film babble blog: Batman

Showing posts with label Batman. Show all posts

Wednesday, August 18, 2021

VAL: A Personal Portrait Of Val Kilmer That He Helped Make

Now airing on Amazon Prime:

VAL (Dirs. Leo Scott and Ting Poo, 2021)

Since I first saw Val Kilmer as an ‘50s Elvis-eque pop star charm his way through the zany comedy TOP SECRET back in 1984, I’ve liked the guy. He was matinee idol pretty, but he was a talented presence in film after film. Cut to now, and Kilmer has lost his ability to speak due to throat cancer and speaks in a twisted rasp through a voice box.

This is very sad, but in the new documentary, VAL, the actor appears to be making the most of it. First-time directors Leo Scott and Ting Pooh have fashioned a biodoc that has the edge on many artist’s portraits as since the ‘80s, Kilmer has constantly been recording his life with a home movie video camera.

Whether he was capturing backstage Broadway shenanigans with fellow thespians Kevin Bacon and Sean Penn (who pushed Kilmer out of a leading role), hanging on film sets with co-stars, and playing with his kids - Jack and Mercedes, the products of his marriage to actress Joanne Whalley – Kilmer’s scores of footage makes his memories come alive.

The rest of the narrative concerns Kilmer’s current condition as he travels around with Jack as they go to events like Comicon, and visit his old drama school, Julliard in New York.

Because of Kilmer’s vocal ailment, his son, the 26-year old Jack narrates the film, reading his father’s words. Since Jack’s voice is stunningly similar to his Dad’s, the effect is so successful that at times I forgot it wasn’t his Dad speaking.

Kilmer takes us through his filmography, albeit only briefly touching on each movie. He calls TOP SECRET “fluff,” TOP GUN “silly,” and WILLOW is seemingly only significant because he hooked up with Whalley, who he’d soon marry (come to think of it, that is more significant than the movie).

THE DOORS gets more coverage perhaps because it contains one of Kilmer’s most immersive performances as the Doors’ Jim Morrison. Oliver Stone’s 1991 epic rock biopic is too ridiculously over-the-top for it to make a real connection, but Kilmer’s take on the Lizard King is a true tour de force.

The ‘90s brought the anquished actor meatier roles in such modern classics as TOMBSTONE, in which he stole the movie as Doc Holliday; and HEAT, yet his one-time turn as Bruce Wayne/Batman in BATMAN FOREVER was far from a classic. But as Kilmer said, “You don’t turn down Batman, you don’t.”

Another notable bit is about making John Frankenheimer’s THE ISLAND OF DOCTOR MOREAU (1996), principally because it stared a bloated, uninterested Marlon Brando, who Kilmer long wanted to work with. We see how the doomed production left little time for Brando and Kilmer to have much of a meaningful collaboration, but there is a moment in which Kilmer pushes Brando back and forth on a hammock.

In one of the movie’s most emotional moments, Kilmer laments being on the autograph junket: “I’m selling basically my old self, my old career. For many people, it’s like the lowest thing you can do is talk about your old pictures, and sell photographs of when you were Batman or The Terminator…” Note: He has never played The Terminator; he was just generalizing.

I was skeptical about Kilmer playing Mark Twain in a one man play that was filmed and released as the movie, CITIZEN TWAIN, because Hal Holbrook owned the role for 60 or so years. But seeing clips of Kilmer’s version left me intrigued, so I may seek it out.

VAL is a terrifically touching look at a unique, and intense method actor maneuvering though a career that’s more commercial than he’s comfortable with. Now he’s struggling the side effects from throat cancer, and may be unable to return to acting again. I may have just spoken too soon, as I hear he's gonna to reprise his iconic role as Iceman in the TOP GUN sequel this fall. That's great because In these times of crazy confusion, damned diversity, and lack of artistic aventure, we need Val Kilmer more than ever.

More later...

Tuesday, December 29, 2020

Christopher Nolan: The Man and His Motifs Part 2

Preceding my viewing of TENET for the first time - something I’ve been waiting to do since its release last summer (I chickened out going to the theater), I thought I’d revisit this article I wrote about its Director, Christopher Nolan, for the Chinese magazine Front Vision in 2017. As the magazine is aimed towards young people, my style is a bit different from my usual babble. This is the sequel to Part 1, which you can check out here.

Part 2:

1995’s critically acclaimed BATMAN BEGINS, established Christian Bale as the Dark Knight/Bruce Wayne, with a solid supporting cast that included Michael Caine, who’d go on to work with Nolan in six more movies.

But it was the stunning imagery, via Director of Photography Wally Pfister, that often overshadowed the actors. Garnering a well deserved nomination for Best Cinematography, BATMAN BEGINS not only successfully rebooted the series, it joined Sam Raimi’s SPIDER-MAN series in opening the floodgates for a gigantic wave of comic book based franchises that endures to this day.

Nolan followed up BATMAN BEGINS with another screenplay collaboration with his brother, Jonathan, an adaption of Christopher Priest’s 1995 novel THE PRESTIGE, about rival magicians played by Bale and Hugh Jackman in 1890s London. It was another acclaimed non linear opus, marred only by some glaring convolutions, which received a nomination for Best Cinematography, but didn’t win.

The sequel to BATMAN BEGINS, THE DARK KNIGHT (2008) IS arguably the peak of the filmmaker’s career - had more luck in the Oscar department, as it won for the late Heath Ledger’s tour de force performance as The Joker, and for Sound Editing.

Nolan again wrote his brother, Jonathan, and they capped off the trilogy four years later with the equally acclaimed THE DARK KNIGHT RISES (2012), but in between these immensely profitable BATMAN adventures, he constructed his most ambitious and surreal cinematic puzzle yet.

Nolan had previously touched upon the fantastical, but INCEPTION (2010) is more mind-blowing than anything he’s attempted before or since.

Leo DiCaprio stars as a dream extractor who deals in the manipulation of men’s minds when they are asleep. The film contains endlessly inventive dream inside of a dream scenarios which are spell binding, and genuinely scary at times, with overwhelmingly beautiful and towering worlds of CGI-crafted dream set pieces.

Pfister finally won an Oscar for Best Cinematography for INCEPTION, and the film also won Academy Awards for Sound Mixing, Sound Editing, and Visual Effects. These accolades are well deserved, but the film’s theme of choosing life over illusion or vice versa is what’s most impactful. When it ends, one isn’t sure if DiCaprio’s character is in reality or a dream, and the last shot lingers hauntingly – another Nolan trademark.

2014’s INTERSTELLAR, Nolan’s space epic follow-up after concluding THE DARK KNIGHT trilogy, wasn’t as successful as the former film in the sci-fi department as it tried too hard to be the modern day equivalent to 2001: A SPACE ODYSSEY. But the film, which concerns Matthew McConaughey as an astronaut traveling through time and space to save the world, did do good business and won an Oscar for Best Visual Effects. For the first time since FOLLOWING, Pfister wasn’t on board, and the film was shot by cinematographer Hoyte van Hoytema.

Nolan’s next film, the WW II epic DUNKIRK, arrived during the overstuffed summer of 2017, and held its own at the box office with the help of rave reviews, many of which praised it as being his best film.

The director’s attention to detail in recreating the Dunkirk evacuation of 1940 is immaculate via the usage of restored boats and planes from the actual event, practical effects, and a minimum of CGI. The non linear Nolan is on display in the three intertwined threads involving the soldiers, a rescue boat, and the air force. The vast visuals provided by the returning Hoytema are immersive enough to make one feel like they’re right there in the middle of the action.

As of this writing, Nolan hasn’t announced what his next project will be. After the exhausting, and emotionally draining production of DUNKIRK, it would be understandable that he may take some time off. The abundance of rich imagery contained in his canon makes it hard to believe that he’s only made 10 movies for there’s more visual power in them than in the entire filmographies of many directors. And as Nolan’s not even 50 years of age yet, he’s likely going to contribute a lot more eye-popping movie magic in the decades to come.

More later...

Friday, March 25, 2016

BATMAN V SUPERMAN: DAWN OF JUSTICE: Yeah, No.

Now playing at a multiplex near you:

BATMAN V SUPERMAN: DAWN OF JUSTICE

(Dir. Zach Snyder, 2016)

DC pitting their two biggest, most iconic superheroes – Batman and Superman - against each other in order to jumpstart their cinematic universe looked like a questionable premise right off the bat – pun intended.

Especially since I, and many others, hated the first installment of the DCEU (DC Extended Universe), Zach Snyder’s SUPERMAN series reboot MAN OF STEEL.

So I went in to Snyder’s follow-up/BATMAN reboot with exceedingly low expectations, but was still majorly disappointed.

For BATMAN V SUPERMAN is another round of boring bombast surrounding a couple of dark dullards without a lick of compelling storytelling to be found. There’s also a severe lack of humor, and anything resembling a fresh style.

Henry Cavill, returning as the red caped crusader as well as giving us our first real taste of his Clark Kent persona (we only got a glimpse of him getting the job at The Daily Planet in MAN OF STEEL at the end), and Ben Affleck, making his debut as the Dark Knight/Bruce Wayne, both brood up a storm but there’s nothing really that intriguing about their characters. They’re just overly self serious, bland dudes is all.

The film tries to simultaneously function as a sequel and a origin story for Affleck’s incarnation of Batman, but it strongly appears that his/Snyder’s version of the character is a continuation of the Christopher Nolan/Christian Bale model as there are references to The Joker, an identical bat cave, and restagings of his parents’ murder and his being attacked by bats in a well as a child that attempt but fail to recreate the gravitas of Nolan’s work.

We learn that while Superman was battling General Zod and reaping mass destruction on Metropolis in MAN OF STEEL, Wayne was one of the many folks in the rubble building up a hated for Superman. Just like many in the audience.

Clark Kent, for his part, dislikes Batman, labeling him a “bat vigilante” and “a one man reign of terror” so the stage is set for what Lex Luther (Jesse Eisenberg) bills as “the greatest gladiator match in the history of the world.”

Eisenberg’s Luther is an unhinged, mad scientist who, of course, wants the two leads to fight and destroy each other so that he can…uh, I forget exactly what his plans were for after that but we’ll just go with world domination. Eisenberg locks in to the villain role with a lot of crazy conviction, but I never bought him as Luther. He reminded me of the Jon Cryer role in SUPERMAN IV – Luther’s (then played by the great Gene Hackman – now, there’s a Lex Luther!) newphew/flunky. He seems like the guy who’d be fetching stuff for Luther, not actually be Luther.

Whatever the case, this movie plays out exactly how you’d expect with no surprises. Batman and Superman fight, then bond together to fight a ginormous, grotesque creature that Luther created from Zod’s DNA, with the help of Wonder Woman (Gal Gadot), whose addition here feels like an afterthought.

David S. Goyer (MAN OF STEEL) and Chris Terrio’s (Oscar winner for the screenplay for Affleck’s ARGO) screenplay is full of pretentious dialogue about good, evil, “god versus man,” etc. but none of it comes together to form any meaningful theme. There are also a few incredibly weak plotpoints that would be a Spoiler to complain about, but I'll just say that in the worst one they make a connection between the feuding leads based on a coincidental name in their families. Man, that made me cringe.

So did the dream sequences - one a dream inside a dream deal - which were ultra unnecessary.
Amy Adams, reprising Lois Lane, puts some genuine passion into her part, and her fellow returning cast members (Lawrence Fishburne as Editor Perry White, and Diane Lane and Kevin Costner (a dream-set cameo) as Superman’s earth parents) are all fine, but in the messy machinery of this movie they are little more than cardboard cogs.

Meanwhile, Jeremy Irons takes over from Michael Caine as Batman’s butler Alfred and has a few of the film’s only mildly amusing lines, and there’s a welcome turn by Holly Hunter as a senator who wants to hold Superman accountable for his actions in the previous film’s climax, but sadly a hearing scene in which Superman stands before congress is cut short before he gets to testify. Silly me for thinking that Superman could offer any plausible justification for the sins of MAN OF STEEL. Also Hunter’s role here may remind some folks that she was in a movie that dealt much better with the accountability of superheroes: THE INCREDIBLES.

Folks complained plenty when Affleck was cast, but he does an admirable job with the underwritten role. He mostly just has to grimace behind a mask while the special effects people rig things to explode around him and he can certainly pull that off. Affleck’s Bruce Wayne persona is basically just a collection of suave poses with flashes of his bedroom eyes and he hits the mark with that too. If only there was something more to flesh out there. I mean, Will Arnett’s Batman in THE LEGO MOVIE was more complex than this guy!

BATMAN V SUPERMAN: DAWN OF JUSTICE (stiff, clunky title) is the first big, bad movie of the year – an awful, mess of a wannabe epic that casts a dark shadow on the future of both superhero franchises as well as the entire DCEU. The two JUSTICE LEAGUE movies that are set for 2017 and 2019, the next we’ll see these characters, really have to be something special to redeem the whole enterprise, but Snyder is set to direct those too so I’m not counting on that to happen.

Oh, and don’t worry about staying to the end of the credits because there is no stinger – that’s something they surprisingly haven’t stolen from Marvel.

More later...

Tuesday, February 24, 2015

Bad Timing For BATMAN

Months ago, the Colony Theater in Raleigh (where I work part-time) booked Tim Burton’s 1989 superhero hit BATMAN for Wednesday, February 18th, for their Cool Classics series. The Colony’s General Manager Denver Hill told me that it was timed for the lead up to Michael Keaton winning a Best Actor Oscar for his acclaimed role in Alejandro González Iñárritu’s BIRDMAN.

BIRDMAN - full title: BIRDMAN OR (THE UNEXPECTED VIRTUE IF IGNORANCE) - is undoubtedly Keaton’s comeback to the mainstream, albeit in an abstract indie project, in which his character is an actor aching for a comeback via a shaky Broadway production, after being written off as the star of a superhero franchise.

As its Best Picture Oscar win on Sunday attests, BIRDMAN has a lot more going for it than that meta-aspect but re-visiting the classic Keaton performance that made that angle possible was the agenda for the Colony’s revival screening of BATMAN, and I was excited as I haven’t seen it in over two decades.

To plug the event, I wrote it up in the Film Picks column in the Raleigh News & Observer, and put together a slideshow of behind-the-scenes pics for the Examiner to further promote the show.

But a week ago, the day before the screening, we got hit by what they call a wintry mix that blanketed Raleigh in ice and snow. As a result, only 40 or so people braced the elements to come see Burton's late '80s fan favorite take on the Dark Knight.

We were disappointed that the weather so affected the turnout so Denver made plans to have an encore presentation the following week on Wednesday, February 24th.

In the meantime, despite the film and director Iñárritu winning, Keaton lost the Academy Award to Eddie Redmayne (for THE THEORY OF EVERYTHING) and so the idea of the BATMAN screening celebrating Keaton’s win was, of course, no longer a thing.

This was very surprising as the odds so seemed to be on Keaton to win. I, like many, had predicted such.

And, as the internet has pointed out, Keaton himself thought he had it in the bag as he can be seen tucking his acceptance speech back into his jacket in this clip that’s, of course, gone viral:

When I shared this clip with Denver on a Facebook chat he said: “Jeez. That is sad. But it’s kind of fitting. Seems like a scene from ‘Birdman.’”

It does indeed seem like a postscript for Keaton’s self put-upon character Riggan Thompson.

But what’s also sad is that the Colony’s encore BATMAN screening is again the victim of bad timing as we were hit by another snowstorm today.

Do Mother Nature and The Academy of Motion Picture Arts and Sciences both have it in for Keaton or what?

Whatever the case, I’m still planning on revisiting the man’s breakthrough lead in BATMAN - whether or not I do it by bracing the elements on Wednesday night, or by putting on the DVD at home, as of this writing, remains to be seen.

More later...

Friday, February 07, 2014

THE LEGO MOVIE Clicks Together Into A Supreme Piece Of Entertainment

Opening today at a multiplex near you...

THE LEGO MOVIE
(Dirs. Phil Lord & Christopher Miller, 2014)

How did this family film based on a long running line of toys, released in the dumping ground of February, turn out to be actually a lot of genuine fun?

I attended a screening last week of this movie shortly after visiting my sick 16-year old cat at the Animal Hospital so I wasn't really in the mood to see what looked like nothing more than a feature length toy commercial, one in which every single shot could be considered product placement, but very quickly the whole thing clicked together into a supreme piece of entertainment.

Every piece fit especially Chris Pratt's (Parks and Recreation, ZERO DARK THIRTY, HER) extremely likable performance as Emmet, a generic yellow construction worker mini-figure who is thought to be the chosen one to save the Lego universe from the evil plans of Lord Business (voiced by Will Ferrell).

Lord Business schemes to freeze all the various worlds of Lego (The Old West, Cloud Cuckoo Land, Medieval Times, etc.) with the use of what's called “The Kragle” (actually a tube of Krazy Glue that had a few letters rubbed off) on Taco Tuesday, no less.

We are first introduced to Pratt's Emmet in a big busy production number set to the beautifully banal pop song parody “Everything Is Awesome,” written by Shawn Patterson and performed by Tegan and Sara along with the musical comedy group The Lonely Island (the rest of the score by Devo's Mark Mothersbaugh is top notch as well).

This energetically silly sequence sets in place the satire of conformist consumerism of which Emmet is a happy participant - his favorite song is whatever's the #1 hit of the day and his favorite TV show is the stupid sitcom “Where's My Pants?” (shades of IDIOCRACY's “Ow! My Balls!” but PG-rated).

Emmet's life changes when he meets Wyldstyle (voiced by Elizabeth Banks), a punky fighter girl that thought she was the chosen MasterBuilder, which are sort of like the Jedis of the Lego universe.

Speaking of Jedis, there are cameos from the STAR WARS world of Legos including Anthony Daniels reprising his iconic C-3PO voice, and Billy Dee Williams once again putting on the charms as Lando Calrissian, while voice actor Keith Ferguson puts in a passable Harrison Ford impression as Han Solo.

But the major guest appearance that steals the show is Will Arnett (Arrested Development, The Millers) as Batman, a terrific take on the ominous gravel voiced Dark Knight of recent vintage which is pure comedy gold. Every line out of Arnett's mouth made me laugh, and I loved that his version of Batman makes techno music on the side that's supposed to be as dark and brooding as he is - he plays a track he composed entitled “Untitled Self Portrait" on the Batmobile's stereo system (stay through the end credits to hear the whole song).

Also scoring big laughs are appearances by Liam Neeson as Lord Business' two-faced henchman Bad Cop/Good Cop, Channing Tatum as Superman who is annoyed by the man-crush the Green Lantern (Jonah Hill) has on him, Cobie Smulders (How I Met Your Mother, THE AVENGERS) as Wonder Woman, Charlie Day (It's Always Sunny in Philadephia) as '80s Space Guy, Alison Brie (Community, Mad Men) as the unicorn/anime concoction Uni-Kitty, and Morgan Freeman as the MasterBuilder Wizard Vitruvius.

In the movie's amazing climax, Directors/writers Lord and Miller, the filmmakers behind CLOUDY WITH A CHANCE OF MEATBALLS and 21 JUMP STREET, take this Lego adventure to a whole new level with a surprise twist that I won't spoil that takes the heights of comic invention here to comic genius. Again, I won't say what it is, but it floored me and the audience I was in, and I bet when these guys hit upon the idea they were doing cartwheels all over the writer's room.

THE LEGO MOVIE cleverly builds upon the playthings coming to life themes of the TOY STORY trilogy and WRECK-IT-RALPH almost as if they're interconnected blocks with round-peg parameters that it can snap together with. It also has an actually inspirational message about improvising outside of the box, and the self awareness to kid about it (Freeman tells Emmet: “I know that sounds like a cat poster, but it's true.")

I was pleasantly surprised that I enjoyed THE LEGO MOVIE as much as I did (one only complaint is that they stay too long in The Old West world). During its rich and rewarding 100 minute running time, I was transported away from my worries (mostly about my ailing aging kitty) and had a blast. What more can you want out of a movie?

Postscript: Just in case any cat lovers out there are curious - my cat is doing much better these days.

More later...

Saturday, July 21, 2012

THE DARK KNIGHT RISES: The Film Babble Blog Review

THE DARK KNIGHT RISES (Dir. Christopher Nolan, 2012)

On the surface, the conclusion of Christopher Nolan’s Batman trilogy is a solid super hero action epic, but underneath there’s a bunch of irksome issues.

The film is most effective in its slow building first half (after a pulse-pounding plane hi-jacking opening sequence, mind you), in which we re-connect to the characters (and meet a few new ones), but the second half is so bloated with bombarding spectacle, and competing storylines that I was more overwhelmed than entertained. The disjointed pacing doesn’t help either.

In the eight years since the events of 2008’s THE DARK KNIGHT, Christian Bales’s Bruce Wayne has retired his caped crusader alter-ego, and is living in self-imposed exile in Wayne Manor. The Commissioner (the grand Gary Oldman) is wracked with quilt over the cover-up that framed Batman and made a hero of the deceased DA Harvey Dent (Aaron Eckhart seen in quick-cut flashbacks).

New blood in the form of Joseph Gordon-Levitt as an idealistic police officer, and Anne Hathaway as Catwoman (okay, she’s never called that, but c’mon!), Matthew Modine (!) as the conniving Deputy Commissioner and the fetching Marion Cotillard as a Wayne Enterprises board member, are very appealing, but act more as exposition-delivering cogs than credible characters. However, Hathaway slyly steals her early scenes, and Gordon-Levitt’s weighty approach to his role is right in line with the gravitas the film is going for.

With his face mainly covered by a mechanical mask, Tom Hardy is the villain Bane, who does a great deal of speechifying about economic collapse (sometimes unintelligibly), as he and his minions go about occupying Gotham City, but as impassioned as he and the movement are, it’s just a lot of hot air.

Bale shaves, dons the costume to take on Hardy’s Bane, but ends up getting his Bat-ass kicked. Then he’s imprisoned in a pit that is impossible to scale (we see flashbacks that show that Bane was the only one who was able to climb out). This is the expected ‘hero gets their mojo back’ part.

Too much of the movie goes through the motions - Michael Caine as Butler Alfred is there to once again be a soft-spoken worrywart, Morgan Freeman smoothly does his “Q” thing providing Batman with the latest in Bat-themed artillery, and Oldman wearily slouches through the proceedings - although Oldman does have an energetic bomb-defusal bit during the cluttered climax.

There’s a ginormous amount of death and destruction on display, and enough tortuous imagery to make this come off as “The Passion of The Batman.” Sure, we know our hero will rise and save the day, but he and we have to take a lot of pummeling to get there. The power of Bale’s incredibly invested performance goes a long way, but there are too many patches of the film that he’s absent from.

The CGI-ed devastation of the city is seriously striking. From the colossal caving in of a football stadium to long shots of bridges being blown up - Nolan and cinematographer Wally Pfister impressively outdo their wondrous work on INCEPTION, not to mention just about every super hero movie in recent memory (sorry, THE AVENGERS - you were a lot more fun though).

So, THE DARK KNIGHT RISES is a mixed bag. But even at its overlong length (164 min.), there is enough compelling content to make it worthwhile, if you can overlook all the clunkiness - which I bet most folks can.

More later...

Monday, July 21, 2008

THE DARK KNIGHT - The Film Babble Blog Review

THE DARK KNIGHT (Dir. Christopher Nolan, 2008)

As the best of the movie franchise re-boots over the last decade, BATMAN BEGINS differentiated itself from the rest of the pack by taking the whole Batman thing so damn seriously. It was gritty yet precise and had a roster of amazing actors (well except for Katie Holmes) who brought a gravitas to a comic book legend which made it into glorious epic cinema.

The long awaited follow-up, made even more anticipated by the untimely death of Heath Ledger, is even grander with an operatic majesty that even the best superhero movies have never even gotten close to attempting. Christian Bale returns as Bruce Wayne/Batman and with the sharp focus of a heat-seeking missile proves himself, yet again as one of the most solid actors working today.

Also returning is the laconically witty Michael Caine as butler Alfred, a haggardly effective Gary Oldman as Lt. James Gordon, and Morgan Freeman as Luscious Fox who provides Batman with a new line of crime-fighting toys. It has been called an upgrade for Katie Holmes to be replaced by Maggie Gyllenhaall in the role of Rachel Dawes and I definitely agree.

Aaron Eckhart is also a new addition as Harvey Dent, a noble D.A. that Batman believes is the real saviour of Gotham City despite that he's dating the caped crusader's true love (Gyllenhaal).

As suspected, and fortold by nearly everybody on the internets, Heath Ledger steals the show as the Joker and appears to have a had a great time with the part. Ledger has a frenetic energy and unique tone to his version of the classic character that takes over every scene he's in; sometimes disturbing, sometimes funny in a sick twisted way, but always intense and compelling completely justifying the "too soon" talk of a posthumous Oscar.

I'll avoid any further story description; there are so many powerful surprising plot-points that it would be a shame to spoil but the action sequences are all top notch and despite its length it never lags.

To label or consider this film just a superhero movie seems an incredible injustice for it's more aptly a crime epic that definitely is in the league of Martin Scorsese's and Michael Mann's forays into that territory. One of the most satisfying and electrifying movies of the year if not the decade, THE DARK KNIGHT doesn't just live up to its hype - it blows it away again and again.

More later...

Monday, June 27, 2005

100 Years, 100 Better Quotes

This summary is not available. Please click here to view the post.