Finale of Christopher Nolan’s Batman trilogy rises, dazzlingly
By Steve Crum
Bruce Wayne’s servant/protector/confidant Alfred pep talks his master early on in The Dark Knight Rises. “Don’t worry, Mr. Wayne,” Alfred says, “it takes a little time to get back in the swing of things.” The line, written by the film’s brilliant screenwriter-director-producer Christopher Nolan, and his brother Jonathan, is both prophetic and literal. Indeed, by the time the non-cowled Bruce Wayne first makes his appearance, a super thug and his gang are amok in Gotham City, pillaging and murdering.
Forget about Batman himself appearing just yet. That comes even later in the story. It is worth the wait.
Forget about Batman himself appearing just yet. That comes even later in the story. It is worth the wait.
The third of Nolan’s Batman trilogy, The Dark Knight Rises is once again laced with grimness, despair, and a heinous villain. Although 2008’s The Dark Knight features an Oscar winning turn by Heath Ledger as the most memorably psychotic of all Batman villains, The Joker, Tom Hardy’s vicious Bane comes in a strong second. As all good DC and Marvel geeks (like yours truly) know, a superhero is only as good as the super villain. This makes or breaks the central conflict. Bane looks like a WWE wrestler with a Hannibal Lector mask attached to his face as a breathing mechanism. As such, he breathes–deeply, a la Darth Vader. And his voice sounds like Sean Connery’s. James Bond never, ever broke guys’ necks, at least not like Bane does. Add to the mix another Batman nemesis, Catwoman aka Selina Kyle, here played less sympathetically than in previous movies and TV episodes, by Anne Hathaway. Hathaway enhances the role physically and emotionally. Her real life dancing skills have segued into gymnastic moves that make her lady burglar sequences credible. Backward flips out a window might have been accomplished by a double, but why–when Hathaway is capable.
To take on Bane, Catwoman, and sundry other ventures, including the depletion of Wayne Foundation finances, Bruce Wayne (Christian Bale) must first emerge from self-imposed confinement at Wayne Manor. Wallowing in his guilt and depression over the death of his friend, District Attorney Harvey Dent (see the last movie), Wayne has been living a Howard Hughes-like existence for the past eight years. Adding to his misery is the fact that most of society blames Batman for Dent’s murder. He is a wanted fugitive, something most superheroes encounter at one time or another in their plot lines.
Batman’s never faltering ally is Police Commissioner Gordon (Gary Oldman), who now has an ally himself in John Blake (Joseph Gordon-Levitt), a young and capable detective serving under Gordon. Besides them, Wayne’s father-like servant Alfred (Michael Caine) and Wayne Foundation design tech guru Lucius Fox (Morgan Freeman), moral and physical support for Batman is nil. By the way, there is a solid performance by the nearly unrecognizable Marion Cotillard as Miranda Tate.
Once Batman finally gets back to action, with the audience’s dander by that time primed to the max, the film explodes in scene after dazzling scene of air to street attacks and counter attacks. Highlights include Batman’s newly designed airplane, The Bat, which can hover in mid-air or fly at supersonic speed. It is impressive that so many battle scenes occur in broad daylight, which means the digital effects must be flawless. They are indeed. There is an awesome, yes that adjective is overused–but not here, sequence during a jam packed football game at a huge stadium. It is not the Red Sea parting, but close. Nolan has succeeded in creating essentially a successful third act finale of one of the best trilogies ever filmed. Its plausible script, particularly for a comic book movie, happens also to have timely political references to wicked Wall Street and the gullibility of people easily swayed through bandwagon sensibilities.
The film’s two negatives are slight, the first being a too convenient subplot of Bruce Wayne’s imprisonment well into the film. It puns the film’s title. There is also the hokey, but expected, conclusion which involves a set-up, delivery, and fake-out. Then again, all should probably be forgiven since we are dealing with a comic book-inspired, fictional character who fights for humanity’s good. Bring on the fantasy.
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GRADE on a scale of A to F: B+
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Enjoy the trailer of this trilogy conclusion: https://www.youtube.com/watch?v=g8evyE9TuYk
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Enjoy the trailer of this trilogy conclusion: https://www.youtube.com/watch?v=g8evyE9TuYk
It’s six times superhero in marvel-ously mounted ‘The Avengers’
By Steve Crum
Even then, 50 years ago, it was an extra frill, providing an extra thrill, when two or three cowboy heroes combined forces to defeat evil. The Hollywood Western has been replaced by The Hollywood Comic Book long since, with superhero teams like X-Men and The Fantastic Four blasting villains to smithereens.
The Avengers aka Marvel’s The Avengers (to offset confusion with a certain vintage British TV series) dazzlingly overwhelms with six times the hero, most of whom have successfully carried their own individual movie franchises as singular entities. Conversely, the X-Men and F-4 guys and gals have always fought super villains as a team, Wolverine being the exception.
The trick with The Avengers is to satisfy each superhero’s fan base while simultaneously divvying out each hero’s scenes in equal portions. Director-screenwriter Joss Whedon has pulled it off with muscle flexing aplomb. The only reservation I have is to wonder how in the name of graphic novel heaven are they going to top or even equal Marvel’s The Avengers? This is a precedent setting superhero flick if ever there was one. It is exciting, loud, funny, violent, and action-jammed. Plus Scarlett Johansson’s Black Widow is the proverbial butter on our movie popcorn.
For the record, we also get Iron Man (Robert Downey Jr.), The Incredible Hulk (played for the first time by Mark Ruffalo–who does a fine job), Thor (Chris Hemsworth), Captain America (Chris Evans), and first timer (at least on screen ) Hawkeye (Jeremy Renner).
Nick Fury (Samuel L. Jackson), Director of the international peace keeping agency S.H.I.E.L.D., is forced to recruit each hero into a special task force to fight earth’s annihilation using the Tesseract, an untested energy source that will open a portal to Chitauri forces guided by Thor’s demented half-brother, the exiled Loki (Tom Hiddleston). Loki immediately invades S.H.I.E.L.D.’s headquarters and kidnaps, using mind control, several of its key scientists, including super archer Hawkeye/Agent Clint Barton. Immediately, Fury and compatriots travel the world to persuade Tony Stark/Iron Man, Steve Rogers/Captain America, David Banner/The Hulk, and Agent Natasha Romanoff/Black Widow to join an Avenger task force. All agree to participate. (Thor ascends from his planet to fight Loki alone, but eventually joins The Avengers.) Then the fun is to observe the bickering and one-upmanship occurring between Iron Man and Captain America.
While all the superheroes are given their due spotlight throughout the movie, it is The Incredible Hulk who comes across the most surprisingly best. Credit what he has been screen written to do, the digital effects, and Ruffalo’s acting style as Banner. Downy’s egotistical, smart ass remarking Stark is also a big positive. Thanks also to Gwyneth Paltrow, reprising her Stark assistant/girlfriend Pepper Potts.
Even though Act 3’s spectacular invasion sequence in downtown NYC brings to the mind’s eye reminiscent images from Transformers movies, the key missing from those giant toy robot movies is The Avengers, the most bizarre, flashy, and patriotically driven heroes ever conceived. When the tardy Hulk finally joins the foray (there is good reason he is late), the hellish bashing really explodes. Sorry, bad guys.Don’t even tell me to wait another year or so for the next Avengers escapade. I might start turning green.
Addendum to those Marvel movie fans of us who by now know to wait through the turtle-fast credit roll to see a little extra footage…and to those who never realized such: stick around. You will witness our superheroes in a deliciously silly clip.
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GRADE on an A-F Scale: A-
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The action-laden Avengers trailer: https://www.youtube.com/watch?v=eOrNdBpGMv8
Disturbing documentary ‘Bully‘ will anger, inspire
By Steve Crum
There is nothing I had not seen before in Bully, a stark documentary about the sad reality of kids being picked on by fellow classmates in our public schools. No, I had not actually witnessed anyone committing suicide after being bullied, but haven’t we all read and heard about said cases over the years? Undoubtedly, the fact that children have been killing themselves due to persistent harassment has been a reality since the dawn of time. These days, however, we hear about it more often, and more specifically, due to mass media.
As a retired teacher in a major public school system in the midwest, I have witnessed bullying, but seldom acted upon it, unless it was so overt or blatant or inflammatory to result in physical harm to the victim. I am being honest, and not proudly admitting such. The culture of society during the time of my 35 year tenure (and long before) viewed bullying with a shoulder shrug, accompanied by, “Oh well, boys will be boys.” Similar adult response is seen in the movie, Bully. But as the film expresses, that attitude is finally changing, for the better. At last a proactive campaign of awareness and action to defeat bullying is afoot. This documentary has already been lauded as a step toward that goal.
In Lee Hirsch’s straight forward, compelling Bully, there is a school principal who actually dismisses bullying in her middle school by giving the parents of a continually harassed student the tired boys will be boys line–which is a non-solution. Then the principal is audacious enough to pull out pictures of her grandkids to share. This occurs during a parent conference requested by the mom and dad of a young boy who has been called names, punched, and once nearly crushed under a seat on a school bus by fellow students. (Much of this is seen in the film, caught on tape via hidden camera on the bus.)
Not all bully targets are males, as the film shows. Since a 16 year-old high school girl came out as a lesbian, her school life has often resembled a living hell. The one time star athlete was forced to quit her team, and even move to another city, due to homophobic slurs and threats by both students and teachers. A 14 year-old young lady, once on the brink of gaining a sports scholarship, was incarcerated at a juvenile facility after bringing a gun on the school bus in retaliation of bullying. Her future is dim now.
Bully surveys the lives of five students, from 11 to 16, who have suffered varying degrees of social pain. A 12 year-old, Sioux City boy endured the daily angst all his life, but as he grows into teen years, things have gotten even worse, beginning at the bus stop each morning.
After years of abuse by his classmates and indifferent school officials, a 17 year-old of Murray County, Georgia boy hanged himself in his bedroom closet. A bullying-related suicide also claimed the life of an 11 year-old, Ty. His parents then spearheaded a campaign against bullying, aptly named Stand for the Silent, which is the focus of the latter part of the film.
The central character of the film, however, is the 12 year-old, Alex (pictured), an extremely likable, humorous, lonely boy who desperately wants to be accepted by fellow classmates. He just wants to fit in, as we all do.
We also see and hear the loving parents of these five kids, and the terrible stress that has befallen them over the years. Sometimes they do not make the right decisions, like the scene of one mother chiding her bullied child, “Why do you put up with this?!” Sorely missing from the foray are the faces and voices of the bullies themselves, including their parents. (Faces of the bullying kids on the infamous bus scene are blurred out.) Do they care that their behaviors have triggered suicides? Do mamma and daddy have a handle on the reality of what cruelty their sons and daughters are inflicting? Obviously not…or maybe not so obviously. No doubt legalities prevent interviews and clear images of the perpetrators and/or their parents.
The conflicts are clearly depicted in Bully. However, the resolutions are not there yet, but hopeful, thanks to awareness through organizations like the inspirational Stand for Silent. Viewing Bully should both anger and provoke one to positive action.
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GRADE on an A-F Scale: B+
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New Stooges movie loaded with nyuks, nose tweaks, bone-head hilarity
By Steve Crum
Being a long time Three Stooges fan has both everything and nothing to do with enjoying the Farrelly Brothers risky comedy, The Three Stooges: The Movie. Referencing the former, there is a legion of Stooges fans, particularly the 50+ demographic like myself, who prejudge any attempt at Stooges imitation as Stooges denigration. One has to understand we hold these knuckleheads in high esteem.
From the early 1950’s on TV, Curly, Larry, Moe (or sometimes Curly substitutes Shemp or Joe) were viewed on a daily basis. With great anticipation we watched them, after hurrying home from school to catch them and their “Three Blind Mice” opening theme every afternoon.
As for the “nothing to do” element, regarding today’s kids through the 20 and 30-somethings who possibly and incredibly have never seen or heard of the team, this feature film with actors playing the originals is another matter. Their historical reference points are the Jackass Movie (and TV shows), Jim Carrey, and Sacha Baron Cohen. Carrey even resembles Moe in Dumb and Dumber. Over the top physical comedy is definitely what The Three Stooges are all about as well. But will younger audiences take to them in clone form? I think they will, and big time. Speaking from an elder’s vantage point, the new Stooges movie is frequently hilarious. In fact, an imitation Three Stooges flick cannot possibly get any funnier than The Three Stooges: The Movie. I laughed, and laughed…to my surprise. Seeing and hearing Larry David as a nun is worth the admission price. Peter and Bobby Farrelly once again take charge of a film as directors, producers and screenwriters, a leadership formula that has succeeded in their Dumb and Dumber and There’s Something About Mary hits. Bona fide fans of Three Stooges shorts and features made from the 1930’s-’60s, the brothers wisely decided to cast the most spot-on imitators possible: Sean Hayes (Larry), Will Sasso (Curly), and the multi-syllabic surnamed Chris Dramantopoulos as the singular Moe. Along with superb makeup and dominant sound effects/foley (by One Step Up), Curly, Larry and Moe seem reborn. I have always said that the Columbia Pictures sound effects department was responsible for half the Stooges’ success.
The Farrellys pay further homage by dividing the film into three, 24-minute sections, to resemble the original Columbia shorts. Each “episode’s” title echoes the originals as well, with pun laden silliness. Episode 3, for example, is “No Moe Mister Nice Guy.”
Unlike the original shorts, however, the Farrellys continue the base story line from episode to episode. This is perhaps understandable, given the feature film format, but I would have preferred three unrelated stories. As it is, the element of pathos is slightly included, something absent from the Columbias. Oh yes, the plot thread involves saving a Catholic orphanage from being shut down, a grab from the story line in The Blues Brothers Movie. No criticism, just an observation.
Guest stars take part in the hitting, gouging, and falling down mayhem as well. Look for Glee’s Jane Lynch as the Mother Superior, Modern Family’s Sofia Vergara (as Lydia, a babe who is trying to snuff out her husband), Jennifer Hudson (another nun), and most riotously, Larry David’s Sister Mary-Mengele. Does that name have a twisted cross reference or what?! Then there are Snooki and her Jersey Shore gang, who are treated with deserved slaps by Moe and his gang.
The Farrellys are known for pushing the comedic envelope, and this Stooges movie is subject. A honk sound effect when Sofia Vergara’s breast is stooge-handled? Nyuk, nyuk, yes! Flatulence and crotch attack jokes? Check. A free-for-all, boy baby pee fight in a maternity ward? Funny as an eye gouge. (By the way, no pies are thrown in this movie.) Add it to typical Stooge sledge hammer/head bonks and chain saw assaults. As in the Stooges’ classic shorts, it is all cartoonish, non bloody, scarless action.
The comedy of pain lives on. Just don’t try to analyze why.
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GRADE on an A-F Scale: B+
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Check out this featurette/trailer: https://www.youtube.com/watch?v=5Po0DMXCHk8
Streep as Thatcher makes ‘Iron Lady’ essential viewing
By Steve Crum
Had The Iron Lady been made with an actress less capable than Meryl Streep, it would have been a mediocre, passable movie. But Streep headlines, which makes this biography of Britain’s legendary prime minister a must see. The screenplay itself is problematic, but Streep dazzles.
Past holiday seasons have given us The Queen and The King’s Speech, two exceptional films featuring charismatic lead actors and compelling stories. In fact, The Queen’s backstage at the Royal Palace approach was an immediate hook since there has been so little known about the queen’s daily life over the past 50 years. Same goes for King George in The King’s Speech.
Margaret Thatcher, Great Britain’s prime minster from 1979-90, is another story–a less interesting story. Director Phyllida Lloyd (Mama Mia!) and screenwriter Abi Morgan are not entirely to blame for this failure. That is because Thatcher’s life lacks verve. If only her husband, the humorous and eccentric Denis (Jim Broadbent), were the sole focus of The Iron Lady. That would have been a far more interesting story. What a whimsical soul he evidently was, according to his depiction here. When Denis does (frequently) appear, the film bursts alive and fresh.
A base problem is the very nature of Margaret Thatcher’s Conservative Party-based, political career. Add to that her persona, including a droll, tempered speaking manner. One plus one equals conservatism at its most orthodox. Specifically, the plot is told in flashbacks from the vantage point of 24 hours in the present day life of long retired Prime Minister Margaret Thatcher. It is obvious she suffers from dementia, but this is implicit via actions, and never actually said. (Baroness Thatcher, in fact, is still living at 86, and reportedly has dementia issues.)
Canvased in is Thatcher’s working class childhood, followed by challenges early on as a female breaking into male dominated politics of The Tory Party. (Alexandra Roach is fine as the young Maggie.) Echoing last year’s The King’s Speech, Thatcher is coached in proper speech techniques, particularly enunciation.
More flashbacks recall her rise to the House of Commons as a Conservative, and her destiny as Great Britain’s first female prime minister. The story segues back to present and so on, with Jim Broadbent’s terrific portrayal of Denis shown in real time (the past) and as a wise cracking ghost (present) that only Margaret can see and hear through her skewed sense of reality. During her tenure of office, Thatcher initiated The Falklands War, and dealt with the sinking of the Belgrano. She was also burdened with her country’s economic and unemployment issues. These events are included in The Iron Lady, but not elaborated upon. In other words, there are no Falklands battle scenes, which is wise since that would detract from the gist of the story. Then again, this script could have used the adrenaline.
Yet we have Streep. More than just the greatest character actress of our time, she is the greatest, living film actress, period. Her Margaret Thatcher is no caricature, she becomes Thatcher.
It is a jolting, Oscar caliber portrayal amidst a mostly prosaic film, Jim Broadbent’s sequences being another exception.
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GRADE on a Scale of A to F: B-
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