2012. Dir: Christopher Nolan. Starring: Christian Bale, Gary Oldman, Tom Hardy, Joseph Gordon-Levitt and Anne Hathaway. ●●●○○
Last week I admitted to being lazy, this week I'm going to admit to being a coward. I've been holdign back on my The Dark Knight Rises review because my opinion may be unpopular. So here we are, three weeks too late, I didn't much like the closing chapter to Christopher Nolan's Batman trilogy. I felt it to be an ambitious, glorious piece of film-making sadly let down by an overstuffed, incoherent and dull plot. It is both an improvement and a let down compared to Nolan's previous work and I only hope he pares down his narrative fancies for whatever non-chiropteran project he works on next.
Seven years have past since the thrilling climax of The Dark Knight when Bale’s Batman took the fall for Harvey Two-face Dent’s murderous rampage and Gotham has radically changed. The Dent act, which allows draconian charging for organised syndicates has virtually destroyed the Falcone family interests and created a crime free zone, whilst an arrest warrant sits over Batman’s head. Bruce Wayne, with no crime to fight, has sunk into a deep depression, brooding over the death of Rachel Dawes and shut off from all society; an effort to create a cold fusion generator macguffin was thwarted when a Hungarian scientist pointed out how easy it was to turn it into a bomb and the entire R&D budget has been sunk in keeping the device, handily stored under the city, leaving Wayne industries close to insolvency, all in all things are not looking good for Batman.
Yet something under the city is stirring, gangs of youths are disappearing into the sewers, lulled by the promise of jobs still denied to the Gotham underclass. A few switched on cops led by aging Commissioner Gordon (Gary Oldman) and angry young pup (Joseph Gordon-Levitt) are imagining the worst and wondering when the bat signal will once again need to be turned on. Even sophisticated jewellery thief Selina Kyle (Anne Hathaway) knows enough to spout warnings of a war coming, an inexorable tide that will bring the rich and powerful of the city tumbling to the streets. Yet even Kyle isn’t completely prepared for the changes, because it’s no campaigning Victorian with concerns about social harmony, nor is it the financial meltdown the real world has experienced, Gotham has a more substantial foe, international terrorist and towering brute Bane (Tom Hardy in a mask) is about to reveal himself as Gotham’s reckoning.
Two paragraphs of exposition on and I’ve yet to mention other key characters brought forward from previous movies (Michael Caine, Morgan Freeman, Cillian Murphy) and new batch (Marion Cotillard, Matthew Modine, Tom Conti, Ben Mandelsson) all of whom almost have story arcs of their own to get through, even if the arc precludes the possibility of character development. Inevitably many of actors get shafted in the screen play, we've seen plenty of Morgan Freeman's witty and taciturn technogeek, and not just in this trilogy, but Marion Cotillard who really should make an impact in order to justify her ropey romance with Bale and her third act journey, yet Miranda Tate is always a cypher to the audience, seemingly there only to give the fanboys something to shout about at the end.
Instead of the supporting cast Nolan turns the camera back on the Batman, returning to the story of a scared orphan falling down in order to learn how to get up, an angry child emotionally scarred by his parents untimely death and his battle to clean up the streets. It's thematically linked to the first film in that examination of Bruce Wayne's psyche and the surrogate parental relationships formed with butler, Alfred, and Liam Neeson's Ra's al Ghul and the infamous League of Shadows.
Against this most introspective of comic book hero's it takes a really special performance to steal the limelight, and alas Tom Hardy's Bane whilst superficially fulfilling the flipside to Wayne - a man who started with nothing intent on destroying the world order rather than protecting it not to mention the yin and yang of their masks - is given so little to do about from a couple of rousing, only just decipherable speeches and a chance to pummel the Batman. Indeed Bane is able to build an army and mount a revolution yet the audience aren't given a chance to understand what makes his men follow him, not just into battle but also to a sacrificial alter.
When considering the film I find myself constantly returning to Bane, his plan and his motives. Each time I confuse myself more and more, did Bane want to stir up a revolution to overturn corrupt capitalist society, or was the whole thing a ruse to get Batman so riled up he crawls out of a hole? Doesn't Bane and his key accomplices know the bomb will explode? Did Nolan not think it would be interesting to see the results of Bane's tyrannical overthrow, or was a montage of the rich being thrown out of their hotels enough to satisfy? It's not even as if the politics of the film hit the zeitgeist, Bane doesn't represent the 99% as he's pushing not for equality of opportunity and social justice but another kind of inequality. Even the attack on Gotham's own stock exchange isn't to break the bank but to make some high value transactions of his own. It's the filmic equivalent of Robespierre and Idi Amin keeping the masses in place by routinely executing the old order and redistributing wealth with reckless abandon.
Thank God for Anne Hathaway, from the moment she appears on screen her cat-burglar (geddit???) steals every scene, by turns vulnerable, playful and vindictive, she's the proof Nolan could help create significant, rounded female characters (sorely missing from most of his back catalogue).
Technically this film delivers in spades. Wally Pfister knows how to use IMAX cameras like no-one else in the business, there were times I was as giddy as a school-girl watching the camera work. Lindy Hemmings costumes, always a highpoint of the series once again impress, from the stylish duds of Gotham's partying rich to Gary Oldham's cardies and from the utilitarian suggestion of cat to Anne Hathaway's suit to Bane's coat, which I fully expect to see everywhere this winter.
Overall though I have to say it doesn't matter how much I try to big up the successes in The Dark Knight Rises, the bar was simply too high to climb. Flawed and unwieldy this is not the closing episode any of us wanted and I can really only recommend it to fans of the Batman.
Thursday, 9 August 2012
The Dark Knight Rises
Saturday, 31 March 2012
Coming of age in Italy (Out this week - 30/03/12)
Busy-ish week with lots of fine looking European movies competing for our collective attentions this weekend. Which, for the uninitiated basically means I will largely ignore the supposed big hitters that will blast their way into the box office charts -even the plasticine based one which looks quite good - and instead focus all my attention on the arthouse circuit this weekend. I suppose one of the real tragedies of our age is that even though there are three very highly praised foreign language pictures this week, any one of which could have made my film of the week, none of them has opened in as few as 5 cinemas let alone the 425 that The Hunger Games is still holding on to. Oh well, eschewing messed up relationships and miniature trees I have chosen Corpo Celeste as the runs like a gay film of the week.
Last week no-one was surprised to see Katniss Everdene smash it on the box office chart both sides of the Atlantic as well as Australia, Brazil, France, Germany, Mexico, New Zealand, Norway, Russia, Singapore, South Korea and Sweden, as well as virtually everywhere else, so I get no kudos for jumping onto that particular bandwagon, even if I haven't personally added to it's gargantuan haul. This week we have dancing teens and wrathful Gods but I suspect Ardman Animation have the necessary edge to be next weeks number one with Pirates! In an Adventure with Scientists
Corpo Celeste
Coming of age dramas might seem like a done to death genre but Alice Rohrwacher Cannes hit seems to take a interesting twist focussing on the confirmation classes of our heroine Martha and her readjustment following a recent upheaval.
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The trailer certainly hints at the complex moral and religious layers confronting young Catholic girls.
Babycall
Noomi Rapace gets the opportunity to shine as a character both far removed from her revelatory turn as Lisbeth Salander as well as sharing some common DNA as a young mother escaping an abusive past who accidently overhears a shocking event somewhere in her apartment block. Superior Scandinavian thriller.
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Bonsai: A Story of Love Books and Plants
Looking slightly more surreal is this South American picture flicking between two timelines - the present where a writer tries to impress his new found love and the past the story the writer is telling of a previous relationship and how it failed. Looks really intriguing, but also only showing in one cinema.
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Pirates! In an Adventure with Scientists
Aardman are back with their first feature length hand crafted animation since The Curse of the Were Rabbit. Hugh Grant plays the less successful than ambitious Pirate Captain intent on winning the Pirate of the year award, with David Tennant as Darwin who gets caught up with his nefarious plans. Imelda Staunton and Selma Hayek are along for the ride.
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Tiny Furniture
Five films in before the first US production and even this with it's vague indie stylings feels miles apart from the bombastic blockbusters that usually clog up screens. Flirting dangerously with an overdose of quirk the trailer at least gives us a glimpse of the multi talented (writer/director/actor) Lena Dunham who will be one to watch out for in the future.
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Les Lyonnais
Probably forgettable French crime drama, based on a true story, that nonetheless looks epic enough in scope to consider itself as an vague relative of the Godfather trilogy and more recently Mesrine. It'll be interesting if this finds an audience.
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Streetdance 2
Back when the first Streetdance came out a couple of years ago I remember being really captivated by the 3D trailer which promised the dancers jumping out of the screen at you, it's interesting the inevitable sequel is underplaying that aspect which perhaps shows the public loss of interest in 3D screenings. Anyhoo this looks like it will still appeal to the same crowd as the rest of the dancing movies with it's mix of beautiful people and displays of rhythm. I think Tom Conti learnt his French accent from watching "Allo Allo".
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Switch
I am assured it has a very limited cinematic release as well as the DVD issue this trailer points to even if I can't find a listing that proves that. Eric Cantona, who has done an awfully good job in changing career from footballer to actor, must run through a lot of streets to prevent bad things happening to fellow runner Karine Vanasse. Or something like that anyway.
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3
Two things struck me whilst watching the trailer for this Tamil language action romance. Primarily I really like the graphic where the heart monitor turns into writing, lovely job, and then I decided I need to go to India to give some lessons in kissing as the leads miss each others mouths twice in quick succession and clearly need help.
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Wrath of the Titans
It seems slightly disingenuous to end with this mythology sequel especially as it seems infinitely better than it's 2010 forebear. That said expect it to fail miserably at the box office and for the studios to continue to doubt the leading man credentials of Sam Worthington. Liam Neeson and Ralph Fiennes are on hand to do some thesping as a couple of the Gods in need of Perseus' aid.
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Wednesday, 9 March 2011
The Tempest
2010. Dir: Julie Taymor. Starring: Helen Mirren, Felicity Jones, Reeve Carney, Russell Brand and Djimon Hounsou. ●●●●○
Whilst some of William Shakespeare's plays are constantly in the backs of public consciousness (Romeo and Juliet, Hamlet) others drift in and out of fashion; known more to aficionados and literature students than the average cinema goer. The Tempest definitely sits within the second set partly because Shakespeare's last play is problematic. Like A Midsummer Night's Dream it creates it's own logic; albeit significantly darker in it's intent influenced by the failing of Shakespeare's own literary skills and the King James's obsession with witchcraft. Perhaps the biggest issue, which resonates fully in a post-Iraq geopolitical world, is the ambivalent approach to imperialism and colonisation. Julie Taymor's production rather glosses over these issues, using the stunt casting of Helen Mirren in the traditional male lead of Propero (now called Prospera) as a tactic to confuse and mislead the audience's attention.
The titular storm occurs in the opening scenes of Act I, Prospera exercising her powers with the sprite Ariel (Ben Whishaw) under her control in order to wreck a passing vessel carrying the conspirators behind her exile and abandonment to the barren island where she resides. The rest of the story concerns three groups of the survivors as they respond to Prospera's machinations.
The first group contains her usurping brother Alonso (Chris Cooper) oily spreading discourse with Ferdinand (Alan Cumming) against the King of Naples (David Strathairn) with the loyal and verbose Gonzalez on hand (Tom Conti). Meanwhile Ferdinand (Reeve Carney), the heir to the throne of Naples, has been separated and introduced to Prospera's daughter Miranda (Felicity Jones) in order to test his virtue as a potential suitor.
Finally Stephano and Trinculo, comic relief as a drunkard, wasteful, working class (played by Alfred Molina and Russell Brand respectively) form a bond with the island's sole native - and Propera's slave - Caliban (Djimon Hounsou). Together they plot to overthrow the matriarchal state in which Caliban is imprisoned.
The gender change at the centre is a curious one, it allows for a much closer relationship between Prospera and Miranda, one that gives an additional urgency to the protective instincts Prospera feels towards her daughter - from the alleged lustful desire of Caliban to the shield from her work. That said it weakens Miranda who seems both whiny at times, yet also the standing up against her parent is less risky.
Of course Mirren delivers in the central role, but this isn't just a Propera show as other adaptation's have indicated. Chris Cooper is suitably menacing, virtually licking his lips as he whispers conspiracies. Tom Conti also hits the mark as the aging windbag. Brand and Molina might not be doing anything we haven't seen before but it is what they do best - Brand in particular seems to have wandered in from his stand up show. I was especially taken by Ben Whishaw's performance, at once enamoured by Prospera as well as desperately seeking his freedom from her control.
Design wise there are few film-makes more distinctive that Taymor. Sandy Powell's costume design is fantastic, from the zip encrusted noblemen ware to the seemingly pieces together costuming of the island residents. Whishaw's costumes also shone - when he appears as a crow it's beautiful frightening and captivating.
Eliott Goldenthal's music, including incidental songs, is also wonderfully integrated into the action and is among his best scores. Taymor's direction is at it's usual high standard - although she's clearly more interested in spectacle than character. Weirdly at times the film seems rushed - Prospera's about face on her knowledge seems almost whimsical.
I would heartily recommend this version of the play, but would have preferred Taymor to really try to confront the message of the story. When I leave with sympathy for Ariel's imprisonment but no opinion on Caliban's mistreatment I know there's been a trick missed.
Monday, 22 November 2010
Tom Conti
Happy Birthday to
Tom Conti
69 today
I wanted to find a screen capture of Tom in The Tempest, Julie Taymor's on screen adapatation of Shakespeare's fantastical tale set on a deserted island, however none seem to exist. I guess this Scottish actor is just too far down the pecking order in the cast list that includes Helen Mirren and Russell Brand.
Friday, 19 February 2010
Out This Week (19/02/10)
I'm a little ashamed about this week's releases. Not that the releases themselves have shamed me, but that the excitometer numbers are a little high. You see although part of it is based on what I think about the trailers and the concept equally a large part is defined by reviews, cast, off-screen talent and awards buzz. So there are three films getting high scores this week, and I have to admit it's mainly due to the oscar noms. So ignoring them I'd probably recommend Samantha Morton's foster drama The Unloved (although it was screened on Channel 4 last year so I'm not sure why it's getting a cinema release. Regardless, mathematically the film of the week is The Lovely Bones.
Closed Book
Tom Conti is a blind art historian, Daryl Hannah his mysterious assistant helping him with one last book. There are secrets galore in this murky thriller, but aside from the money shot of Conti with just empty eye sockets there's little to recommend it.
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Crazy Heart
This is the film that will bring Jeff Bridges his fully deserved Oscar. Naturally this film would have normally faded away over time, but for this reason only it will stay in the history books. I'm sure Jeff's performance as a washed-up country singer hitting the bottom of his bottle and rock bottom of his life is worthy, however...
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Headless Woman
The third feature from acclaimed Argentinian director Lucretia Martel follows a middle class mother of three who begins to lose her sanity after running over a neighbours dog.
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The Last Station
Based on the final days of Leo Tolstoy's life, apparently the vast majority of the screenplay is based on the diaries that most of the characters are keeping. In that respect it's as close to the truth about what happened as can be made about events that took place 100 years ago.
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The Lovely Bones
Peter Jackson's adapatation of the Alice Sebold novel. The novel has a wistful attitude to death which may have been lost in translation but Jackson's always a fascintaing director, even when he mis-fires - as this might be - it's worth taking a look at.
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Solomon Kane
Puritan adventure (now's there's a combination you don't hear everyday) as 16th century soldier James Purefoy battles ancient demons and shadowy sects to save Rachel Hurd-Wood (and his soul, apparently). Expect much blood-letting and faux-important speeches. Max von Sydow and Pete Postlethwaite lead the supporting cast.
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The Unloved
First shown on TV last year, Samantha Morton's disection of the foster care system, with all it's failures on display, gets a belateded cinematic release. Morton writes from the heart, having spent much of her childhood in care and the deeply unsettling child's view of situations they cannot understand or control is hugely affecting.
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