Part 1 Part 2 Part 3
Eric Roberts in The Pope of Greenwich Village (1984), not a very good film, but not as bad as Roberts's hair.
Two more from The Pope of Greenwich Village. Great cast (including 80s superstar Mickey Rourke), bad film.
Saturday Night Fever (1977) has several shots of the Towers.
Once again the Twin Towers are symbolic of success that young John Travolta wants.
Near the end of Serpico (1973) before he gets shot in the face, Al Pacino is on the rooftop.
Released just last year, We Own the Night not only included the Twin Towers on its poster, but added them to the New York skyline late in the film. Very subtle – it has nothing to do with the scene.
Just prior to the climax of Made, Jon Favreau is finally close to success with the mob.
When he turns, the World Trade Center is revealed.
Released on July 13, 2001, Made was one of the last films released to feature the Twin Towers prior to 9/11. I’ve read somewhere that American Pie 2 (released August 10, 2001) holds that distinction.
Obviously not a film, but a pop culture reference, nonetheless. This album cover is Supertramp’s Breakfast in America, a guilty pleasure of mine. I smiled while watching Magnolia in the theater when both “Goodbye Stranger” and “The Logical Song” (both on this album) played during the William H. Macy bar scenes. If Supertramp’s good enough for Paul Thomas Anderson, then they’re good enough for me.
Can't wait to see this documentary.
Wednesday, August 6, 2008
Twin Towers in the Movies - Part 4
The Mist (and other Cinematic Abominations)
The Mist - 2007 
After being fairly warned, I proceeded to throw The Mist in the DVD player, thinking Frank Darabont would be capable of subtlety and craft a tense film with political undertones. I haven’t hated a movie this much in several years. Darabont uses some nice zooms and creates an imposing sense of dread in the supermarket. But instead of a suffocating man-vs-nature message movie, it’s nothing but a clichéd crappy monster movie. Surprisingly, the monsters are shown early on (too early) and so early that Darabont must out-gross and out-gore himself every time they are shown again. The people turning on each other is predictable, just as predictable as Hollywood making religion and the military the bad guys. Marcia Gay Harden gives a career-worst performance (admittedly in a tough role) as the religious zealot. But Thomas Jane is OK as the lead. But what Jane is asked to do in the closing scenes is unconscionable (mercy killing your own son). I don’t need a happy ending, but I do need one that makes sense (In Bruges comes to mind). D
(click below for more abominations)
Cape Fear – (1991)
A year after Goodfellas, Martin Scorsese returned with this disaster where all his tricky camera angles, fast cutting and creepy atmosphere can’t save a deeply unpleasant story. Robert De Niro (in his last Oscar-nominated performance!) bites off Illeana Douglas’s cheek and shoves his thumb in a high schooler’s mouth. Worst of all, he enjoys Problem Child in the theater. That’s already horrible, but throw in married couple Nick Nolte and Jessica Lange being cruel to each other and their daughter Juliette Lewis hating them and the whole thing is unwatchable. You don’t care if De Niro kills them or not. You’re kind of rooting for him. Then he gets his face burned off and speaks in tongues. A gigantic waste of time and talent. C-
Kansas City - 1996
This is basically mediocre, boring Robert Altman until the end, when Harry Belafonte cuts out Dermot Mulroney’s intestines, which is pretty disgusting. Even for dudes like me who like what Altman can do when he’s on, this is one tedious experience, horribly acted, written, and paced. Worst of all, in his 3 Women commentary, Altman insists this film is better than The Player and Short Cuts. Not quite. This might be better than Pret a Porter, but I wouldn’t know since I haven’t seen that one in its entirety. D+
Alien Resurrection - 1997
I love the first 2 installments of the series and think David Fincher’s Alien 3 is underrated. This one is just disgusting with gore and repetitive action. Sigourney Weaver’s DNA is fused with the alien’s. Ripley’s clones-gone-wrong are nauseating. Winona Ryder is lost in her role, a complete waste. French director Jean-Pierre Jeunet fills the screen with exciting and thought-provoking visuals, but can’t control the action or the dialogue. He would fare much better in his follow-up film: the inspiring and delightful Amelie. D
Hannibal - 2001
Saving the worst for last, Ridley Scott squeezed out this turd in between 2 excellent films (Gladiator and Black Hawk Down). Given its pedigree, Hannibal is the most disappointing movie ever. Jodie Foster looks like a modern-day Nostradamus by refusing to reprise Clarice Starling, her Oscar winning role. Anthony Hopkins is merely cashing a paycheck, demonstrating none of the intelligence and insight of his original interpretation in Silence of the Lambs. The main problem with Hannibal is the story, which is filled with a disemboweling and pigs eating people. And by the way, Ray Liotta eats his own brain and Lecter feeds part of Liotta’s brain to a young child, noting that it’s always good to try something different. Ridley Scott crafts a film that is beautiful to look at and beautiful to listen to. But I’ve never hated a movie this much before. The Mist comes close. D-
Tuesday, August 5, 2008
DVD and CD Releases - August 5th
Recent DVD Releases: 
The Counterfeiters
Miss Conception
Nim's Island
Rogue
Starship Troopers 3: Marauder
Click below for more DVD and CD releases.
DVD Special Editions/Other Releases:
TV Box Sets:
Ben 10: Season Four
Family Ties: Season Four
Get Smart: Season One
Star Trek The Original Series: Season Two
Special Editions/Other Releases:
Fortress
New CD Releases:
Joseph Arthur - All You Need Is Nothing
Closure In Moscow - The Penance & The Patience EP
Faint - Fasciinatiion
Ernie Halter - Starting Over Digital release Jul 15
Hawthorne Heights - Fragile Future
LL Cool J - Exit 13
Mike Mangione - Tenebrae
Heidi Newfield - What Am I Waiting For
Randy Newman - Randy Newman
Ne-Yo - Year of the Gentleman
Conor Oberst - Conor Oberst
There For Tomorrow - There For Tomorrow EP
Sunday, August 3, 2008
3 Funny Videos
1. Only funny if you've seen The Dark Knight, this Aziz Ansari clip is great.
2. Triumph the Insult Comic Dog at Comic-Con.
3. Follow-up to the James Franco videos I posted before.
Dark Knight in IMAX - A
So, we've 
already beat The Dark Knight to death, but for my second showing I went to the IMAX for the full experience, and I thought I'd post some significant observations. First, there appeared to me to be more than 4 scenes in IMAX (opening Heist, Hong Kong, nighttime flight scenes over the city, Caine reading, the blowup of Gotham General with the joker, and the penultimate drive of Dent to 'County'). Second, the clarity and scope of those scenes truly makes you a part of them. The Dent drive and subsequent Batman/Joker street fight is breathtaking and visceral when blownup to 10 stories. My grade for the film remains at an A-, although the experience in IMAX is definitely an A. The repeat viewing allowed me to focus more on the political overtones and subtle features of the film, all of which exceeded my memory of the first screening.
The Yards - B+
On DVD (2000). Rated R, 115 minutes. Trailer.
After director James Gray, Joaquin Phoenix and Mark Wahlberg reunited for last year's serviceable We Own the Night, I thought it might be worth seeing their original collaboration, The Yards.
Click below for more YARDS:
The basic structure of the films is the same, but set in the criminal side of things instead of the police force, as in We Own the Night. Wahlberg stars as the brooding son of the suffering Ellen Burstyn who returns home from a stretch in prison to find making ends meet as a parolee is difficult to do the right way. Phoenix is the slick high roller that doesn't seem to have any skills despite his load of money. In the middle are patriarch James Caan and the love interest of both Phoenix and Wahlberg, a raven haired Charlize Theron.
After a series of involvements and bad situations, Wahlberg is done wrong and hung out to dry as an easy to blame target for Caan and Phoenix. There are slight shades of the Godfather in the tone and filming of several scenes, as well as the shadowy backdrop for the film. This is a really interesting movie with good performances and a smart plot and screenplay. Almost an A-.
Saturday, August 2, 2008
ABA list of 25 Greatest Legal Movies
The American Bar Association has "The 25 Greatest Legal Movies" here. Included on their website is Daniel Day-Lewis in the cruciform pose. A mind-blowing DLP convergence.
Click below for the complete list, some comments, and the 25 (or less) honorable mentions.
1. To Kill a Mockingbird - (A)
2. 12 Angry Men - (A)
3. My Cousin Vinny - (B) - well acted and consistently humorous.
4. Anatomy of a Murder - (A-)
5. Inherit the Wind - (C+) - long-winded and tedious
6. Witness for the Prosecution - (A-)
7. Breaker Morant - (B+)
8. Philadelphia - (B)
9. Erin Brockovich - (A-)
10. The Verdict - (A-)
11. Presumed Innocent - (B)
12. Judgment at Nuremberg - (B+) - tough concentration camp scenes
13. A Man for All Seasons - (A-)
14. A Few Good Men - (B) - too slick for its own good
15. Chicago - (B)
16. Kramer vs. Kramer - (B+)
17. The Paper Chase - (B-) - John Houseman is great, though.
18. Reversal of Fortune - (A-) - Underrated gem.
19. Compulsion - (A-)
20. And Justice for All - (B-) Pacino overdoes it.
21. In the Name of the Father - (A-) - DDL sings Bob Dylan.
22. A Civil Action - (B) - Solid film.
23. Young Mr. Lincoln - (A-) - Should be much higher.
24. Amistad - (B) - Great performance from Anthony Hopkins
25. Miracle of 34th Street - (B-)
And the 25 Honorable Mentions:
The Accused
Adam’s Rib
Beyond a Reasonable Doubt
The Caine Mutiny
Class Action
The Client
Counsellor at Law
The Court-Martial of Billy Mitchell
The Devil’s Advocate
The Firm
The Fortune Cookie
Ghosts of Mississippi
Intolerable Cruelty - Looks better all the time
Jagged Edge
JFK - Should be in top 25
Legally Blonde
Liar, Liar
Michael Clayton - Should be in top 25
Music Box
North Country
The Pelican Brief
The People vs. Larry Flynt
Primal Fear
The Rainmaker
A Time to Kill
Notable omission: Paths of Glory
Friday, August 1, 2008
Shine a Light - B-
Martin Scorsese is already responsible for the best concert movie (The Last Waltz) and has used Rolling Stones songs very frequently in his films. Hopes were high for this Rolling Stones concert film, but unlike The Band’s “last concert”, the one found in Shine a Light is merely one of thousands for the Stones, only special because of Scorsese’s presence and the endlessly moving cameras. Scorsese seems to be apologizing early in the film when it’s clear he doesn’t know the set list and is frustrated about its late arrival. Indeed, it’s the choices of the songs (and, yes, lackluster performance) that ultimately disappoints. 
(Click below for more on Mick, Keith, and Marty)
Mick Jagger is still giving his unbelievably energetic performance, but can no longer hit the high notes and sings whole verses an octave lower. He sounds like he needs a gallon of water. The self-parody that is Keith Richards is somehow allowed to sing lead vocals for 2 of the songs (not well). His guitar playing doesn’t mesh with Ronnie Wood or bassist Darryl Jones. In fact, you can barely hear the bass throughout. A horn section is inexplicably used (what is this, Huey Lewis and the News?) and doesn’t really fit with the band either. There are some highlights including "Jumpin’ Jack Flash", "Sympathy for the Devil", and "Brown Sugar". But there are far too many throwaway songs and the guest performers Christina Aguilera and Jack White fail to ignite a spark (Buddy Guy almost does). This pales in comparison to The Last Waltz, where the guest performers included Bob Dylan, Eric Clapton, Joni Mitchell, and Van Morrison.
The set is superbly ornamented and the lights fill the screen with strong oranges, reds, and blues. Shot for IMAX, the image quality is crystal clear. The film is a visual wonder, if only it sounded better. Scorsese uses frequently hilarious archival outtakes to separate the songs. Most of the archival footage has band members discussing their future plans and longevity. Scorsese parodies himself with a closing shot that proceeds through a crowd of people (like the Copacabana shot in Goodfellas), then goes outside and pulls back into the sky showing a birds-eye view of New York (just like in Gangs of New York). The film’s title is appropriate since it’s the lights, sets, and camera moves that dazzle. “These light are burning up my ass!” Jagger yells near the end. Mick, those lights are saving the film. B-
Tuesday, July 29, 2008
The Soup's Joel McHale on Tour
Given the amount of laughter produced in my house from The Soup each week, it bears mentioning that host Joel McHale is coming to Dallas next Friday, August 9th, at the Majestic (8:00pm).
Continue reading this postDVD and CD Releases - July 22nd & 29th
[Sorry I missed last week - the releases for the 22nd are below]
July 29th DVD Releases: 
The Band's Visit
Doomsday: Unrated Edition
Harold and Kumar: Escape from Guantanamo Bay
Never Back Down
Shine a Light
Click below for more DVD and CD releases.
DVD Special Editions/Other Releases:
TV Box Sets:
Beverly Hills 90210: Season Five
Centennial: The Series
Freakazoid!: Season One
Girlfriends: Season Four
The Hills: Season Three
Human Body: Pushing the Limits
Law and Order SVU: Season Seven
Tiny Toon Adventures: Season One, Volume One
Witchblade: The Series
The Wiggles: You Make Me Feel Like Dancing
Special Editions/Other Releases:
Dark City: Director's Cut
Inglorious Bastards: Explosive Edition
Lost Boys: The Tribe
Stargate: Continuum
Surfwise
WarGames: 25th Anniversary Edition
WarGames: The Dead Code
New CD Releases:
Coolio - Steal Hear
Alice Cooper - Along Came A Spider
Richie Havens - Nobody Left to Crown
Rick Springfield - Venus in Overdrive
Andre Williams Can - You Deal With It?
Young Jeezy - The Recession
-------------------------------------
July 22nd DVD Releases:
21
The Last Winter
Turn the River
DVD Special Editions/Other Releases:
TV Box Sets:
Las Vegas: Season Five
The Legend of Zelda: The Power of the Triforce
Masters of Horror: Season Two
Robot Chicken: Star Wars
Spaced: Complete Series
Special Editions/Other Releases:
The Boston Strangler: The Untold Story
Kiss of the Spider Woman: Collector's Edition
Picture This!
Six Reasons Why
New CD Releases:
Sugarland - Love on the Inside [sounds priest-y]
Miley Cyrus - Breakout
U2 - Remastered Boy, October and War
Paul Weller - 22 Dreams
Black Kids, "Partie Traumatic"
Black Sabbath, "The Rules of Hell"
David Bowie, "Live in Santa Monica '72"
Candlebox, "Into the Sun"
Dr. Dog, "Fate"
Bob Dylan, "Best of Bob Dylan's Theme Time Radio Hour Vol. 2"
Noel Gourdin, "After My Time"
Buddy Guy, "Skin Deep"
Janis Ian, "Best of Janis Ian--The Autobiography Collection"
Danny Tenaglia, "Futurism"
Sunday, July 27, 2008
The Dark Knight Box Office
I’m not usually one to discuss box office much since it has even less to do with quality than the Oscars, but there is something quite extraordinary going on with The Dark Knight. It’s already made around $315 million in 10 days, the fastest money-grosser ever and it’s hard to say where it will end. $500 million doesn’t look like too much of a stretch, but Titanic’s $600 million seems safe. Get as much as you want about this here.
John Adams - B+
This HBO miniseries aired in March and April 2008 and was nominated for 23 Emmys (most this year) this past week. It’s based on the Pulitzer Prize winning novel by David McCullough and stars Paul Giamatti as the 2nd U.S. President and Laura Linney as his wife Abigail. There are seven parts (now on DVD) span from Adams defending British soldiers from the Boston Massacre in 1770 to his death in 1826 . . .
For history junkies like me, quality shows (or movies) like this are rare. Everyone from top to bottom speak intelligent, often witty dialogue. Characters’ motivations are quickly yet perfectly laid out. The famous founding fathers are well-played by David Morse (George Washington), Tom Wilkinson (Benjamin Franklin), and Stephen Dillane (Thomas Jefferson). It’s great to watch the strengths of all the men used to their full effect to support such a complicated and tricky endeavor. It's also great to see one of the lesser-known founding fathers finally get his day in the sun.
The music by Joseph Vitarelli is obviously inspired by Last of the Mohicans, but is still as dynamic and rousing has anything heard on television in recent years. There are too many tilted camera angles by director Tom Hooper, but the sets/costumes/locations are impressive. There are several moments of R-rated violence, from a realistic tar-and-feathering, to kids with small pox, to a squirm-inducing leg amputation. And that’s just the first 3 episodes. At 501 minutes, I haven’t squeezed the time in to watch it all yet, but if you’re inclined to watch historical dramas, the founding fathers have never been done as well. B+
Miscellaneous
1. W. Trailer Looks interesting, at least...must-see for me.
2. Darren Aronofsky directing Mickey Rourke in a movie called The Wrestler? And following it up with a new Robocop incarnation?
3. Must Download: "Long Haired Country Boy" - Charlie Daniels Band. Best verse: A poor girl wants to marry, And a rich girl wants to flirt.
A rich man goes to college,And a poor man goes to work.
A drunkard wants another drink of wine,And a politician wants a vote.
I don't want much of nothin' at all,But I will take another toke.
Saturday, July 26, 2008
Stop-Loss - C-
A decorated sergeant (Ryan Phillippe) returns to Central Texas after his tour in Iraq. His last mission was a failure and several of his men died. This incident makes him want to leave the military and live the simple life. But when he is called back into duty via a clause in his contract, he sees this as a “back-door draft”. After punching out some military police, he goes on the lam with his best friend’s fiancée (Abbie Cornish). Meanwhile, his old friends and war buddies (Joseph Gordon-Levitt and Channing Tatum) struggle at home as they prepare to go back to Iraq.
Click below for the rest.
The movie goes way out of its way to make Phillippe a hero. Of course he’s from Texas, because a story with an AWOL coward as the “hero” wouldn’t be as valid if he was from San Francisco. The worst Texas stereotypes are reproduced as only Hollywood jerks and Northeast liberals can. Phillippe tells his commanding officer (a pretty-good Timothy Olyphant) that he’s fulfilled his commitment to the army and not returning, but I’ve read lots of places this stop-loss “loophole” is hardly one at all – it’s stated explicitly in the contract that men and women sign when they go into the military that they may have their tours extended if there are an insufficient number of well-trained soldiers to take their place.
But setting the politics aside (somewhat impossible for a film as one-sided and politically motivated as this), the film just doesn’t work as a movie. The men drink a lot, make a lot of mistakes, and say stupid and nasty things to each other. Motivations of the characters aren’t well-explained and/or are senseless. The film seems to be heading toward a serious conflict at the Canadian border until it takes a hard right turn (or is it left?) and decides to sell out its own agenda. It’s the worst deus ex machina in recent memory in one of the most infuriatingly naïve and blatantly motivated films of the year. C-
21 - C
Ben Campbell (London-native Jim Sturgess) wants to go to Harvard Medical School after he graduates from MIT. That will cost 300K – tough to reach making $8/hour at a men’s clothing store. When he’s recognized as an unflappable math genius by Professor Micky Rosa (Kevin Spacey), he’s invited to participate in a “club” that goes to Las Vegas on the weekends to count cards and make big bucks. Of course, when millions of dollars are involved, there will be double crosses; there will be payback; there will be blood.
Click below for the rest.
Campbell initially declines to participate, then suddenly agrees. Likewise, love interest Jill (Kate Bosworth) declines Ben’s advances, and then suddenly jumps him. It’s like most of the character-building scenes were deleted, but the film still feels long at 123 minutes. It also lacks dramatic tension throughout. Since it opens with Ben getting pursued at a casino then flashes back, you already know he’ll join the group, won’t get caught by the cops, or searched by airport security (nice Moby track!). The change of editing and lighting styles between the Boston scenes and Vegas scenes are a nice touch, but some of the other directorial choices are uninspired (Ben sitting at a card table slowly moving while everyone else moves fast – indicating the passage of time – haven’t seen that since last week.) 
As a casino security expert, Laurence Fishburne exudes force, but does not induce fear. Spacey hasn’t been this good since American Beauty, which isn’t saying much, but it’s nice to see him relaxed and having fun. Sturgess is as stiff as he was in Across the Universe, but how else would you play a 21-year-old MIT student – like Bluto Blutarsky? Based on an actual events and a book, the real MIT students were all of Asian descent (save one) - including Campbell’s character (Jeff Ma – in real life). Here the lone Asian male is a kleptomaniac and the lone Asian female is ditzy and fragile. Nice going, Hollywood. The movie is watchable during the Vegas scenes, but that can’t make up for the familiar and forgettable Boston scenes. C
Friday, July 25, 2008
A Ricky Gervais Moment
Nothing on the US version of The Office comes even close to David Brent's Free Love Freeway.
Continue reading this postThursday, July 24, 2008
Superhero Movie Article
Great article assessing this summer's glut of quality superhero films, and the limitations of the genre. And here's Christopher Nolan discussing The Dark Knight, in particular the IMAX filming.
Continue reading this postWednesday, July 23, 2008
The Great Debaters - C
In 1935, the small all-black Wiley College in Marshall, Texas forms a debate team that will eventually beat the National Champs at Harvard. There are few surprises in the paint-by-numbers plot, including a love triangle and a developing father-son relationship. Everything is respectfully and ardently recreated and performed. But the whole thing just sits there, taking no risks, and giving us nothing we haven’t seen in hundreds of underdog movies since the original Rocky. Worst of all, for a story based on debate, which relies on historical references and accuracy to prove points, the movie makes egregious mistakes in its facts. I can look past a too-early reference to Hitler. But the real Wiley College faced the University of Southern California (not Harvard), and while they did “win”, they did not receive a trophy since they weren’t a recognized debate team.
Click below for the rest
Produced by Oprah Winfrey, white people in the film are shit-kicking hillbillies, racist redneck cops, or snooty elitist pricks. The movie wants the viewer to realize black people have been unfairly maligned for generations and portrayed as stereotypes. But then returns the favor by using the worst stereotypes of white people. The debates also play up the white liberal guilt. When a black debater is about to lose, he’ll talk about lynching and win. It’s like a Jewish debater yelling “Holocaust!” or an Irish debater yelling “Potato Famine!”
Executive producer Harvey Weinstein did get one thing right. Denzel Washington was originally hired to only direct, but was convinced to take a major acting role. He’s his usual dynamite, charismatic self and impossible not to watch. But when he’s off-screen you’ll be checking your watch, which shouldn’t surprise since the movie is essentially about talking. Denzel the director doesn’t help things with the slow pacing and the clichéd changing of film stocks. Denzel the actor is a man on fire. It’s an afternoon made-for-cable movie starring one of our greatest working film actors. The intentions of all involved are magnanimous, but the result will leave you bored stiff - and leave you wondering: since you’re stressing the importance of education, reason, and verbal communication, why change major historical facts? You even have one debater repeatedly praised as the best fact-checker!?! C
Note: I’ve avoided the joke about the original title being "The Master Debaters" as long as I could.
Tuesday, July 22, 2008
The Dark Knight - A
What kind of comic book superhero movie is this? Batman, the expected protagonist, is merely part of a big ensemble and wants to retire. The actual lead, Harvey Dent, is praised by all (including Bruce Wayne), is dating Batman’s ex, and is cleaning up the city legally, not resorting to vigilantism. And Batman falters at nearly every turn for the bulk of the oppressive (but hardly depressive) film. The harder he tries, the more damage he does (America in Iraq, anyone?). His multiple failures recall another sequel that bested its predecessor, The Empire Strikes Back. And like that film, this one ends with a small beam of sunlight after a very nasty thunderstorm.
Click below for the rest
The film opens with a Heat-inspired bank robbery, complete with Heat-alum William Fichtner. The Joker (Heath Ledger) steals money from the mob to get notoriety but also to begin his siege of Gotham City, which will descend into anarchy and chaos. As The Joker begins his murderous rampage, Harvey Dent (Aaron Eckhart), Commissioner Gordon (Gary Oldman), and Batman (Christian Bale) join forces to stop him. 
No amount of hyperbole and praise will prepare you for the triumph of Ledger’s transformative creation. He is one of the all-time great villains, and has a delightfully murky and unexplained past. It doesn’t matter where he comes from, just what he will do next. As Harvey Dent, Eckhart is nearly as great in a tougher role. His impassioned speeches would be stilted if given by a less capable actor. Replacing Katie Holmes as Rachel, Maggie Gyllenhaal brings more life and depth to the role. Michael Caine steals every scene he’s in and Oldman is terrific as the subdued Gordon. Christian Bale is reliable as the backbone of the film. After the horribly executed and morally reprehensible Wanted (C-), I’ve had my fill of Morgan Freeman, but he is good in his scant minutes here. 
Director Christopher Nolan balances the actors very well, never letting Ledger run off with the film (unlike Tim Burton and Jack Nicholson). There are a lot of characters, but they are cast well, with memorable faces. The plot is dense, perhaps a little too full in the last 20 minutes when there is not 1, but 2 bad guys for Batman to capture. Like Batman Begins (B+), Nolan subtly makes his political points and slowly allows the themes of the film to creep in. I don’t fault him for taking his foot off of our necks during the ferry sequence and showing some hope for humanity. As with all the 9/11 references here, the best of humanity did eventually show itself on that day. 
The coin that Dent flips isn’t quite as menacing or effective as Anton Chigurh, and the themes of chance and fate were handled better in that Coen masterpiece. But the fact that these comparisons are being thrown around is quite a compliment for a superhero movie. What kind of comic book superhero movie is this? It’s the best: it’s entertaining and unforgettable, and succeeds in its lofty ambitions to show the nature of man, evil, honor, and fate. I need to see it again to be sure about the grade. Can’t wait. A
Medical note: The lip smacking and strange movements of The Joker may have been inspired by a side effect of antipsychotic drugs known as tardive dyskinesia.
Medical note #2: I’ve worked in hospitals for over 10 years and have never seen anyone wear that Joker nurse outfit. But I have seen some nurses wear that much makeup.
Monday, July 21, 2008
The Dark Knight, A Priest's Take A-
In theaters. Rated PG-13, 152 minutes
It’s not that Christopher Nolan’s Dark Knight is the best comic book movie ever made, it’s just that it dreams much, much bigger. While the best of the genre examine the seductive qualities of evil and the cost of heroism, the Dark Knight wants to examine the very nature of evil. It’s dark heart. What if, it dares to ask, the scariest thing we can imagine isn’t an understandable desire warped by selfishness or greed? What if it’s not a twisted moral code, different from our own but still understandable and, once understood, predictable? What if it’s not about sex or domination or power? What if true evil is the very lack of these things—a lack of predictability, destruction driven without lust or end. And when we get to evil’s dark heart, we find Heath Ledger’s Joker. It is no coincidence that the heart of evil is also the beating, bruising heart of this film.
Maybe it’s because we now know that every moment with Ledger is like a mist in the morning, a vanishing gift that will soon be gone for good; but every scene without him seems a waste. The possibility that he could at any moment enter the action, could always appear in the next cut, propels the film forward. This is due in no small part to Ledger’s creation—the voice, with just touches of Nicholson’s Joker, the tics, the darting tongue almost snake-like and almost perverse, but ultimately like a forestalled attempt to lick the scars around his mouth—yet owes every bit as much to Nolan’s creation. The key to Nolan’s Joker is found in the mouth of Michael Caine’s Alfred. “Some people just want to see everything burn.” And so we see the Joker, later, burning his half of the millions he’s acquired for attacking Batman. And we, the audience, don’t know what to make of this, because we understand you can’t fight something that doesn’t have an end-game. You can’t fight something not driven by an ideology.
In this The Dark Knight calls us to a more ancient terror. Modernity has striven for 400 years to find answers in reason and science. Psychological determinism has told us that if we grasp the DNA and background of people, their actions, no matter how bizarre or apparently chaotic, are understandable. The Joker scoffs at this notion, making up numerous self-histories, all of which are false. Likewise, Christianity in the Middle Ages and modernity increasingly fell in love with Satan as a rationale figure working in opposition to God, with a determinable telos of damning as many as possible and seducing the hearts of humanity. Nolan suggests that we’ve domesticated evil and made it in the likeness of our domesticated God, predictable, understandable, and, perhaps, misunderstood. But long before the Christian notion of a Satan began to work its way into our moral unconscious, there existed the notion of Chaos, exemplified by the Deep and the sea monsters that occupied it. This is why we can’t look away, because we feel that, perhaps, Nolan is giving us a place at the adult table. That’s he’s telling us things that are True. True about our enemies and about ourselves. We understand Johnny Cash when he sings, “I shot a man in Reno just to watch him die.” We know sometimes we break things just to watch them shatter. Sitting next to this villain, Two-Face seems positively childish. Arbitrary chance deciding things? We saw that last year in No Country for Old Men’s Anton Chigurh. We know Two-Face’s backstory. We understand he wants (admittedly misguided) justice. This is the domesticated evil modernity has shoveled our way, and in the past this might have scared us, but not after looking into the eyes of the Joker.
So, in the end of the film, when the Batman would like to become a curious Christ-figure, willing to take on the sins of Two-Face because Gotham needs that hero, we understand that Batman has seen his own dark heart in the Joker and knows full well he’s committed those sins, too. He takes the rap in lieu of being punished for his own sins.
As for the rest of the film, the actors are uniformly superb (if Morgan Freeman is a bit underutilized). Maggie Gyllanhaal brings much-needed gravitas to her role. Christian Bale is, again, solid as Batman, although he’s almost an after thought here. His whispering, rasping Batvoice is better than in the first, but still seems a bit ridiculous to me. Keaton is still my favorite, though Bale’s the only one that has brought the necessary physique to the role. The last act does not flow with the rest of the movie and might have derailed a film with a lesser head of steam. As it is, it’s only an annoyance. One gets the feel that Nolan was willing to trade a technically perfect film for a very good one that examined exactly what he wanted to exam. Oh, and the Batbike absolutely rocks. A-