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, 4 February 2012
I hate to hate you, baby (Out this week - 03/02/12)
It's a cracking week for film choices here in the UK, especially if by and large you don't like people. In fact there's glorious amounts of bile and wrath inviting us to our local multiplex and art-house venue, whether it's caustic writers, poisonous cults or twisted superheroes you're bound to come across some first class sociopaths. I am so happy for that.
I got my box office predictions wrong again last weekend as War Horse kept the number 1 spot whilst The Descendants galloped up to the second place, knocking my bet Monster in Paris down to fourth. This week I'm thinking that whilst Chronicle isn't in as many screens as a couple of other releases the two days previews and decent reviews will give it the top spot.
As for my top pick, I'm was torn between the more arthouse choices, however Roman Polanski has pulled together a terrific cast for Carnage and I'm going to have to reward that alone and make it film of the week.
Carnage
Yasmina Reza's caustic four hander gets the big screen treatment from one of cinema's most notorious auteurs, trapping bourgeois Manhattanites Jodie Foster, Kate Winslet, Christoph Waltz and John C. Reilly in an apartment and watching the veneer of respectability peel away. Delightful.
Runs like a Gay Excitometer: ●●●●●●●●●○
Young Adult
Charlize Theron bristles as the teenage fiction writer returning to her home town to snare her former beau Patrick Wilson. It also marks the return of Jason Reitman and Juno scribe Diablo Cody. Expect spot-on dialogue and great performances throughout.
Runs like a Gay Excitometer: ●●●●●●●○○○
Martha Marcy May Marlene
Sean Durkin's highly original first feature received massive praise at last years Sundance and was heavily buzzed throughout the year for his stylistic choices and Elizabeth Olson's breakout performance. Somehow it's never caught on with audiences and didn't receive a single Oscar nod. Saying that I think we can expect fantastic things from both of them in the future.
Runs like a Gay Excitometer: ●●●●●●○○○○
Chronicle
Leading the rest of the pack, and by far the most compelling feature on wide release, we have this found footage superhero horror hybrid as three friends are bestowed with extraordinary powers only to discover the darker sides of their personalities. Will probably be remembered for a long time.
Runs like a Gay Excitometer: ●●●●○○○○○○
Journey 2: The Mysterious Island
If you don't like your children I suggest taking them to see this horrid looking sequel to the 2008 semi-flop Brendan Fraser kids adventure. Note that Fraser been replaced by eyebrow raise Dwayne "The Rock" Johnson - not sure if that gets explained in the script - and Michael Caine gets a new house on the back of his role.
Runs like a Gay Excitometer: ●●●●○○○○○○
Man on a Ledge
After it's disappointing debut at US cinemas last weekend I doubt Sam Worthington's latest attempt to display leading man status will fare much better on this side of the pond, regardless of supporting Jamie Bell's bigger draw here. Ed Harris and Elizabeth banks are among the other cast you'll recognise in this plot so simple they named the pic after it actioner.
Runs like a Gay Excitometer: ●●●●○○○○○○
Best Laid Plans
British boxing movie that sort of uses the central relationship structure of Steinbeck's "Of Mice and Men" although I question whether it allows itself to have the bleak ending of that masterpiece. Steven Graham plans the chancer in debt to a Nottingham crimepin, Adewale Akinnuoye-Agbaje his mentally challenged friend forced to fight for him.
Runs like a Gay Excitometer: ●●●○○○○○○
Jack and Jill
Finally, in the why bother to see this crap category, we have Adam Sandler's latest "comedy" where he plays annoying titular non-identical twins, no doubt learning some life lessons whilst farting and fighting in an irritating sub-slapstick way. In the trailers best (only) joke Al Pacino (along with Johnny Depp cameoing as himself) has his Oscar smashed by Jill. I suspect the Academy will want it back anyway after this dross.
Runs like a Gay Excitometer: ●●●○○○○○○○
Friday, 22 July 2011
Starting Over Again (Out this week - 22/07/11)
Considering the date there's a surprisingly few releases this week. What's the date I hear you ask? It's the first weekend of the school summer holidays - the traffic forecasters are predicting hell on Earth on the motorways that roughly head toward the beach so what better way to spend the evening than going to the cinema. For the kiddies there's Potter week 2 or a sub-standard Pixar, but if I had to choose - and of course I do - I'd pick, as film of the week, gay dad romance Beginners.
Beginners
I'm probably not as keen on this quirky relationship drama as I'm making out, but I hear Christopher Plummers performance as an Octogenarian coming out for the first time is exquisite and MacGregor and Laurent make a lovely couple so I'll give it a try.
Runs like a Gay Excitometer: ●●●●●●○○○○
Big Picture
If you fancy a thriller this week your only option is this French effort starring Romain Duris as a lawyer who kills his wife's lover in a fit of rage (I thought that was fine in France) then runs away to start a new life. Catherine Deneuve also stars.
Runs like a Gay Excitometer: ●●●●●○○○○○
Cars 2
After last years critical and commercial super success with Toy Story 3 it can probably be said that Pixar are coasting with the return to the merchandise friendly automobile franchise. Oddly this is also an example of stunt casting with Owen Wilson and Larry the Cable Guy joined by Michael Caine, Vanessa Redgrave (as the Queen) and Lewis Hamilton. Or you could watch the German Grand Prix on Sunday!
Runs like a Gay Excitometer: ●●●●●○○○○○
Horrible Bosses
So so looking comedy that will probably play well to fans of the central conceit - it's OK to slaughter your boss if they're despicable human beings. Kevin Spacey, Jennifer Aniston and Colin Farrell gleefully ham it up as the worst practitioners of management skills with Jamie Foxx as hit man Motherf**ker Jones - probably the best joke in the movie.
Runs like a Gay Excitometer: ●●●●○○○○○○
Singham
Our lone Bollywood release this week is hard to get a handle on the plot, other than it's a Hindi action drama and appears to have been in post production for years (I'm sure I've seen that title before). Good early buzz on IMDb.
Runs like a Gay Excitometer: ●●●○○○○○○○
Break my Fall
Very low budget British LGBT interest indie, following a young Lesbian couple as they negotiate their hedonistic lifestyle (they appear to be in a band) ans decide what it is they really want out of their relationship. Heavily influenced by the mumblecore movement.
Runs like a Gay Excitometer: ●●○○○○○○○○
Violent Kind
Tired looking yokels gone crazy US horror with the usual cut-out characters being scared witless and panicking in uninventive ways. Don't worry this is getting the tiniest of releases.
Runs like a Gay Excitometer: ●●○○○○○○○○
Monday, 14 March 2011
Michael Caine
Happy Birthday to
Michael Caine
78 today
He's the son of a fish market porter and a charlady yet has steadily climbed the greasy pole to the top of British box office and has earned a knighthood for his trouble. Still as busy as ever it's his fifth collaboration with Christopher Nolan, and the third Batman film (Dark Knight Rises) which is most interesting me.
Saturday, 12 February 2011
The clue's in the eyepatch (Out this week - 11/02/11)
I can't quite believe it's happening, but after two and a half years of previewing the weekly releases I'm coming to a major milestone - it's the first movie to get a perfect score. The reviews have been cracking, it's from a director(s) and cast that I truly admire, it's picked up awards and nominations from major organisations - whilst I have had my doubts frankly it's hard to ignore it even if it didn't actually make my countdown for most anticipated film for 2010! So later today I will go to see , this weeks film of the week True Grit. 
True Grit
Without doubt this is the most exciting Western proposition in nearly 20 years. The Coen brothers returning to Charles Portis' novel for this exciting tale about redemption and loyalty all seen through the eyes of a 13 year old girl. By the way the talk that this is not a remake of the earlier movie is slightly undermined by the eyepatch, which was an invention of the first film.
Runs like a Gay Excitometer: ●●●●●●●●●●
Gnomeo and Juliet
Smart looking children's adaptation of Shakespeare most famous romantic tragedy set to the music of Elton John. The changing of the characters to Gnome's is odd but is at least understandable for the kids. The eclectic cast backing James McAvoy and Emily Blunt in the leads ranges from the highbrow Michael Caine, Maggie Smith and Julie Walters to the bizarre trilogy of Ozzy Osbourne, Jason Statham and Hulk Hogan!
Runs like a Gay Excitometer: ●●●●●○○○○○
Never Let me Go
Kazuo Ishiguro's subtly sci-fi love triangle set in an alternative 1970's UK somehow never managed to capture the pre-screening buzz it elicited. Nevertheless the melancholic style and triumphant central performances by Carey Mulligan, Keira Knightley and Andrew Garfield makes this an interesing proposition.
Runs like a Gay Excitometer: ●●●●●○○○○○
Just Go with It
Dreadful looking Adam Sandler vehicle where he somehow manages to drag Jennifer Aniston and Nicole Kidman into the mess with him. Plot seems to revolve around Sandler pretending Aniston is his wife in order to attract another (younger) woman.
Runs like a Gay Excitometer: ●●●○○○○○○○
Nothing to Declare
French Buddy Cop Comedy (be warned) about the closing of the French-Belgian border in the ninety's. Plenty of national stereotypes abound. Should appeal to the Top Gear crowd - if it weren't actually in French.
Runs like a Gay Excitometer: ●●●○○○○○○○
Patiala House
Akshay Kumar headlines this UK set Bollywood movie about a second generation Sikh, the central question is whether supporting your family or following your dreams is more important or whether you should have to choose.
Runs like a Gay Excitometer: ●●●○○○○○○○
Son of Babylon
Iraqi drama about a 12 year-old boy Ahmed and his Grandmother crossing the country to find Ahmed's missing father who might have been released after the fall of Saddam Hussein.
Runs like a Gay Excitometer: ●●●○○○○○○○
Yogi Bear
The questionable regurgitation of 1960's cartoons reaches a new low with Hanna-Barbera's most famous Bear, most famous for it's "Best things come in Bears" first poster. You can understand why Dan Aykroyd desperately needs the work but Justin Timberlake has no excuse fr this boo boo.
Runs like a Gay Excitometer: ●●●○○○○○○○
Bizarrely missed from 04/02/11
New York, I Love You
Not sure how I missed the release of this themed collection of shorts in the same vein as Paris Je t'aime. I've already got the DVD and will review - as part of my normal film reviews - in a few weeks.
Runs like a Gay Excitometer: ●●●●●●●○○○
Wednesday, 21 July 2010
Inception
2010. Dir: Christopher Nolan. Starring: Leonardo DiCaprio, Joseph Gordon-Levitt, Ellen Page, Tom Hardy and Ken Watanabe. ●●●●○
To misquote Zhuangzi (4th Century BC Chinese Philosopher) "Last night I dreamed I was a butterfly and now I'm now sure if that was Inception". Although given the nature of the films climax that pithy (and not terribly original) start veers awfully close to spoiler territory. Chris Nolan's 7th and most expensive movie to date is all about the nature of our existence and our understanding of how dreams interface with reality.
Or is it?
Nolan has created a universe where accessing and manipulating dreams is a commonplace business, which is both tolerated by the establishment whilst being technically illegal. The main purpose of the procedure is to steal ideas and concepts from within the brain of the subject - it would appear to be generally industrial secrets - although it was strangely originally developed to allow soldiers to practise beating the crap out of each other in their unconscious.
After Leonardo DiCaprio and his right hand man Joseph Gordon-Levitt botch a robbery from the id of Ken Watanabe's Saito, Ken hires them (partly to protect them) to go to the next level and implant an idea into Cillian Murphy's brain. This theoretical implanting process (it's never been done thoroughly successfully) is named Inception. Like in all heist movies we then go through the process of getting a team together with the architect (Page), forger (Hardy) and untitled chemist Dileep Rao joined our band of mercenaries.
During this process the movie goes through the most interesting set pieces, including the folding Parisian street we saw in the trailer and exploding cafe scenes, as this serves as training for Ellen Page the exposition fits nicely into the scenes without feeling too talky. We also get introduced to Marion Cotillard as DiCaprio's deceased wife who's place within his tortured mind may just lead to his downfall.
The majority of the film then takes place in Murphy's dreams (yes that's dreams within dreams within dreams) as the team delve further into the recesses of his mind to place the macguffin of an idea.
As a heist movie Inception works very well. The team compliment and re-inforce each other strengths. The fuzzy action sequences are, at least, an improvement on The Dark Knight and nicely paced even if the stakes never seem as high as they ought to be - if you get killed you go to limbo where your brain works at an incredible rate possibly atrophying the faculties before your physical form wakes up... or something. In fact the film as a whole nips along at a fantastic pace ebbing and flowing in a way that seems both natural and easily carries you along with it.
The cast do good jobs with little to work with. I especially liked Ellen Page for her straightforward delivery of some of the more unlikely lines of dialogue and Tom Hardy for his slightly fey Britishness. Leo is unfortunately coasting on his far more complex performance in Shutter Island where the character had much of the same issues on his mind. Cotillard is icily beautiful as always and I couldn't help wondering what she'd be like as a pure femme fatale in a modern noir that really exploited her passion and poise. The fringe of the movie also holds some nice cameos for Michael Caine, Pete Postlethwaite and Tom Berenger.
The production design is crisp and precise, the way you would expect within the dream world, all tailored suits and new furnishings. The stand-out technical performance goes to Hans Zimmer for his delicious action score, it pounds it's way through the movie as both heart and soul and is an album I have no reticence in recommending.
I am slightly disappointed by the film as it introduces some interesting concepts but then drops them. We are in a world where people become addicted to dreams but this is barely touched upon as is the inevitable psychological effect of spending so much time hopping from dream to dream. There is also a strange lack of surrealism in these dreams, apart from a misplaced train and the ultra-cool hotel fight (which is horrifically justified as being natural consequence of dreams on another layer as opposed to being part of the way dreams are) there is little that doesn't take place in any major blockbuster. The act of Inception itself - snow covered bunker, hospital bed, safe contents - is a nice touch but it's not enough. It hardly seems fair to say that the subconscious of the victim will fight off attacks from a group like this but only allow them guys with guns as a means of defence.
There has also been plenty of Internet chat about whether the final scene is still within a dream and indeed whether the entire film takes place within DiCaprios head. In answer to that whilst the final shot is pleasingly ambiguous and the Mombasa chase sequence seemingly unlikely in reality (tapered alleyways and fortuitous arrivals et al) I find myself caring less and less about the issue as time passes. After all if Nolan doesn't really care about the effect of dreaming on his characters (see my comments above) then why should I?
Overall I would say Inception is a roaring heist movie that will keep you entertained and gripped throughout it's run time, but don't be fooled by the early reviews or solid marketing strategy this is not as clever as it thinks it is.
Sunday, 14 March 2010
Michael Caine
Happy Birthday to
Michael Caine
77 today
Sublime British actor who's treaded the fine line between art and commerce (and just as often failed as succeeded). Has a love for acting that few in his profession admit to, and we could all probably listen to his words of wisdom on the techniques of film acting. Although semi-retired he will be appearing in a glorified cameo in this years Inception, and expect Alfred to still be gliding around Gotham in the next batman film.
Thursday, 14 January 2010
20 for 2010 - Inception
No countdown for 2010 could be complete without my number 5 choice Inception.
Christopher Nolan's twisty looking sci-fi thriller is primed to be a major contender in the '10 summer market. Not linked to a comic book franchise, save that of the auteurial connection to the Dark Knight, it's rumoured to have a budget north of $250m. This will make profitability extremely hard to achieve, although the fan boy anticipation is pretty high, and James Cameron's proved just this month that you don't need a tentpole title to make some cash.
The story, which is being kept very guarded, involves hacking into peoples dreams and stealing intellectual property. This metaphysical angle to the heist movie at least explains the gravity defying action, and folding cities we've been witnessing in the trailers. Nolan has also hinted in interviews that the themes of madness and lost love, as well as the thriller elements are indicative of how persoanl the project is. This is his small movie between Batman films - only it's not small. In fact he's proud to admit it's his biggest challenge to date.
Nolan has assembled a top notch cast with Leonardo DiCaprio and Ellen Page leading the pack. This is also a good hint that either this script is fantastic, or there's enough goodwill towards Nolan based on his previous projects that Hollywood elite will sign up to anything with his name on it. Let's face it, whether this turns out to be masterpiece or a very expensive turkey, it's got must-see written all over it.
Don't forget to join in the competition to win chocolates with my countdown. Click on the Minstrels in the top right.
Saturday, 14 March 2009
Michael Caine
Happy Birthday to
Michael Caine
76 today
Maurice Micklewhite has had more career resurgents than I've had hot dinners, thanks to his habit of doing stretches of bad films followed by a great one. Right now he's on a roll, his last film being The Dark Knight, but nothing coming up is making me terrible confident.
Thursday, 24 July 2008
The Dark Knight
2008. Dir: Christopher Nolan. Starring: Christian Bale, Heath Ledger, Aaron Eckhart, Michael Caine and Maggie Gyllenhaal. ●●●●●
I wasn't actually going to review The Dark Knight. I had planned on just watching, enjoying and saying there are better reviewers and reviews out there. That remains the truth but I would like to make my own comments anyway.
The Dark Knight is breaking box office records on pretty much a daily basis - it's now the fastest film to £200m US domestic. Last night I went to the Birmingham IMAX and got caught up in the whole excitement of it. And it's good, it's very, very good. I urge you all to go and see it as soon as you get a chance.
It is not however as good as some reviewers/rabid fan boys are making out.
It opens with a bank job. The Joker and the usual array of no-name expendable henchmen are robbing the bank of Mob money. Later it transpires that this is a ploy in order to lure Gotham gangster population into working together to defeat Batman, alternatively it's purely because The Joker enjoys the sport and wants to be up against Batman.
The violence and threats escalate throughout the film with The Joker backed by the mob on the one side and Batman, Lt Jim Gordon and DA Harvey Dent on the other.
Of course large elements of the plot don't really matter, comic adaptations are about the clashes and the themes not the minutitae, and the clashes certainly work. Aside from the opening heist there are three major confrontational scenes.
In Hong Kong Batman kidnaps a mob accountant. Wonderfully shot, with fantastic editing and fast paced action the scene grabs you from start to finish. Kudos to Wally Pfister for this particular section, as Batman soars so does the camera, perfecting highlighting the dizzying expance of the city.
Back in Gotham there's an underground chase sequence as the Joker, leading a convoy of lorries and dustcarts attempts to assasinate a transferring prisoner - I won't spoil it by saying who that prisoner is... With this section Nolan is comfortably showing the naysayers who rallied against the action in Batmn Begins how much his skills have improved. And we see the batpod - that is one cool bike.
Finally in the thrid act showdown between Batman and the Joker a building site under construction is the setting for some spectular fisticuffs between our dark knight and both the Jokers henchmen and the SWAT teams sent in to do the job.
All of these sequences are great fun, showcasing the high quality of the film, however they are not without their problems. There is the traditional underlit quality of batman fights, yeah it's moody and dark but if we can't see who's getting hit how can we care about them. The sonar gear is nice touch for a bat to use, but "Operation skyhook" looked and felt like a reject from a Roger Moore era Bond film. I also have a problem with the way the batpod scenes were edited together. Essentially batman drives fromt he wreckage of the Batmobile out of the undergound road via car parks, alleyways and shopping malls to get to the Joker's juggernaught. I'll ignore the question about how he knew where he was going, but I can't ignore that there seems little reason for the shopping centre section other than to show how cool the bike is. It's not needed - it only shows up that whilst we see glass doors smashed we have no idea how Batman negotitated the lift into the shopping centre in the first place.
On the acting side most of the cast acquit themselves very well. Heath Ledger is, as you will have heard, excellent. Is it the best performance in a comic film ever? Probably. Will it win Heath a posthumous oscar? Probably not. Whilst Heath inhabits the role like his tailor made clown suit I would be very surprised if it is the best supporting performance we see this year. Also I would hazard to say much of the congratulations going to him should really be given to Christopher and Jonathan Nolan for writing the role in the first place. Not to mention the Joker is a fan boy favourite who would always get rave notices. Although the moments when Heath works the funny aspect are priceless; the disappearing pencil trick and walking away from Gotham Genral come to mind.
Aaron Eckhart does a good job as Harvey Dent, less so as Harvey "Two-Face" Dent, although I feel his performance will improve on repeated viewings. Morgan Freeman, Michael Caine and Gary Oldman all make the best of expositionary speeches and the odd tear. Freeman also managed to get the biggest laugh of the night.
Bruce Wayne/Batman himself is a tough part to play, and I'm not sure Christian Bale gives us enough of the light and shade of the two personas to make him a rounded character.
The allusions to the way on terror are well made, and it's plea for tolerance and calm is refreshing. If some people walk away from the movie with the idea that brutalising prisoners is wrong and deciding to not pull the pin on the detonator is good then it will achieve more than a hundred Iraqi based "war is bad" movies will do.
Curiously I also felt extremely detached from the action, in spite of being in the IMAX. When I saw the Mist a few weeks ago I felt I was in the supermaket with the protagonists, watching the Dark Knight I felt I was merely an observer to the action.
In conclusion I have to say that whilst The Dark Knight is an excellent film and fully deserving of my 5 star arting (it would prbably be 4 and a half if I could do halves) I do not believe that it is the best film ever made, not even the best comic book adaptation - Spideman 2 was more fun, X2 hit on themes closer to me.
I'm looking forward to getting some feedback on this one...
