The Dark Knight Rises

 

Bane and Batman work on their ballroom dancing skills.

(2012) Superhero (Warner Brothers) Christian Bale, Anne Hathaway, Tom Hardy, Gary Oldman, Michael Caine, Marion Cotillard, Joseph Gordon-Levitt, Morgan Freeman, Matthew Modine, Cillian Murphy, Alon Moni Aboutboul, Burn Gorman, Ben Mendelsohn, Nestor Carbonell, Chris Ellis, Reggie Lee. Directed by Christopher Nolan

 

The world needs heroes. We latch onto them whether or not they deserve our admiration or not – and some of them do. However, heroes are often shaped by the perception given us by the media and by the powers that be. One man’s hero, in other words, is another man’s villain – and vice versa.

Eight years after the events of The Dark Knight, Bruce Wayne (Bale) a.k.a. Batman sits in isolation in Wayne Manor. Injured in his final fight with the Joker and with Harvey Dent, the Batman has been branded an outlaw for his role in the events of that film. Wayne is in a deep depression and despite the efforts of his faithful butler Alfred (Caine) remains so. There is no need for Batman, as legislation enacted in the aftermath of those events has helped the new police commissioner Jim Gordon (Oldman) clean  the city up. Gordon is assisted by Detective John Blake (Gordon-Levitt), a cop who believes in Batman and thinks that something stinks about his current outlaw status. Gotham is at peace and looking to the future at last.

However for figures like the Batman, the world has a way of preventing them from remaining on the sidelines for too long. A sexy catburglar named Selena Kyle (Hathaway) – who goes by the name of Catwoman – has robbed Wayne Manor of the string of pearls Bruce’s mother was wearing the night she was murdered, along with something more subtle – and dangerous to Bruce and those around him. Arriving in Gotham as well is Bane (Hardy), a masked terrorist of terrifying strength and an agenda that makes it sound like the French Revolution is coming to Gotham.

Bruce is struggling to keep his company out of the hands of the rapacious venture capitalist Daggett (Mendelsohn) who is after some technology developed by Lucius Fox (Freeman) that might prove devastating in the wrong hands. On his side is Miranda Tate (Cotillard), a European CEO who is on the same page as Bruce and Lucius. However, the attacks on Gotham and Wayne Enterprises are linked with each other and both have their roots sunk deeply into Bruce Wayne’s past. Bane is much more malevolent than even this and what he has in store for Gotham is nothing less than a full measure of reckoning.  Could this be the end of Batman?

Well, it certainly is the end of this phase of Batman. Nolan has made it clear that this will be the last Batman movie under his stewardship and there’s no doubt that Warner Brothers and DC aren’t thrilled about his departure. Nolan revived the character as a viable franchise

Of course, that isn’t all Nolan’s doing. Bale will go down in history as the definitive Batman much as Sean Connery is the definitive Bond. Bale captures the brooding nature of the character (which none of the other screen versions had fully been able to portray) while reminding us of his brilliance at figuring things out. Batman is the ultimate superhero strategist and we see that side of him here.

Some have criticized Bane as being too one-dimensional but I disagree. Bane is a very complicated character not unlike a jigsaw puzzle whose pieces you don’t have until the very end. It takes a bit of patience but once you kind of get him you realize Hardy is doing a tremendous job with him, considering he is mostly acting with his eyes as his face is masked and his voice distorted. Those who can’t see anything deeper aren’t looking hard enough.

There are those who will look at this as a social commentary of some sort and to be honest, Nolan’s movies often are. Bane might be thought of as the sort of epitome of the Occupy movement, blaring one solipsism  after another proclaiming the rights of the people over the evil powers that be. However, that would be a simplistic interpretation. Quite frankly, the movie is our worst nightmares about the economy come to pass; a morality play about how easily economic chaos can lead to physical chaos. It’s certainly a cautionary tale.

For me, the heart and soul of this particular movie isn’t so much Batman as it is Alfred. I was a little surprised Caine took the part initially and this movie might well be one of the crowning achievements of his distinguished career; it’s not a large part but it’s the soul of the film and Caine delivers one of the most emotional performances I can ever remember. I just hope the Academy remembers him when the nominations start to come out next year.

If the question is whether or not this measures up to The Dark Knight, then the answer is a resounding yes. If the question is whether the movie is as good or an improvement on The Dark Knight, then I’d say that it is close but not quite as good. Hardy is terrific as Bane and Hathaway makes a sexy but savvy Catwoman but neither of them delivers the good quite as well as the late Heath Ledger did as The Joker. Batman needs an opponent at least as clever as he is and Bane isn’t quite to that level.

This is as good a summer movie as you’re likely to find out there, one which takes the gauntlet thrown down by The Avengers and answers the call. We are quite fortunate to have a summer in which the superhero movies have been as uniformly excellent as this year has been; hopefully that will set the bar for summers to come.

REASONS TO GO: A fitting end to a great movie trilogy that sets the bar high for future superhero movies. Well-orchestrated plot. Hardy and Hathaway make terrific villains; Bale is the definitive Batman and Caine gives an Oscar-worthy performance.

REASONS TO STAY: Very dark in nature, maybe the darkest superhero film ever which might be too much for younger audiences.

FAMILY VALUES: There is plenty of comic book violence, some of it a little bit more realistic. There is a bit of simulated and implied sex, and a few bad words.

TRIVIAL PURSUIT: Christian Bale becomes the first actor to play Batman in three live action films (Kevin Conroy has played the role seven times but all in animated features).

CRITICAL MASS: As of 7/28/12: Rotten Tomatoes: 87% positive reviews. Metacritic: 78/100. The reviews are strongly positive.

COMPARISON SHOPPING: Spider-Man 2

FOOTBALL LOVERS: The football sequence was filmed at Heinz Field in Pittsburgh. The kick returner was played by real life NFL star Hines Ward, who in the movie plays for the Gotham Rogues.

FINAL RATING: 9/10

NEXT: An Unreasonable Man

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The Spirit

 

 

Over the top? Not when you’re Samuel L. Jackson.

 

 

(2009) Superhero Action/Comedy (Lionsgate) Gabriel Macht, Samuel L. Jackson, Eva Mendes, Sarah Paulson, Scarlett Johansson, Dan Lauria, Paz Vega, Jaimie King, Louis Lombardi, Stana Katic. Directed by Frank Miller

 

Frank Miller is one of the most honored and respected graphic novelists in the business. His The Dark Knight Returns is one of the most influential graphic novels in history, bringing on the current wave of dark-themed and gritty realism comics that seem to dominate these days.

 

One of his major influences is Will Eisner; hell, nearly everyone writing and drawing comics today can say that. The major industry awards are named after the guy; that should tell you something. One of Eisner’s most famous creations is The Spirit.

 

Denny Colt (Macht) is a police officer who was killed in the line of duty, but has been reborn as The Spirit (Macht), a masked crime fighter known for his red tie and his ability to fight without being killed. He lives in Central City, a dingy, dirty, corrupt place of shadows and alleys, swamps and skyscrapers. He protects the city with his blood and what’s left of his soul. What is there to protect it from? In a word, the Octopus (Jackson), a mad scientist who has the same abilities The Spirit has but who craves something more; immortality.

 

To that end, he is concocting a formula that utilizes some fairly uncommon ingredients, one of which is the Blood of Heracles…Hercules, to you and me. He and his artificially created (and uncommonly stupid) henchmen Logos, Pathos and Ethos (Lombardi all) and his incredibly smart and sexy right hand Silken Floss (Johansson) have torn up the city for the ingredients.

 

However, he’s not the only one looking for immortality. International jewel thief Sand Saref (Mendes), the former love of the late Denny Colt, is also in town looking for the stuff and all hell is breaking loose. The Spirit has his hands full trying to keep the Octopus from achieving his end, while trying to protect his heart from being broken again by Serif.

 

Those who might remember Miller’s Sin City (which he co-directed with Robert Rodriguez) will know the style he employed here, a very noir-ish tone in both look and feel, with black and white and sepia that contrasts wildly with splashes of color; red tie, red lips, red blood. Miller’s graphic novels have been notable for their dark tones and gritty film noir-like style.

 

But this isn’t pure noir; there’s an element of camp to it that is reminiscent of the 1960s Batman, from the henchmen with their names on their shirts to the stylized fighting style. There are also the femme fatales, including the aforementioned Serif and Floss, as well as the assassin Plaster of Paris (Vega). There’s also the doctor, Ellen Dolan (Paulson) who is The Spirit’s love interest and of all the women here has the most personality.

 

But it is the Macht-Jackson show. They are the center of the story; Macht makes for a fine hero while Jackson chews on the scenery like George Lopez at an all-you-can-eat taqueria. Jackson seems to be having a ton of fun in a larger-than-life role. He pulls out all the stops, but never lets his performance overwhelm the part.

 

There is a questionable scene in which Jackson and Johansson are outfitted as Nazis; I’m not exactly sure why Miller went there, other than to add a Raiders of the Lost Ark-ish element to the movie, but it doesn’t work. Neither does Mendes as Saref. The role is meant to be sympathetic in the end, but quite frankly Mendes seems to be more successful when she is less soft. Certainly she’s beautiful and sexy, but in the end I felt she wasn’t quite right for the role.

 

The movie got savaged by critics upon release, while audiences were far more indifferent. Despite a ton of pre-release hype and high expectations given the director and the material, poor word-of-mouth doomed the movie. That is quite a shame, because in many ways the movie is much better than you might have heard it was, but you do have to be in the right frame of mind to really appreciate it. If you are looking for something on the campy side and not so much on the dark gritty side, you might find The Spirit to be some mighty fine entertainment. However, you should be warned that these elements might be a little bit at odds with most folks’ perception of Miller, whose works up to now haven’t had the kind of lighter side depicted here.

 

WHY RENT THIS: Very stylized and campy, generally in a good way. Macht is perfectly cast as the Spirit and Jackson delivers an over-the-top performance as the villain.

 

WHY RENT SOMETHING ELSE: Mendes is terribly miscast and some of the campiness might be grating for those looking for a straight-up superhero movie.

 

FAMILY VALUES: There’s a good deal of stylized violence, a bit of sexuality (including some brief nudity) and while it’s pretty much okay for most teens, I’d think twice before letting the young kids see this. 

 

TRIVIAL PURSUIT: When it came time to shoot Paz Vega’s scene, her costume so distracted Miller that he yelled “Cut” instead of “Action!”  

 

NOTABLE DVD EXTRAS: There’s a feature on the creator of the original comic, Will Eisner and his effect on the industry in general.  

 

BOX OFFICE PERFORMANCE: $39M on an unreported production budget; in all likelihood the movie broke even at best but most likely not.

 

FINAL RATING: 6/10

 

TOMORROW:  Waiting for “Superman”