This long running franchise has always been one of my favourite series of movies, and the character remains probably my go-to comic book hero. So when I heard they were rebooting the franchise once again, I was curious / nervous where they could possibly take this character. Turns out director Matt Reeves (Cloverfield, War for the Planet of the Apes) was an assured choice for this new era. Twilight’s Robert Pattinson takes on the role of Bruce Wayne / Batman who we hear has already been at the caped vigilante ‘game’ for over a year. A series of murders of political figures have started occurring in Gotham City. The killer, calling himself The Ridler leaves cryptic clues for the police and especially Batman to follow in a race against time as the bodies pile up. Embroiled in proceedings is small-time burglar Selena Kyle / Catwoman (Zoe Kravitz), as well as local mobster The Penguin.
Reeves’ direction is suitably moody and highly atmospheric. I especially liked how he brought back Gotham as an eerie character in itself, something Tim Burton presented so well back in the day but Christopher Nolan mostly did away with in place of realism. This rendition of Batman successfully marries both the Gothic fantasy of Burton whilst retaining some of the grit of Nolan … and it works. Wayne / Batman is this time portrayed very much as a human being, capable of injury and mistakes and letting his emotions get the better of him. In this respect Pattinson is excellent – delivering a complex, damaged portrayal whilst still looking an absolute badass in the costume. I’d have like a bit more of him as Bruce Wayne though. Another surprise was Zoe Kravitz, an actress I only know as being the daughter of rocker Lennie Kravitz, but her portrayal is possibly the most complex and interesting version of Catwoman for years. Support from Jeffrey Wright as (inevitably) Commissioner Gordon and John Turturro as mob boss Falcone both bring plenty of personality also. A barely recognisable Colin Farrell is also decent as Penguin even if his character is kind of a side note. That just leaves The Ridler then, and with this role Paul Dano (There Will Be Blood) is chilling and malevolent – even if he’s no Heath Ledger (although his grand-scheme bares similarities).
I had a great time with this. It was a bit long, and may have benefited from some scenes being trimmed down, but I can’t say I ever got bored. Pattinson turned out to be a great choice and I am eager to see what more he can do with the character. The story was gripping, with an intricate plot that bared resemblance to the Zodiac murders whilst also echoing the Saw movies. This was also different enough to stand on its own yet retains enough of the mood and aesthetic to still very much be a Batman movie. What more could you ask for?
I tend to approach a movie directed by Christopher Nolan with a degree of expectation. Over the years he has earned his place as one of the most skilled directors around, with acclaimed works such as Inception, Interstellar and of course The Dark Knight trilogy. This latest has him attempt the spy / espionage sub-genre and you do get the impression he’d make a helluva Bond movie – but this gives the genre Nolan’s own unique spin. So how does it fair?
Before get to that let’s go into the plot. A CUA operative (John David Washington) gets embroiled in a complex plot to over throw a Russian arms dealer (Kenneth Branagh) who seems to have stumbled upon a top secret weapon that could mean the end of the world. This weapon has something to do with time inversion, where objects or people can be inverted so they work in reverse of perceived time, therefore manipulating the world as it see’s fit because it’s already happened. The movie has us grapple with this high-brow concept whilst delivering exhilarating, unique action set pieces (the freeway heist) I felt only a director of Christopher Nolan’s calibre could pull off. The plot is confusing at first as our protagonist tries to stop a mad man whilst grappling with the fabric of time itself. Yet it’s a time travel movie done in a way I don’t think we’ve seen before, … that’s head-scratching but also awe-inspiring, with all the necessary ‘aha’ moments when certain details fall into place. This is rather ingenious writing that I’ll admit to not really being clever enough to unravel on first viewing.
Beyond the complex ideas at play, there is also the matter of stunning IMAX photography, which is more plentiful here than in the director’s previous work aided by a reliance on large-scale stunt work, practical effects and grandeur. The movie globe trots from eye catching locale to eye catching locale and it all looks lush. Performances ranging from Washington’s cool as ice Protagonist to Brannagh’s scenery chewing villain are decent, even if plot exposition can get lost in line delivery that’s often mumbled (and occasionally drowned out by the movie’s score) The fact this movie is hard to follow is really it’s only failing. Otherwise it delivers action, scale and imagination that’s on a different level. Perhaps not Nolan’s best, but certainly up there with some of his other movies if given the attention it deserves.
I’ll generally watch anything directed by David Cronenberg, that former horror auteur responsible for such titles as Scanners, The Fly, as well as thrillers like A History Of Violence and Eastern Promises. Going into this I felt echoes of another David’s work, namely David Lynch especially with his dark-side-of-Hollywood opus Mulholland Drive.
A physically and emotionally scarred young woman, Agatha (Mia Wasikowska) arrives off a coach seemingly intent on discovering Hollywood and befriends a chauffer (Robert Pattinson). Soon she is hired by struggling former star Havana (Julianne Moore) as her personal assistant. Havana is trying to land the role in a remake of her deceased mother’s most famous film, whilst at the same time struggling with her own personal demons. We also get a child actor with over-barring parents (including a self-help guru John Cusack).
Think ‘The Player’ meets ‘Mulholland and you’ll get an idea of this dark but interesting drama. Wasikowska is, as always excellent as the troubled and manipulative Agatha and Moore is daring and tragic playing an actress way past her sell by date. It perfectly showcases how fake and artificial the movie industry can be, and especially how throwaway it is with young and ageing actors. Cusack, one of my favourites is fairly wasted here not getting much chance to be anything more than a money hungry scumbag, and the kid playing the child actor is quite unlikable also. Well, all the characters here are unlikable, but that’s clearly the point. Cronenberg observes them like insects waiting to be trod on, but the occasional lapses into surrealism and brutal violence (death by academy award?) or explicit sex (gotta hand it to Moore … she’s fearless!) at least livened up what is otherwise a fairly downbeat and depressing tale. For Cronenberg this was fascinating but ultimately quite limp for such a provocative and challenging film maker.
DavidCronenberg is one of my favourite directors, responsible for such masterpieces as Videodrome and Dead Ringers. So naturally I will seek out anything by him … even this curious oddity starring Twilight actor RobertPattinson.
Pattinson plays a young billionaire living in Manhattan on-route to getting his hair cut whilst travelling in a stretched limo. However for a man who has it all, the beautiful wife, the sexy mistress (JulietteBinoche) and more money than he knows what to do with … he craves something more, something that might make him feel alive again.
Interesting concept, based on the novel by Don Dellilo, this has more in common with Cronenberg’s baffling Naked Lunch than any of his other work. Filled with impenetrable dialogue that is more a series of phylosophical statements than people actually talking one another – I found this both beautiful to look at, and cold and alienating … meaning gleaming much enjoyment was near-impossible. Cameos by SamanthaMorton & PaulGiamatti were welcome, but even smatterings of sex & violence couldn’t pull this out of the doldrums, and I almost nodded off at times. Pattinson also continues to be one of the most navel-gazing actors I have ever witnessed, and I remain firmly on the fence as to his appeal.
One to avoid then, even for seasoned Cronenberg fans.
I liked Twilight. It may be undeserving of the media and fan frenzy that followed in wake of the books by Stephenie Meyer, but the simple love story between a quiet girl and a cool Vampire was never going to be boring. Yet that movie lacked a bit of attitude and pace, and well, not a lot happened. Still with the sequel I went into this expecting many of the themes hinted at in the first installment to finally get some screen time and things to start happening.
Mensen maken de samenleving en nemen daarin een positie in. Deze website geeft toegang tot een diversiteit aan artikelen die gaan over 'samenleven', belicht vanuit verschillende perspectieven. De artikelen hebben gemeen dat er gezocht wordt naar wat 'mensen bindt, in plaats van wat hen scheidt'.