Defendor

While at first I thought it was a comedy, I was soon proved wrong. I like Woody Harrelson for his comedic value, this pushed his acting skills in a newer direction. While still maintaining a comedic overtone it settled into a serious note that is very seldom seen in most newer movies. It's not big on special effects or huge explosions, but the movie its self makes up for all that for being big on heart and able to touch feelings that haven't been touched in a while.All in all I'd say Woody Harrleson doesn't deserve an Oscar for his performance(while it was quite memorable), the movie does deserve an honorable mention at as many award shows as possible!

Wow, that was surprising.

I stumbled across this film by accident, I saw that Woody was in it so decided to give it a try. I wasn't expecting much because I had never heard of it. But I was very pleasantly surprised.

This movie is great! "Defendor" is very funny, yet has a real story, and will get you emotionally involved when your not laughing your butt off. You pretty much can't go wrong here. Most importantly it was all thrown together beautifully, hats off to the writers and director. Every actor did a great job as well, but Woody stole the show, he deserves an award for this - he nailed the roll and then some. 110%. Well done.

This movie is underrated!

This was a rather enjoyable and strangely touching action caper, with moments of genuine depth and truth.

Woody Harrelson proves once again that he's an incredibly versatile and emotionally astute actor, with an arresting performance that carries the story along with remarkable zeal and fun. And while the plot and direction skirt close to sentimentalism towards the end, Harrelson executes the last few scenes in a manner so as not to spoil the quirky edge of the film.

Another angle that I found particularly enjoyable were the deferred references to Don Quixote - if you've read Cervantes's hilarious Rennaissance series you'll no doubt notice uncanny similarities that suggest homage: In lieu of the outlandish chivalric tales that madden Don Quixote and compel him to forge his own suit of armour and 'sally forth' into the wilds of quiet old La Mancha, we have 'Defendor', who similarly loses what few wits he has to begin with by obsessively reading comic books and deciding to become a superhero in an anonymous post-industrial slum. Sancho Panza is replaced by a saner but similarly pliant crack-addict, Kat, and Rosindante is supplanted by his 'defendog' mobile.

There are other similarities the movie has with D. Quixote, but to mention those would give the game away. It will suffice to say, however, that the film is quite highly recommended by this viewer, if not just for the joy of seeing Don Quixote once again take to the streets in all his glory.

Given the recent onslaught of superhero films hitting theatres, it would seem only natural to anticipate parodic responses to the genre, sending up its excesses and sillier elements. On the surface, it would appear that debut director Peter Stebbings' Defendor is exactly such a film, casting Woody Harrelson's oddball everyman as a surrogate crimefighter and exploiting his antics for humour in the vein of 1999's Mystery Men. And initially this is the approach the film itself appears gearing up to take, opening with a hysterical spoofing of overblown superhero film clichés, including rooftop billowing fog, high contrast city lights against nighttime darkness, and larger than life acrobatic feats ("always check the garbage days" moans a wounded Defendor after leaping off a rooftop into a dumpster recently emptied of garbage to cushion his fall). Such astute genre awareness combined with the wonderfully imaginative collection of Defendor's makeshift crimefighting weapons (including the most inspired use of marbles seen in ages) could easily have assured for an hour and a half of lighthearted, enjoyable cinematic fun.

But Stebbings' film has grander ambitions than a mere surface level parody, which subtly unfold as the film progresses. As the laughs slowly become fewer and fewer, Defendor's narrative becomes steadily more engrossing, settling on a tone pitched halfway between exhilarating crime/mystery thriller and poignant character study, as the viewer is led increasingly to question Defendor's mental stability, and even the ethics of his imbalanced war against injustice. While such transitioning between tones could prove a dangerous stumbling ground, Stebbings is careful to distinguish between his darker themes and moments of levity, utilizing dashes of all too real violence to savagely undercut the fantasy or parodic elements. For all Defendor's silliness, it certainly packs a brutal punch when necessary.

Of course, being the work of a first time director, one would expect the occasional fumble, and Stebbings' film does lose its way for a period nearing the climax, meandering somewhat and losing its rhythm. Nonetheless, an emerging subplot musing on the roots and importance of heroism (clearly borrowing amply from Christopher Nolan's recent two Batman reboots among other sources) which could have been the clumsiest addition to the movie actually emerges as surprisingly tasteful and functional, adding more nuance and complexity to the unfolding film without coming across as excessively pretentious. Completing the package is the wonderfully grandiose musical score by John Rowley, managing to perfectly encompass each tonal shift, whether gleefully riffing on superhero musical motifs or offering something more profound and honest, either way adding welcome depth and volume to a film already far from lacking in either.

The casting of Woody Harrelson as the titular hapless crimefighter also proves a stroke of genius, as Harrelson's naturally wacky yet powerful charisma exemplifies the essence of the film, beautifully blending child-like emotional simplicity, tenacious determination and enough flat out weirdness to make it all ring true, as well as an inspired ripoff of Christian Bale's now iconic Batman voice. Kat Dennings is equally delightful to watch as a young prostitute who may be either befriending or manipulating Defendor, warping her naturally quirky and spunky energy into something darker, yet just as resonant. Elias Koteas essays antagonistic clichés with the utmost grotesque skill as a crooked cop, and Michael Kelly reconciles a weakly written role with a gruff credibility as Defendor's employer and solitary friend. Finally, Sandra Oh is superb in her few scenes as Defendor's psychological examiner, infusing impressive dramatic tension with moments of deadpan humour, and bringing welcome life to the film.

It would be easy to compare Defendor as a film to its protagonist: slightly cumbersome and prone to stumbling at times, yet cleverly self-aware, comical yet with layers of unexpected darkness, and overall encompassed by such an infectious sense of classic, cheesy charm that it is near impossible not to love in the end. Whether taken as a superhero parody, straight out superhero film or character study (or ultimately all three), Defendor proves a highly enjoyable success, and one easily worth a watch.

-7.5/10

One of the best movies I have seen this decade, funny, touching and clever. It would have totally passed me by if someone hadn't recommended it, which is a shame as it's an excellent film.

Acting, music score, writing all come together really well. Thank you Woody for another great movie.

I would really recommend this film to anyone even if the "superhero genre" is not your thing, since that is only tertiary to the theme anyway.

I look forward to seeing more from Peter Stebbings.

I can only hope that "Kick Ass" is half as good as Defendor.