Superhero films often get a bad rap among AMPAS members. Not too many of them think any superhero genre film has pushed the boundaries of the cinematic scope to warrant any major citations. We often just accept that despite a movie being just freaking awesome and super entertaining à la Marvel’s The Avengers (2012) last year, there isn’t any feasible chance the Academy will recognize the mass popular film. Shane Black’s Iron Man 3 opened to decent enough reviews, no one necessarily bringing up the “O” word so this doesn’t really apply there per se but what about the other films that are scheduled to open. Better yet, how about the other films that have come before it. Neill Blomkamp’s upcoming Elysium looks like a visual splendor while Star Trek Into Darkness looks to capture the magic of its predecessor one more time. Not superhero films but genre films nonetheless that have an extra hard time being recognized no matter the quality.
When Heath Ledger was awarded Best Supporting Actor for his diabolical performance as the Joker in Christopher Nolan’sThe Dark Knight (2008), there’s no real way of ever knowing if Ledger hadn’t passed away prior to the film’s release, would he still have had all the momentum and get the AMPAS love he very much deserved. Read more on Superhero Omissions – What Oscar Hasn’t Recognized Over the Years…
John Joseph ”Jack” Nicholson was born on April 22, 1937 in New Jersey. Upon moving to Hollywood, Nicholson worked running errands for William Hanna and Jack Barbera, the famous animation giants, at their MGM studios. Wanting to pursue a career in acting, he declined an offer to work for them as an animation artist. His first film, The Cry Baby Killer (1958), was a low budget film produced by Roger Corman in which Nicholson played the titular character. Corman would go on to direct Nicholson in a few more films, including his first memorable performance in Little Shop of Horrors (1960).
That’s perhaps the nicest way to describe The Hollywood Reporter’s newest cover story of the tragedy that occurred last week in Aurora, Colorado. Admittedly, any shocking event associated with pop culture – no matter how loose the connection – are going to inevitably be tied together when artists express their feelings over it. So while I wasn’t exactly supportive of the personal artwork that started juxtaposing a “GrievingDarkKnight” with the Colorado massacre, especially since it implied that a fictional character was impacted by a tragedy that took the lives of real people, I respected the honest attempts by individuals to convey their sadness in a creative, unselfish way. It is also inevitable – if somewhat disheartening – to have such a tragedy followed by the usual political grandstanding on gun control, mental illness, and violence in entertainment before imploding on its own bluster and having nothing to show for it. We have come to expect this from our politicians and from less scrupulous pundits. Read more on Tacky?…
Completing his Batman trilogy in extraordinary fashion, Christopher Nolan’s The Dark Knight Rises concludes what is, without question, one of the finest trilogies ever created. Nolan pulls off a near impossible feat, one he created for himself of course, by providing an emotionally satisfying and triumphant finale; essentially raising the bar extremely high for all other superhero stories and reinventions going forward. Fans of Nolan’s films will be again amazed at his incredible skillset as a filmmaker and storyteller, while those who have embraced this particular Batman relaunch, from 2005’s Batman Begins to 2008’s The Dark Knight, will fall back in their chairs, spent and smiling, relieved that this Dark Knight does indeed rise and deliver.
Through each and every project, Christopher Nolan’s vision, scope, and limitless imagination makes each task he sets out to accomplish all the more daunting and impressive. Many of those waiting for Rises have been counting down the days since the credits starting rolling at the end of The Dark Knight and that pressure on Nolan had to have felt insurmountable at times. And yet, Nolan is unrelenting. Mixing aggressiveness with confidence, risk with bravery, Nolan adds more layers to his Batman mythology, before a stunning final act leaves you breathless. For those who have complained that Christopher Nolan cannot close out his films and/or screenplays, those critical voices best be silent for awhile. The Dark Knight Rises is, in many ways, an unforgettable experience.
I won’t waste anyone’s time with this installment of Weekend Openings. No pussyfooting around or trying to disguise the only new release worth discussing today:
Arguably the most anticipated film of the year, The Dark Knight Rises brings Christopher Nolan’s massively successful and influential Batman trilogy to an end, this time with Tom Hardy’s Bane pushing our hero to his breaking point in a plot to destroy Gotham City once and for all. This film has been the subject of just about every journalist and commentator associated with the entertainment industry as of late (with even this very site undertaking a Bat-marathon in preparation for it). What sequel to one of the major cinematic cultural phenomena of the previous decade wouldn’t be? Read more on Weekend Openings (July 20-22)…
Well everyone, like all good things, Christopher Nolan’s Batman saga is coming to an end. Starting midnight tonight, folks will be getting their last shot at seeing Nolan’s vision of the Caped Crusader. Since The Dark Knight Rises has been shrouded in an invisibility cloak secrecy, it’s hard to know exactly where the story will take us. Having taken all measure to avoid any spoilers and reviews, this article is based on the trends of Nolan’s previous films in the Batman saga and how they might apply to The Dark Knight Rises. So, here are, in my humble opinion, the top 5 things you can expect from The Dark Knight Rises.
Against almost impossible hype, anticipation, and expectations, Christopher Nolan has managed to deliver not just the best Batman film to date, but also the best superhero film of all time with ‘The Dark Knight Rises’ (while also once again elevating the playing field for what the genre can be at its pinnacle). In fact, I’d go so far as to argue it’s the best 3rd film of any series, and solidifies this franchise as the best of all time, in terms of pure filmmaking and quality. Both epic and intimate in scale, Nolan is working on a level I’ve never seen from him before. Everything before this for him has been leading up to ‘The Dark Knight Rises’. The same goes for all the returning members of his cast, notably Christian Bale, who I feel gives us the definitive version of Bruce Wayne here, not to mention Batman. This is a brutal film about war, redemption, sacrifice, and a reflection of our current political climate, while still being a rousing and entertaining heroic adventure. It’s damn near perfect, and even more so than ‘The Dark Knight’, this is the film that the Academy should be nominating for Best Picture. Nolan deserves nods for his directing and screenplay duties (the way he uses the city of New York to stand in for Gotham City is stupendous, but I’ll get more into that triumphant decision in a bit) as well, and that’s just the tip of the iceberg. Quite simply, this is the best film of the year so far, and a surefire awards contender. Nominations obviously have more to do with just quality, but in that regard, ‘The Dark Knight Rises’ has that in spades. I had tears in my eyes during the final minutes, and I never expected that. Bravo Mr. Nolan…
Those were my exact thoughts and tweet after the screening of Christopher Nolan’s The Dark Knight Rises. A little over twelve hours have passed, allowing what was seen to officially settle in. The Dark Knight Rises, dare I say it, is better than its predecessor. With all my qualms and things that I found wrong in The Dark Knight (2008), Nolan goes back, corrects, and elevates everything in the superhero genre, frame by frame. If there were ever doubts about Christopher Nolan and his ability as a filmmaker, he puts all things to rest and declares himself one of the most innovative and visionary directors working today. He analyzes and interprets Batman in a way, I’ve never known possible. Nolan wants to make more than a “Batman” film or just another “superhero” movie. He reinvented the genre and quite possibly creates the best superhero film of all-time. Read more on The Dark Knight Rises (***½)…
Ah yes…the writers behind Batman. Before you doze off to sleep, I implore you all to think about just how significant these unsung heroes have been, not only in the creation of the Caped Crusader himself (Bob Kane) but also by their ability to sustain him as an internationally renowned fictional hero for nearly 75 years. In 1939, the Great Depression was coming to an end, a new World War was beginning its wave of global horror, and one man created a character that could rise the downtrodden spirit of America, lifting them up to escapist heights that every melancholic soul desperately yearned for. A 24-year old man had no clue that he’d just unleashed a beast onto society, one that would ravage their eyes as they rapidly scrolled up, down, right, left, and back again, marveling at a man in a bat suit who starred in a popular comic strip, Detective Comics. The instant popularity seemed unreal considering this was a guy in a freaking bat suit, who was starting to become as popular as God himself. But those who actually read the words on the pages knew this comic book detective was no ordinary hero. He was something special, precisely because he wasn’t very extraordinary at all. Kane introduced a man, Bruce Wayne/Batman, who lived the epitome of the American Dream, but didn’t stop there — Batman was a hero who fought for everyone’s “American Dreams,” and for that he was someone worth idolizing well into the next century, and beyond. Below, you will find biographical synopses of some of the most prolific writers of the Batverse, so I hope you all enjoy and learn something you hadn’t already known about these nearly invisible yet omnipresent forces behind our favorite man in black… Read more on The Writers Behind Batman (Multimedia)…
Holy time warp, Batman! We are now only four days away from the release of The Dark Knight Rises! And while we all wait with bated breath for the final installment in Christopher Nolan’s Batman trilogy, the studios are crossing their fingers on the potential box office gargantuan that we all expect the film to be. The question isn’t whether or not The Dark Knight Rises will rake. The question is where will the film stand on the all-time box office list when all is said and done?
Look at it this way: If The Avengers made enough money to settle in at third all-time in box office revenue, then why would any of us really be that surprised to see The Dark Knight Rises finish as the highest grossing film ever? Now, Nolan insisted on making the film in 2-D (God bless him for that), so the movie won’t have those inflated ticket prices to help boost its numbers, but if the film is as good as many of us expect, then I don’t think it will matter. There is so much anticipation behind this film that the first wave of movie patrons should take it close to breaking the opening weekend box office record (a common trend for a Batman film). And from there, if the word of mouth is strong enough, I believe the box office will grow even stronger. Because hitting those dollar amounts isn’t just about getting people to go out and see the film, it’s about getting them to go see it a second, or even third, time.
In college, I took a course on “Transmedia Storytelling,” with our example being the Star Wars multimedia universe. “Transmedia Storytelling” is a term coined by media scholar Henry Jenkins that describes telling stories across multiple forms of media that are derived from one original source material. These various ways of elongating a narrative within one particular universe offer unique experiences based on that media platform, and engage in what is known as “world building.” In other words, the more varied one universe becomes through its different media outlets, the more expansive that particular universe gets. What the authors are attempting to do is build a larger audience for that specific universe, so that way people who might not be, for instance, comic book enthusiasts can still tap into a fictional world via television, film, or video games and find enjoyment. Perhaps one of the earliest examples of “transmedia storytelling” is the universe of Bob Kane’s comic book hero, Batman. Batman could have remained in the comic book zone forever, but do you honestly think his story would have reached as many people, touched as many hearts if it had done so? I’m sure fan boys wish to some extent that Batman never broke free from the confines of comic book pages, but I for one can stomach a cheesy television series like the 1960s’ Batman if it means getting all the way to Batman: The Animated Series and Christopher Nolan’s Batman film trilogy. Moving the Caped Crusader away from his comfortable domesticity in the comic-verse was a risk, but I obviously do not have to tell how you much it’s paid off almost fifty years later. Therefore, it’s crucial that everyone understand the history of the transition from Batman: The Comic Book Series to Batman: The TV Series, so let’s all take a trip down memory lane… Read more on History of Batman the Comic to Batman the TV Series…
A popular rumor at the moment (oddly enough started by Warner Brothers head honcho Jeff Robinov) is that Christopher Nolan will be godfathering the inevitable reboot of his Batman franchise as well as possibly even having something to do with a ‘Justice League of America’ movie. He’s doing a similar thing with ‘Man of Steel’, so it wouldn’t be foreign territory for the man. The thing is, Nolan has no interest in doing anything like that. Entertainment Weekly is reporting here that the director has put the kibosh on all of that. You can see what he said after the jump, but it’s looking like a completely fresh take on the caped crusader is coming our way in a few years. Read on below for more…
Rather than laboriously spell out the overall effect of the crew behind the Bat, I’d rather take the very best individual achievements of cinematographers, production designers, wardrobe, and musical composers that have given their all to make each Batman film their most indelible qualities. We’ve often discussed the influence of the various directors attached to the Caped Crusader over the years, but it’s about time we paid tribute to the members of their team that bring their visions to life. Introducing the top ten below-the-line contributors to Batman on film: Read more on Batman Below-the-Line…
As the anticipation for The Dark Knight Rises reaches fever pitch around the world, I ask you to look beyond Nolan’s imminent masterclass in blockbuster brilliance, and consider the future of the Batman franchise; where exactly does the Caped Crusader go from here?
Much like Mark Johnson felt about the directors who have helmed Batman flicks, this list of the best actors in the role of Batman really sort itself out quite easily. Playing Batman is treacherous territory for an actor, not only do you have to corral the entitled billionaire playboy Bruce Wayne side, but you have to be up for the physical and anti-hero aspects of the Batman side. There is also an added issue of serving the director’s vision for the character, regardless of how bad it might be. So without further ado, here are the rankings of the Best and Worst actors to play the Caped Crusader.
This one kind of answers itself, doesn’t it? Well, maybe we won’t all agree, but I imagine the ranking here will probably follow a general consensus.
I guess we should mention Leslie H. Martinson in here somewhere, since we included Batman: The Movie (1966) in our 30 Days of Batman series. However, his resume consists almost entirely of television shows, including directing episodes from such classic series as The Roy Rogers Show, Maverick, Batman, The Green Hornet, Mission: Impossible, The Brady Bunch, Mannix, The Six Million Dollar Man, The Bionic Woman, Barnaby Jones, Buck Rogers in the 25th Century, Dallas, Eight is Enough, CHiPs, Fantasy Island, and Diff’rent Strokes, to name several. His film credits include Missile X: The Neutron Bomb Incident (1978) and PT 109 (1963), among a few other films that I must admit to never having heard of. So while his contribution to television seems outstanding, it’s a little like comparing apples to oranges when up against the likes of Tim Burton, Joel Schumacher, and Christopher Nolan.
Take a look at my assessment on the best and worst directors in the Batman series after the jump…
When a Batman film is made, we always tend to sit back and try to figure out who would have been better suited as one of the iconic characters and who fit the role just right. Throughout the years we’ve been discussing the best and worst performances in a Batman flick, and in the recent months since the casting of Anne Hathaway as Catwoman, we’ve sat back and doubted the casting decision. But in the end, we’re here to discuss the best and worst female portrayals in a Batman movie.
Before we begin though, I wanted to point out one thing. If Halle Berry’s Catwoman (2004) had been considered a Batman film she would have been named the worst actress in a Batman film. Catwoman wasn’t a Batman film, therefore won’t be seen on this list.
Though he will not appear – or even be mentioned, for that matter – in The Dark Knight Rises, no discussion of the film or its eponymous character can be reasonably made without his arch nemesis, The Joker. He is arguably the most famous comic book villain in history and has been featured in just about every media translation of Batman’s stories. As has been brought up often in their conflicts together, it could very well be argued that the two are inseparable forces that have come to define one another in their long history together.
For a character that has become a staple of the franchise, The Joker was not originally conceived as such a longstanding addition to Batman’s rogue’s gallery. Introduced in Batman #1 in 1940, the initial plan was to kill him off after his second appearance until a last-minute plea from Editor Whitney Ellsworth caused a hastily-drawn panel showing the villain surviving his stab wound, tormenting the Caped Crusader ever since, and the story of who actually created an initially brief antagonist became a lot more disputed. Prolific comic book artist Jerry Robinson went to his grave insisting that he was the man who created The Joker, but Bob Kane tells a different story: Read more on Understanding the Character: The Joker…
It’s the first of the month. Not only that, it’s the first day of the second half of the year. Anybody else feel like that was fast? Yet, here we are.
It’s time to start getting serious, Oscar-wise. Not many things have come out, and not many films are looking like Best Picture nominees from the first half. Some will argue The Avengers with a $600 million dollar bank is in talks. Some think the little indie-film Moonrise Kingdom from Wes Anderson could be our “Little Miss Sunshine” of the year. In limited release, Benh Zeitlin’s Beasts of the Southern Wild has opened and received one of the best word-of-mouth reviews of the year. Is that a contender for the big prize? I’d say it is.
I’m ready to start getting down and dirty with these predictions.
When Gary Oldman took over the role of James Gordon in Christopher Nolan’s Batman trilogy it was a breath of fresh air from previous incarnations of the character as Oldman brought heart and soul to the character, an immediate depth that had been lacking in all previous creations of the part. Ingrained into my mind (sadly) is the Commissioner Gordon I remember from the old TV series, Neil Hamilton, a straight arrow, decent man with the ever ready Bat-phone close by to summon the Caped Crusader. Hamilton portrayed the part like a US senator, honest, truly a good man, who did not know the true identity of Batman and Robin, just that he could always count on them. I have every confidence he did everything the script and director asked him to do, but God it was boring. Read more on Understanding the Character: Commissioner Gordon…
I must admit that upon learning I had been tasked with writing about Alfred, the dutiful yet dull butler, out of all the great characters in the Batman series, I was a little bit peeved. However, having revisited the entire film series as part of our 30 Days of Batman season, it became evident very quickly that I had underestimated the old chap, and that it could be argued that without Alfred, there wouldn’t even be a Batman.
From his very basic characterisation in the original 1966 Batman, to today’s more complex portrayal as part of the Christopher Nolan trilogy, Alfred Thaddeus Crane Pennyworth has come a long way. Over the years he has repeatedly proven his loyalty and dedication to Bruce Wayne, imparting pearls of wisdom to the renowned billionaire that have saved his skin on countless occasions. Without this trustworthy and constant support in his corner, the chances are Batman would never have been able to overcome some of his most dreaded adversaries.
With The Dark Knight Rises in theaters in just a few weeks I have been assigned to give you all a little back story on the character of Selina Kyle, also known as Catwoman.
Selina Kyle was first introduced in 1940 with an alter ego known as “The Cat”. In her first appearance in the comic book, Selina is known as a high stake thief and Batman’s foe. Yet, Batman and Kyle carry on a love-hate relationship throughout the story.
Throughout the years so many changes have been made to the character of Selina Kyle. In 1986 Frank Miller revised the story of Catwoman in Batman: Year One and made Selina a more complex character. Miller’s Kyle works as a prostitute and wants to break away from her abusive pimp after she witnesses him commit many crimes. When her sister is abused, Selina is inspired to study self-defense and martial arts. Read more on Understanding the Character: Catwoman…
Even without having seen ‘The Dark Knight Rises’ at the time of writing this piece (another week or so for me), I can safely say that the upcoming version of Bane that filmmaker Christopher Nolan has in store for us will be far different from any we’ve seen before…and that’s likely a good thing in my eyes. You see, Bane isn’t exactly a part of the A list when it comes to Batman’s gallery of villains (though his back story isn’t terrible or anything), so Nolan has the opportunity to play with the character known to have broken the Bat’s back in any number of ways. My guess is that the changes he’s almost certainly made are all but exclusively for the better. In fact, when the movie comes out, I think we’ll see almost none of the upcoming history of the character shown in ‘The Dark Knight Rises’, excluding a certain attachment that I’ll get into soon. Much like we dove into the history of the Caped Crusader in the last article for the 30 Days of Batman series, let us now dive into the man they call Bane. I’ll be looking at all the different versions of the character, but we don’t we start where it all began?
Superhero films often get a bad rap among AMPAS members. Not too many of them think any superhero genre film has pushed the boundaries of the cinematic scope to warrant any major citations. We often just accept that despite a movie being just freaking awesome and super entertaining à la Marvel’s The Avengers (2012) last year, there isn’t any feasible chance the Academy will recognize the mass popular film. Shane Black’s Iron Man 3 opened to decent enough reviews, no one necessarily bringing up the “O” word so this doesn’t really apply there per se but what about the other films that are scheduled to open. Better yet, how about the other films that have come before it. Neill Blomkamp’s upcoming Elysium looks like a visual splendor while Star Trek Into Darkness looks to capture the magic of its predecessor one more time. Not superhero films but genre films nonetheless that have an extra hard time being recognized no matter the quality.
