lives with his girlfriend and his ex (they’re sisters, don’t ask) and two kids (thankfully from the same woman), yet he still finds the time to sleep around. The film basically follows Rampart as he becomes embroiled in a PR battle against the LAPD after being caught on tape beating a guy up who had just crashed into his patrol car. 

Take

Firstly, right off the bat, I want to make it clear that to describe Rampart as a cliché cop film couldn’t be further from the truth. Rampart is an intelligent film, masterfully shot and with a razor-sharp script.

Harrelson’s performance is up there with Natural Born Killers, portraying the classic dichotomy of character, brutal and slightly twisted yet undoubtedly misunderstood and with a tenderness that has all but rotted to the core. David Brown is a man seemingly without conscience, love for his family is all he clings onto as the world around him (albeit via the microcosm of LA) falls to ruin. The storyline charts part of this decline and Woody plays the broken hero magnificently.

Of course we have seen this washed up drunk who is deep-down-adorable countless times before but Rampart seems to avoid being tiresome. Brown smokes more than the cast of Mad Men combined and drinks like a fish but he doesn’t turn to drink to solve his problems, and he is much more upbeat than, say, Bruce Willis’ character Hartigan from Sin City.

I’m surprised Bruce Willis wasn’t in Rampart to be honest, the supporting cast was excellent. Steve Buscemi, Sigourney Weaver, Ben Foster, Robert Wisdom (from the Wire!) and even that ginger chick from Sex and the City that made the warty one look attractive.

Director

Oren Moverman is relatively unheard of but he should be given a decent budget after Rampart, which he co-wrote as well.

In terms of direction the film excels. In parts shot like a ‘cop documentary’, in parts art house, it is anything but ordinary. Pompous as it sounds I particularly like the use of the colour red throughout the film, portraying lust, love and anger. Watch it, you’ll notice it. And I must mention an excellent scene in which Brown and one of his conquests are having a discussion whilst watching Flamenco, with the dialogue becoming heated as the dance reaches its climax: brilliant metaphor.

And... Cut.

It’s difficult to write a review for Rampart without sounding like a film student who has seen too many Stanley Kubrick films but it has that affect on you. It’s powerful, enthralling and enwraps you from the beginning.

Unfortunately my local cinema only shows Disney films and Rhianna covered in seamen so I didn’t get to see Rampart at the cinema. If you can go and watch it, do it, if you can’t then buy it. If you’re poor download it because you need to watch it. Unless you just want Walt Disney and seamen, in which case I can’t help you.

War, Inc

Tamerlane used the exact same RPG firing pin rod assembly technology that it uses in the prosthetic knees of its dancing legs.

It has tanks, it has wit, it has anorexics who demand fried chicken, what more do you want?

Scene

If have I got News for you did an entire film taking the piss out of the war in Iraq and various other aspects of American ideology; it would be like War, Inc. Although I don’t think Paul Merton would be as good as John Cusack (no offence Paul). The film is set in fictional “Turaqistan” where war has become privatised and everyone wants a piece of the pie. Brand Hauser (Cusack) is an assassin posing as a Trade Show Producer who has to take out an oil tycoon, organise a high-profile wedding and keep a sexy left-wing reporter in check. Sounds crazy right? It is. Bat-shit surreal.

Take

I swore I’d never forgive John Cusack after “2012” but technically this was made before so we’re ok. Oh and I might still see that Edgar-Allen-Poe-as-a-detective film, The Raven, just because I’m a sucker for punishment.

I don’t know how Cusack ever got the budget for the film but I am glad he did. Co-writing, producing and acting might have helped fund the thing I guess. And some money for advertising Popeye’s chicken maybe. As I said the film is surreal, and certainly attempts to make some poignant remarks about the commercialisation of war and Western Culture in general. On the whole I think it achieved it’s aim but you can’t help but feel that some of the satire was lacking in ferocity. It wasn’t quite as blunt as say, Four Lions.

However an excellent cast certainly help matters. John Cusack is formidable as the soulless satire of an assassin (poetry) but for me the star of the show was Joan Cusack (sister not wife) who was laugh out loud mental. Brittany Murphy is in it too, she is borderline anorexic, or attractive as some people would call it. And then you’ve got Ben Kingsley as the Vice Roy and Dan Ackroyd as a ‘vice-president’ (unmistakably Dick Cheney), brilliant!

Director

Not much to say about the director, Joshua Seftel, he is relatively unknown. He did some Queer Eye for the Straight Guy? Who gives a shit.

And... Cut.

It was good to see John Cusack only acting that he had lost his soul, not actually doing it like he did in 2012. War, inc is the kind of film Cusack belongs in. It’s up there with the highlights of his career, High Fidelity and Being John Malkovich. Cusack isn’t a superstar, he’s a poor man’s Kevin Spacey and I like him better for it. War, Inc is an indie film, which is what Cusack should stick with.

Some of the critics were harsh but fuck ‘em, this is worth seeing. And you’ll probably get in the bargain bin at Blockbuster for £1.50.