Batman and Superman have been a collision course for a while. The two most famous superheroes were once scheduled to combat in 2003. Then the budget got a tad too high for Warner Brothers’ liking and it was scrapped. Flash forward a decade and now it seems that money is no longer a stumbling point, especially as Batman vs. Superman: Dawn of Justice cost an estimated $250 million dollars. I wasn’t a fan of director Zack Snyder’s first take on Superman, 2013’s Man of Steel, so I was tremendously wary when he was already tapped to direct its follow-up, as well as the inevitable follow-up follow-up with 2017’s Justice League. You see DC has epic plans to create its own universe of interlocked comics franchises patterned after Marvel’s runaway success. Instead of building to the super team-up, they’re starting with it and hoping one movie can kick off possibly half a dozen franchises. There’s a lot at stake here for a lot of people. That’s what make the end results all the more truly shocking. Batman vs. Superman isn’t just a bad movie, and I never thought I’d type these words, it’s worse than Batman and Robin.
Eighteen months after the cataclysmic events of Man of Steel, Metropolis is rebuilding and has an uneasy relationship with its alien visitor, Superman (Henry Cavill). Billionaire Bruce Wayne (Ben Affleck) is convinced that an all-powerful alien is a threat to mankind, especially in the wake of the dead and injured in Metropolis. But how does man kill a god? Enter additional billionaire Lex Luthor (Jessie Eisenberg) and his acquisition of a giant hunk of kryptonite. Bruce runs into a mysterious woman (Gail Gadot a.k.a. Wonder Woman) also looking into the secrets held within Luthor’s vaults. Clark Kent is pressing Wayne for comment on this bat vigilante trampling on civil liberties in nearby Gotham City, and Wayne is annoyed at the news media’s fawning treatment over an unchecked all-powerful alien. The U.S. Senate is holding hearings on what responsibilities should be applied to Superman. Lois Lane (Amy Adams) is worried that her boyfriend is getting too caught up in the wrong things. Lex Luthor is scheming in the shadows to set up one final confrontation that will eliminate either Batman or Superman, and if that doesn’t work he’s got a backup plan that could spell their doom.
Let’s start with Batman because quite frankly he’s the character that the American culture prefers (his name even comes first in the title for a Superman sequel). Ben Affleck (Gone Girl) was at the bad end of unrelenting Internet fanboy-fueled scorn when the news came out that he was going to play the Caped Crusader, but he’s one of the best parts of this movie, or perhaps the better phrasing would be one of the least bad parts. He’s a much better Bruce Wayne than Batman but we don’t really get much of either in this movie from a character standpoint. There isn’t much room for character development of any sort with a plot as busy and incomprehensible as Batman vs. Superman, and so the movie often just relies upon the outsized symbolism of its mythic characters. We have a Batman who is Tough and Dark and Traumatized and looking for (Vigilante) Justice. We only really get a handful of scenes with Batman in action, and while there’s a certain entertainment factor to watching an older, more brutal Batman who has clearly given up the whole ethical resolve to avoid killing the bad guys, under Snyder’s attention, the character is lost in the action. The opening credits once again explain Batman’s origin story, a tale that should be burned into the consciousness of every consumer. We don’t need it, yet Snyder feels indebted to what he thinks a Batman movie requires. So he’s gruff, and single-minded, and angry, but he’s never complex and often he’s crudely rendered into the Sad Man Lashing Out. He’s coming to the end of his career in tights and he knows it, and he’s thinking about his ultimate legacy. That’s a great starting point that the multitude of live-action Batman cinema has yet to explore, but that vulnerability is replaced with resoluteness. He’s determined to kill Superman because Superman is dangerous, and also I guess because the Metropolis collateral damage crushed a security officer’s legs, a guy he’s never met before. The destructive orgy of Metropolis is an excellent starting point to explain Bruce Wayne’s fear and fury. I don’t know then why the movie treats Wayne as an extremist. I don’t really understand why there’s a memorial for the thousands who lost their lives in the Metropolis brawl that includes a statue of Superman. Isn’t that akin to the Vietnam Wall erecting a giant statue of a Vietcong soldier stabbing an American GI with a bayonet? This may be the most boring Batman has ever been onscreen, and I repeat, Ben Affleck is easily one of the best parts of this woefully begotten mess.
Next let’s look at the other titular superhero of the title, the Boy Scout in blue, Superman. The power of Superman lies with his earnest idealism, a factor that has always made him a tougher sell than the gloomy Batman. With Man of Steel, Warner Brothers tried making Superman more like Batman, which meant he was darker, mopey, theoretically more grounded, and adopted the same spirit of being crushed by the weight of expectations and being unable to meet them. Cavill (The Man from U.N.C.L.E.) was a Superman who didn’t want to be Superman, where dear old Pa Kent advocated letting children drown rather than revealing his powers (Father’s Day must have been real awkward in the Kent household). It wasn’t a great step and I wrote extensively about it with Man of Steel. The problem is that Superman and Batman are supposed to be contradictory and not complimentary figures. If one is brooding and the other is slightly more brooding, that doesn’t exactly create a lot of personal and philosophical conflicts now does it? It clearly feels that Snyder and everybody really wanted to make a Batman movie and Superman just tagged along. Superman clearly doesn’t even want to be Superman in the Superman sequel, often looking at saving others with a sigh-inducing sense of duty. He’s still working as a journalist and making moral arguments about the role of the media, which seems like a really lost storyline considering the emphasis on blood and destruction. He wants Superman to be seen as a force of good even if others deify him. That’s a powerfully interesting angle that’s merely given lip service, the concept of what Superman’s impact has on theology and mankind’s relationship to the universe and its sense of self. Imagine the tectonic shifts acknowledging not only are we not alone but we are the inferior race. We get a slew of truly surprising cameos for a superhero movie arguing this debate (Andrew Sullivan?) but then like most else it’s dropped. Clark is trying to reconcile his place in the world but he’s really just another plot device, this time a one-man investigation into this bat vigilante guy. The other problem with a Batman v. Superman showdown is that Superman is obviously the superior and would have to hold back to make it thrilling. We already know this Superman isn’t exactly timid about killing. The climax hinges on a Batman/Superman connection that feels so trite as to be comical, and yet Snyder and company don’t trust the audience enough to even piece that together and resort to a reconfirming flashback.
Arguably the most problematic area of a movie overwhelmed with problems and eyesores, Eisenberg’s (Now You See Me) version of Lex Luthor is a complete non-starter. He is essentially playing his Mark Zuckerberg character but with all the social tics cranked higher. His socially awkward mad genius character feels like he’s been patched in from a different movie (Snyder’s Social Network?) and his motivation is kept murky. Why does he want to pit Batman and Superman against each other? It seems he has something of a god complex because of a nasty father. He is just substantially disappointing as a character, and his final scheme, complete with the use of an egg timer for wicked purposes, is so hokey that it made me wince. If you’re going with this approach for Lex then embrace it and make it make sense. Late in the movie, Lex Luthor comes across a treasure-trove of invaluable information, and yet he does nothing substantive with this except create a monster that needs a super team-up to take down (this plot point was already spoiled by the film’s marketing department, so I don’t feel guilty about referring to it). If you’re working with crafty Lex, he doesn’t just gain leverage and instantly attack. This is a guy who should be intricately plotting as if he was the John Doe killer in Seven. This is a guy who uses his intelligence to bend others to his will. This Lex Luthor throws around his ego, nattering social skills, and force-feeds people Jolly Ranchers. This is simply a colossal miscalculation that’s badly executed from the second he steps onscreen. The movie ends up being a 150-minute origin story for how Lex Luthor loses his hair.
The one character that somewhat works is Wonder Woman and this may be entirely due to the fact that her character is in the movie for approximately twenty minutes. Like Lois, she has little bearing on the overall plot, but at least she gets to punch things. I was skeptical of Gadot (Triple 9) when she was hired for the role that should have gone to her Furious 6 co-star, Gina Carano (Deadpool). She didn’t exactly impress me but I’ll admit I dropped much of my skepticism. I’m interested in a Wonder Woman movie, especially if, as reported, the majority is set during World War I. There is a definite thrill of seeing the character in action for the first time, even if she’s bathed in Snyder’s desaturated color-corrected palate of gloom. Realistically, Wonder Woman is here to introduce her franchise, to setup the Justice League movies, and as a tether to the other meta-humans who each have a solo film project on the calendar for the next four years. Wonder Woman gets to play coy and mysterious and then extremely capable and fierce during the finale. One of the movie’s biggest moments of enjoyment for me was when Wonder Woman takes a punch and her response is to smile. I look forward to seeing more of her in action and I hope the good vibes I have with the character, and Gadot, carry onward.
The last act of this movie is Snyder pummeling the audience into submission, and it’s here where I just gave up and waited for the cinematic torment to cease. The action up to this point had been rather mediocre, save for that one Batman fight, and I think with each additional movie I’m coming to the conclusion that Snyder is a first-class visual stylist but a terrible action director. The story has lacked greater psychological insights or well-rounded characters, so it’s no surprise that the final act is meant to be the gladiatorial combat Lex has hyped, the epic showdown between gods. In essence, superheroes have taken a mythic property in our pop-culture, and Batman and Superman are our modern Mt. Olympus stalwarts. This showdown should be everything. The operatic heaviness of the battle at least matches with the overwrought tone of the entire movie. It’s too bad then that the titular bout between Batman and Superman lasts a whole ten minutes long. That’s it, folks, because then they have to forget their differences to tackle a larger enemy, the exact outcome that every single human being on the planet anticipated. I’m not even upset that the film ends in this direction, as it was fated. What I am upset about is a climax that feels less than satisfyingly climactic and more like punishment, as well as a conclusion that no single human being on the planet will believe. Snyder’s visual style can be an assault on the senses but what it really does is break you down. The end fight is an incoherent visual mess with the screen often a Where’s Waldo? pastiche of electricity, debris, smoke, fire, explosions, and an assortment of other elements. It’s a thick soup of CGI muck that pays no mind to geography or pacing. It’s like Michael Bay got drunk on Michael Bay-filmmaking. What the hell is the point of filming this movie in IMAX when the visual sequences are either too hard to decipher or something unworthy of the IMAX treatment? Do we need an entire close-up of a shell hitting the ground in glorious IMAX? The Doomsday character looks like a big grey baby before he grows his spikes. I was shocked at how bad the special effects looked for a movie that cost this much money, as if ILM or WETA said, “Good enough.” Once it was all over, I sat and reflected and I think even Snyder’s Sucker Punch had better action.
Another problem is that there are just way too many moments that don’t belong in a 150-minute movie. There’s an entire contrivance of Lois disposing of a valuable tool and then having to go back and retrieve it that made me roll my eyes furiously. It’s an inept way of keeping Lois involved in the action. How does Lois even know the relevancy of this weapon against its new enemy? Then there’s her rescue, which means that even when the movie shoehorns Lois into the action to make her relevant, she still manages to become a damsel in needing of saving. She feels shoehorned in general with the screenplay, zipping from location to location really as a means of uncovering exposition. Then there’s the fact that there is a staggering THREE superfluous dream sequences, and we actually get a flashback to one of those dumb dream sequences. The most extended dream sequence is a nightmarish apocalyptic world where Batman rebels against a world overrun by Superman and his thugs. There’s a strange warning that comes with this extended sequence of future action but it doesn’t involve this movie. Batman vs. Superman suffers from the same sense of over-extension that plagued Age of Ultron. It’s trying to set up so many more movies and potential franchises that it gets lost trying to simply make a good movie rather than Step One in a ten-step film release. In the age of super franchises that are intertwined with super monetary investments, these pilot movies feel more like delivery systems than rewarding storytelling. Payoffs are sacrificed for the promise of future payoffs, and frankly DC hasn’t earned the benefit of the doubt here.
I must return to my central, headline-grabbing statement and explain how Batman vs. Superman is a worse movie than the infamous Batman and Robin. I understand how loaded that declaration is so allow me to unpack it. This is a bad movie, and with that I have no doubt. It’s plodding, incoherent, tiresome, dreary, poorly developed, and so self-serious and overwrought to the point that every ounce of fun is relinquished. It feels more like punishment than entertainment, a joyless 150-minute exercise in product launching. By the end of the movie I sat in my chair, defeated and weary. Here is the most insidious part. Batman vs. Superman: Dawn of Justice obliterates any hope I had for the larger DC universe, let alone building anything on par with what Marvel has put together. If this is the direction they’re going, the style, the tone, then I don’t see how any of these will work. What’s to like here? “Fun” is not a dirty word. Fun does not mean insubstantial nor does it mean that larger pathos is mitigated. If you’re going to have a movie about Batman and Superman duking it out, it better damn well be entertaining, and yes fun. It’s not a Lars von Trier movie. The Marvel movies are knocked for not being serious, but they take their worlds and characters seriously enough. They don’t need to treat everything like a funeral dirge, which is what Batman vs. Superman feels like (it even opens and closes on funerals). This movie confirms all the worst impulses that Man of Steel began, and because it gutted all hope I have for the future of these oncoming superhero flicks, I can’t help but lower its final grade. Batman and Robin almost killed its franchise but it was in decline at the time. As campy and innocuous as it was, Batman vs. Superman goes all the way in the other direction to the extreme, leaving a lumbering movie that consumes your hopes. The novelty of the premise and seeing its famous characters standing side-by-side will be enough for some audience members. For everyone else, commence mourning.
Nate’s Grade: D
Let’s be honest, The Dark Knight Rises movie was never going to meet fan expectations after the high-water mark between superhero movie and crafty crime thriller that was the pop-art masterpiece, The Dark Knight. Whatever director/co-writer Christopher Nolan put together was fated not to match the pulpy big blockbuster alchemy that he worked so well in 2008. Minus Heath Ledger’s instantly iconic performance, a role that set the film on fire whenever he was onscreen, there is going to be a certain void to this capper to the trilogy. Now having seen the movie twice, including once in sphincter-rattling IMAX, I feel that I can truthfully state the most obvious: The Dark Knight Rises is not as good as the previous movies. While a fine finale for an ambitious series, this is definitely the weakest movie of the trilogy.
It’s been eight years since Gotham City last saw the likes of Batman. Bruce Wayne (Christian Bale) is an older man, hobbled by age, and living as a recluse in his mansion. His trusted friend and butler Alfred (Michael Caine) keeps encouraging Bruce to seek a life outside that of Batman. In those eight years, Gotham’s police have cracked down on organized crime thanks to the Dent Act, a law named after the late district attorney Harvey Dent (a fallen idol that only a handful know the real truth about). Commissioner Gordon (Gary Oldman) is growing sick with the secret of Harvey Dent and looks to retire from the force. Miranda Tate (Marion Cotillard) is a businesswoman eager to restart Wayne’s clean energy project, and a woman interesting in getting Bruce back on his feet. There’s also Selina Kyle (Anne Hathaway), a.k.a. Catwoman, a master thief who gives Bruce a new challenge. But then along comes Bane (Tom Hardy), a master terrorist and figure of brute strength. His goal is to fulfill the League of Shadows’ plan and destroy Gotham City and expose its rampant corruption. He sidelines Batman and takes over the city, unleashing criminals and hordes of the downtrodden upon the wealthy. There is no escape from Bane’s plan, his wrath, but Bruce Wayne must rise to the occasion and be ready to sacrifice the last of himself for the people of Gotham.
Firstly, Bane is no Joker. The bad guy lacks the fiendish charisma of Ledger’s Joker and he’s not as well integrated thematically into the movie. The Joker was an anarchist that wanted to tear down the pretensions of society and watch people “eat each other.” And we watched a city come unglued. We explore the notion of escalation and what the blowback would be for a man fighting crime in a costume. With Dark Knight Rises, Bane wants to take up the mantle of Ra’s Al Ghul (Liam Neeson) and wipe Gotham off the map. He’s got moments of being a master planner but really he’s just a big heavy. He’s the big tough guy that beats up old man Bruce Wayne, and Bane is continuously diminished in the film as it goes. A late revelation with the character completely diminishes his role and turns him into the equivalent of a mean junkyard dog. His big plan is simply to rile up the masses and wait for the inevitable. Hardy (Bronson) is a great actor prone to mesmerizing performances. This isn’t one of them. He’s super beefy but the facial mask, looking like some sea urchin, obscures half his face. It’s all physicality and eyes for his performance, along with very amped-up dialogue that you can tell was rerecorded after filming. Every time Bane speaks it’s like he has a speaker system installed in his face. And then there’s the matter of his sticky accent, which to me sounds like German mad scientist but to my friends sounded like drunken Sean Connery.
Bane keeps espousing about the corruption of Gotham but you really never get a strong sense of what that corruption has lead to. Catwoman talks about the Gotham elites living large while the rest of the city struggles; but rarely do you get a sense of this. So when Bane flips the tables, and the elite and wealthy are stripped of their decadence and put on trial by mobs, it feels improperly set up. Just because you have characters talk about wealth disparity and the city’s corrupting influence doesn’t mean it’s been established. Nolan’s Batman movies are a reflection of our modern-day anxieties in a post-9/11 world, so I wasn’t surprised to see a society rotting away from the sociopathic greed and wanton excess of the 1%. But rather than serve up a wealth disparity parable of class conflict, the movie simply turns to mob rule, a far less nuanced and interesting dissection of current events and fears. It’s like the French revolution took a trip to Gotham City (Gordon even quotes from A Tale of Two Cities). It’s a society built upon a central lie, the idol of Harvey Dent, but the movie fails to make the corruption felt. In the end, this is all pretty weak social allegory. And would it have killed Bane to be a little more brutal to stock exchange short-sellers?
Then there’s the typical Nolan origami plot with the myriad of subplots intersecting. This is the first time in the series where the plots felt poorly developed. Rewatch Batman Begins or The Dark Knight, as I recently did, and you’ll see there is not an ounce of fat in those movies, not one wasted scene or one wasted line. Sure they got secret super ninjas and Katie Holmes, but those movies were well built blockbusters. I could have done without Bane entirely and certainly would have loved more of Catwoman. Hathaway (Alice in Wonderland) is terrific in the antihero role and brings a very interesting dynamic relationship with Batman. She may be the only person who understands him. I wanted more Catwoman, the movie needed more Catwoman, but alas she is just a plot device to connect Wayne to Bane. She has a larger role in the concluding melee but essentially becomes Batman’s reluctant wingman. The whole theme of the 99% vs. the 1% could have been generously explored with this character, and her spark and charisma would certainly be enough to get Bruce Wayne out of bed again. Then there’s the regular cop (Joseph Gordon-Levitt) doing the unheralded good deeds that so easily get overlooked. Here is an interesting character that, due to some leaps in logic, connects with Bruce Wayne on a unique level. He presents a counterbalance to all the souped-up superheroes, a recognizably regular human trying to do good. It’s then a shame that he gets entirely relegated during the third act so that the superheroes and their super toys can make some noise.
For a Batman movie there’s hardly any Batman in it. The caped crusader has been in retirement for eight years, so it takes some time before Bruce puts the suit back on. But then he’s also sidelined for a good third of the movie, stowed away in a far-off prison. The entire Indian prison sequence really could have been exorcised. It essentially becomes a Rocky training moment for Bruce Wayne to recover and a plot device to explain why there needs to be a time gap in the story. But this part of the movie just feels like it goes on forever, and we all know where it will go so we just keep waiting for the movie to get there. No one wants a Batman movie where Batman sits the middle out. The end feels relatively fitting but any fan of The Iron Giant will recognize some similar key elements.
And while I’m on the subject, let me do some estimates here. The timeline between Batman Begins and The Dark Knight is about a year, as the Joker notes to a congregation of mobsters. I’ll be generous and say that the events of The Dark Knight last two months. We learn that Batman never appeared again after the death of Harvey Dent, and now we flash to eight years later with The Dark Knight Rises. So you’re telling me that we only really got a solid year of Batman being Batman? That over the course of nine years he was Batman for only one of them? That’s very little Batman-ing for a Batman franchise.
But even with these flaws in tow, The Dark Knight Rises is still an exciting, stimulating, and mostly satisfying close to a trilogy of unprecedented ambition and scope for a modern blockbuster. The action sequences in this movie are huge and exhilarating. I loved Bane turning Batman’s armada of weapons against him. The Bat fighter plane is a nice addition that gets plenty of solid screen time. The sheer scope of what Nolan produces is epic; from a plane being hijacked in mid-flight and torn apart, to a city being leveled by explosives, to a face-off between a bevy of armored Batmobiles and the Bat plane through the streets of Gotham, the movie does not disappoint when it comes to explosive, large-scale action set pieces. This is also the first Batman movie where the climax is the best part of the film. The last half hour is solid action but also a fitting sendoff for a beloved character. Some will grumble with certain hat-tipping moments at the end, but I found it entirely satisfying. It all comes back to the central thesis of Nolan’s Batman films about becoming something more than just a man, becoming a symbol, and that symbol is meant to inspire others. By the end, you feel that the inspiration has been earned as so has our conclusion.
I want to single out Caine (Harry Brown) who has very few scenes but absolutely kills them. He’s the emotional core of the movie, perhaps even the series, and has always been hoping that his charge, Bruce Wayne, would never return to Gotham. He’s the voice of reason in the movie, the man that reminds Bruce about the costs of a life spent seeking vengeance and sacrificing his body. I wish Caine was in the movie longer but his scenes are pivotal to the plot, as is his absence.
The Dark Knight Rises doesn’t rise to the level of artistic excellence of its predecessors, but it’s certainly a strong summer blockbuster that works as an agreeable finale to the premier franchise of the era. It’s not quite the knockout we were expecting from Nolan but it still delivers where it counts. I wish it had give a fuller, richer portrait of a city corrupt from the inside out, a society rotting away and ready for revolution, and plus I also wish we had plenty more Catwoman and plenty more shots of Anne Hathaway in her Catwoman cat suit (Michelle Pfeiffer still has nothing to fear), but these are the things of dreams. Nolan’s aim has always been to place Batman in a world that is recognizably our own, and with that comes the responsibility of bringing a stolid sense of realism with all the blockbuster pyrotechnics. This artistic ethos has given us some extraordinary movies, though some Batman purists would object that Nolan’s hyper-realism is not the Batman they grew up with. It’s hard to really get a sense of the accomplishments that Nolan and his team has been able to pull off over the course of three bladder-unfriendly movies and seven years. He’s taken the superhero movie and redefined it, brought it unparalleled psychological depth and philosophical analysis, and given a human quality to what normally gets dismissed as escapism. The Dark Knight Rises isn’t as revelatory as its previous entry but it sticks the landing and puts to rest what is indisputably the greatest superhero trilogy of all time.
Now get ready for the reboot in three years.
Nate’s Grade: B
In 2005, Christopher Nolan’s reboot of the Batman series was a critical and commercial success. Gone were the campy and opulent sequences of old and the nipples on the Batsuit felt simply like a bad dream. Nolan served as director and screenwriter and brought serious psychological depth to his story and characters. As a life-long Batman fan, I loved it and wanted a sequel immediately with the exact same people responsible. The Dark Knight has been overshadowed by the passing of actor Heath Ledger, a gifted young actor nominated for a Best Actor Oscar for 2005’s Brokeback Mountain. He’s gone from gay cowboy to the criminally insane, and it’s all anyone can talk about. The buzz on Ledger and The Dark Knight is deafening and I am about to join that joyous chorus. This is a movie for grown-ups and makes lesser super hero adventures look downright stupid.
Bruce Wayne (Christian Bale) is dealing with the repercussions of his choice to assume the masked identity of Batman. He’s cracked down on Gotham City’s mobsters, and in their desperation they have turned to a crazed anarchist that likes to wear strange makeup. The Joker (Ledger) promises to return Gotham back to its old ways but even he knows this isn’t possible. “You’ve changed things,” he tells Batman. “There’s no going back.” The Joker wants to break the will of Batman and Gotham City and sets up elaborate and disturbing moral dilemmas that push many to the edge. His purpose is chaos, which isn’t exactly what the Mob had in mind when they subcontracted his services. Bruce must rely on his trusted butler Alfred (Michael Caine) and company tech guru Lucius Fox (Morgan Freeman) to help him combat a man that “just wants to watch the world burn.” Gotham also has a new district attorney, Harvey Dent (Aaron Eckhart), who is willing to put his name on the line to clean up the city. He’s butting heads with Lt. Gordon (Gary Oldman) because of Gordon’s secrecy and his reliance on Batman to do the things the law won’t allow. Dent wants to prosecute mobsters and is willing to put himself in jeopardy. He believes Batman is waiting for men like him to take the baton. Bruce’s old squeeze Rachel Dawes (Maggie Gyllenhaal replacing Katie Holmes — upgrade) has fallen for Dent. He’s an emotionally available man who wants to do good. Naturally, Dent and Rachel will becomes targets of the Joker.
First off, believe the hype because everything you’ve read and heard about Ledger’s performance is the gospel truth. The actor vanishes completely underneath the gnarly latex scars, stringy hair, and smeared makeup. He transforms into this menacing figure and he makes Jack Nicholson look like a circus clown in comparison. He’s creepy and funny in a totally demented and spooky way, but he almost comes across like a feral creature that enjoys toying with his prey. Ledger fully inhabits his character and brings a snarling ferocity to the role. The Joker is given no back-story and he takes a macabre delight in crafting differing versions of his sordid past depending upon the audience. Ledger’s Joker is like a mixture of sadist and intellectual, of Alex from A Clockwork Orange and Hannibal Lector; he finds a way to get inside your mind and unleashes torment. There’s a great scene where he’s left alone in a holding cell with a police officer. The Joker taunts the man, getting little reaction from the trained lawman, but then he hits a nerve. The Joker asks how many of his friends, his fellow officers has he murdered. He then rhapsodizes the finer points of using knives instead of guns because guns are too quick. With knives he can see who people truly are in the final moments of existence. “So in a way, I know your friends better than you ever did,” he tells the officer. “Would you like to know which of them are cowards?” This triggers the officer to break his protocol and play into the Joker’s scheme. I’m not ready to say Ledger’s performance overtakes Javier Bardem’s Anton Chigurh (No Country for Old Men) as the most menacing villain of late, but Ledger certainly will make your skin do more than crawl.
Ledger gives a performance worthy of posthumous Oscar consideration. Toward the end of the film I found myself lingering on sadness that, well, this was it. This is all we are ever going to get of the Joker, such a fabulous character, but even more, this was the last full performance we are ever going to get from Ledger. His unnerving performance will stand the test of time when it comes to haunting screen villains, and I’m sure the actor had many more incredibly performances left in him before he passed away.
The Dark Knight has less in common with other superhero series and should be considered a modern crime drama. It has more in common with Heat than with Spider-Man. Even compared to Nolan’s excellent Batman Begins, this is the first Batman film that feels like it occurs in a real city in our own reality. In Batman Begins, we had the CGI ghetto that happened to be conveniently where all the city’s scum lived, an ancient league of ninjas that wanted to wipe an entire modern city off the map, and then a super microwave that zapped water molecules in the air. Even though it was the most realistic Batman yet, it still had some fantastic elements that kept it from feeling fully believable. This newest Batman adventure feels more like a real city and a city that is being torn apart. You get to see a lot of Gotham City’s moving parts and different social circles and then see the Joker tear them apart. The knotty screenplay by Christopher Nolan and his brother Jonathon is dense and packed with subtext and ambiguity not seen in the likes of other spandex-clad super hero movies. This isn’t a super hero movie so much as an enthralling crime thriller with better gadgets.
Whereas Batman Begins focused on the psychology of a man that dresses up in a costume and fights crime, now the attention turns into examining the impact of Batman. There has been escalation, just as Gordon hinted at the close of the last film. Batman has stepped up law enforcement and now Gotham’s criminal element has placed their trust in a psychopath that promises results. This is a movie about symbols and ideals and about the tenets of civilization. The movie presents an arsenal of mature questions and rarely gives absolute answers. Batman I supposed to be a hero but does he play by the law? Can he make decisions that no one else can? Batman believes in the goodness of others and serves as a symbol for the city to stand up against corruption, but can Batman be corruptible? Does he have a breaking point? Is implanting hidden surveillance and spying on 30 million people in the name of security overstepping? Is it acceptable to cross a line if your enemy crossed it first? The Joker lives at the other ideological end and believes that human beings are selfish and will eat each other when the chips are down. He devises disturbing social experiments that test the limits of ordinary citizens and how far they are willing to go out of self-interest. The Joker is an anarchic force that seeks to tear down civilization itself, and that is a far more interesting and devastating plot than vaporizing water molecules with ninjas. When the movie covers the tired “we’re one in the same” territory that most super hero flicks hit (the Joker responds to Batman with, “I don’t want to kill you. What would I do without you? You complete me.”), it even makes sense given the psychological and philosophical complexity at root.
And oh boy, is The Dark Knight dark. This flick racks up a body count that could compete with movies usually involving some cataclysmic act of nature. The Joker’s unpredictable nature, and the dark twists the film plumbs, creates an atmosphere where you dread anything happening at any time, and mostly bad things happen. Batman must come face to face with his limitations and the realization that his actions, no matter how altruistic, will have negative consequences. This is not a movie for young children. If any parent buys their child a Joker doll and takes them to see this movie then expect years of therapy bills down the line. Much of the violence is implied but the overall effect is still chilling. It’s difficult to call The Dark Knight a “fun” movie. Batman Begins was fun as we followed Bruce Wayne tinker and become his crime-fighting avenger. This movie watches much of what he built get taken away. The movie makes gutsy decisions and for a super hero movie, let alone a summer blockbuster, and this is one decidedly dour flick where no character ends in a particularly pleasant place, especially poor Harvey Dent.
Speaking of Mr. Dent, while Ledger is deservedly getting all the buzz and plaudits, Eckhart’s excellent performance is going unnoticed. Dent gets just as much screen time as Batman and is the white knight of Gotham, the man unwilling to break the boundaries of the law to merit out justice. Like Batman, he serves as a symbol for Gotham City and its resurrection from the stranglehold of crime. Batman fights in the shadows and serves as an anonymous vigilante but Dent is the face that can inspire the city. That’s what makes his transformation into Two-Face all the more tragic. You really do care about the characters in this movie, so when Dent turns on his principles and seeks out vengeance you feel a weighted sense of sorrow for the demise of a truly decent man. Eckhart and his lantern jaw easily sell Dent’s idealism and courage. After his horrific transformation, Eckhart burrows deep enough to show the intense hatred and mistrust he has even in fate. He gives a terrific performance that plays a variety of emotions and does justice to them all.
The rest of the cast, just to be mentioned, is excellent yet again.
Nolan has also stepped up his directing skills and delivered some high-intensity action. His first foray with Batman had some dicey action sequences that suffered from choppy editing, but he pulls back his camera lens and lets the audience see the action in The Dark Knight. The explosive high point is a long car chase where the Joker tries to attack an armored police car via an 18-wheeler truck. The police look for safe detours to escape the Joker’s line of fire, and when Batman surfaces with the sleek Batpod motorcycle thing get even cooler. What makes the sequence even better is that all of the peripheral characters behave in semi-logical ways, meaning that your secondary cop characters are respectable decision makers. Nolan also shot several sections of the film in IMAX, which boasts the highest resolution possible for film stock. The panoramic views of Batman atop buildings are breathtaking and may strike vertigo in some moviegoers. The movie looks great and it delivers the action goods but it’s really more of a tense thriller with more tiny moments of unease than an out-and-out action flick with gargantuan explosions and blanket gunfire.
Despite the undeniable brilliance of The Dark Knight, the movie is rather exhausting. After a decent 45 minutes of establishing the characters and setting up the stakes, the movie is essentially two hours of climax after climax, and you will be perched on the edge of your seat and tense until the end credits crash onto the screen. It’s exciting and overwhelming but you will feel wiped out by the end of the movie. There are a lot of characters and a lot of subplots and while I’m thrilled the movie has so much intricacy it also makes it hard for the film to come to a stop. The climax with Two-Face and Gordon’s family also feels misplaced. At a tremendous 2 hours and 30 minute running time, The Dark Knight will test your endurance skills in the best way.
I honestly have no idea where Nolan and crew can take the story now. The Dark Knight seems unlikely to be topped. This is an intense, epic crime thriller with a labyrinthine plot that is packed with emotion, subtext, philosophy, penetrating open-ended questions, and genuine nerve-racking tension. It’s hard for me even to think of this movie as a super hero flick despite that fact that it’s about a billionaire in a rubber suit. This is an engrossing modern crime drama that just so happens to have people in weird costumes. Nolan and his brother have crafted a stirring addition to, not just the Batman canon, but to cinema as a whole. Ledger’s character is the driving force behind the film, the man that makes everyone else react, and his incredibly daring and haunting performance will stand as a last reminder of what talent was lost to the world when he passed away. I for one will be amongst the throng crying out for Oscar recognition but not just for Ledger, for The Dark Knight in general. And I may not be alone. The Dark Knight is currently breaking every box-office record imaginable and seems destined to finish as the number two highest grossing movie of all time, steadily behind James Cameron’s Titanic. If the Academy is looking for a way to shore in better ratings for the Oscars, it might seriously consider nominating The Dark Knight in some key races. It certainly deserves recognition.
Nate’s Grade: A
I have been a Batman fan since I was old enough to wear footy pajamas. I watched the campy Adam West TV show all the time, getting sucked into the lead balloon adventures. Tim Burton’s 1989 Batman was the first PG-13 film I ever saw, and I watched it so many times on video that I have practically worn out my copy. Batman Returns was my then most eagerly anticipated movie of my life, and even though it went overboard with the dark vision, I still loved it. Then things got dicey when Warner Brothers decided Batman needed to lighten up. I was only a teenager at the time, but I distinctly remember thinking, “You’re telling the Dark Knight to lighten up?” Director Joel Schumacher’s high-gloss, highly stupid turn with Batman Forever pushed the franchise in a different direction, and then effectively killed it with 1997’s abomination, Batman and Robin. I mean these films were more worried about one-liners and nipples on the Bat suits. Nipples on the Bat suits, people! Is Batman really going, “Man, you know, I’d really like to fight crime today but, whoooo, my nipples are so chaffed. I’m gonna sit this one out”?
For years Batman languished in development hell. Warner Bothers licked their wounds and tried restarting their franchise again and again, only to put it back down. Then around 2003 things got exciting. Writer/director Christopher Nolan was announced to direct. Nolan would also have creative control. Surely, Warner Brothers was looking at what happened when Columbia hired Sam Raimi (most known for low-budget splatterhouse horror) for Spider-Man and got out of his way. After Memento (My #1 movie of 2001) and Insomnia (My #5 movie of 2002), Nolan tackles the Dark Night and creates a Batman film that’s so brilliant that I’ve seen it three times and am itching to go again.
The film opens with a youthful Bruce Wayne (Christian Bale) in a Tibetan prison. He’s living amongst the criminal element searching for something within himself. Henri Ducard (Liam Neeson) offers Bruce the chance to be taught under the guidance of the mysterious Ra’s Al Ghul (Ken Watanabe), the leader of the equally mysterious warrior clan, The League of Shadows. Under Ducard’s direction, Bruce confronts his feelings of guilt and anger over his parents’ murder and his subsequent flee from his hometown, Gotham City. He masters his training and learns how to confront fear and turn it to his advantage. However, Bruce learns that the League of Shadows has its judicial eyes set on a crime ridden Gotham, with intentions to destroy the city for the betterment of the world. Bruce rebels and escapes the Tibetan camp and returns to Gotham with his own plans of saving his city.
With the help of his trusted butler Alfred (Michael Caine), Bruce sets out to regain his footing with his family’s company, Wayne Enterprises. The company is now under the lead of an ethically shady man (Rutger Hauer) with the intentions of turning the company public. Bruce befriends Lucius Fox (Morgan Freeman), the company’s gadget guru banished to the lower levels of the basement for raising his voice. Bruce gradually refines his crime fighting efforts and becomes the hero he’s been planning on since arriving home.
Gotham is in bad shape too. Rachel Dawes (Katie Holmes), a childhood friend to Bruce, is a prosecutor who can’t get anywhere when crime lords like Falcone (Tom Wilkinson) are controlling behind the scenes. Most of the police have been bought off, but Detective Gordon (Gary Oldman) is the possibly the city’s last honest cop, and he sees that Batman is a figure trying to help. Dr. Crane (Cillian Murphy) is a clinical psychologist in cahoots with Falcone. Together they’re bringing in drug shipments for a nefarious plot by The Scarecrow, a villain that uses a hallucinogen to paralyze his victims with vivid accounts of their own worst fears. Bruce is the only one who can unravel the pieces of this plot and save the people of Gotham City.
Nolan has done nothing short of resurrecting a franchise. Previous films never treated Batman as an extraordinary character; he was normal in an extraordinary world. Batman Begins places the character in a relatively normal environment. This is a brooding, intelligent approach that all but erases the atrocities of previous Batman incarnations. Nolan presents Bruce Wayne’s story in his typical nonlinear fashion, but really gets to the meat and bone of the character, opening up the hero to new insights and emotions, like his suffocating guilt over his parents murder.
Nolan and co-writer David S. Goyer (the Blade trilogy) really strip away the decadence of the character and present him as a troubled being riddled with guilt and anger. Batman Begins is a character piece first and an action movie second. The film is unique amongst comic book flicks for the amount of detail and attention it pays to characterization, even among the whole sprawling cast. Nolan has assembled an incredible cast and his direction is swimming in confidence. He’s a man that definitely knows what he’s doing, and boy oh boy, is he doing it right. Batman Begins is like a franchise colonic.
This is truly one of the finest casts ever assembled. Bale makes an excellent gloomy hero and really transforms into something almost monstrous when he’s taking out the bad guys. He’s got great presence but also a succinct intensity to nail the quieter moments where Bruce Wayne battles his inner demons. Caine (The Cider House Rules, The Quiet American) is incomparable and a joy to watch, and his scenes with the young Bruce actually had me close to tears. This is by far the first time a comic book movie even had me feeling something so raw and anything close to emotional. Neeson excels in another tough but fair mentor role, which he seems to be playing quite a lot of lately (Kingdom of Heaven, Star Wars Episode One). Freeman steals every scene he’s in as the affable trouble causer at Wayne Enterprises, and he also gets many of the film’s best lines. Oldman (The Fifth Element, Harry Potter and the Prisoner of Azkaban) disappears into his role as Gotham’s last good cop. If ever there was a chameleon (and their name wasn’t Benicio del Toro), it is Oldman. Holmes works to the best of her abilities, which means she’s “okay.”
The cast of villains are uniformly excellent, with Wilkinson’s (In the Bedroom) sardonic Chicagah accented mob boss, to Murphy’s (28 Days Later…) chilling scientific approach to villainy, to Watanabe’s (The Last Samurai) cold silent stares. Even Rutger Hauer (a man experiencing a career renaissance of his own) gives a great performance. Seriously, for a comic book movie this is one of the better acted films of the year. And that’s saying a lot.
Batman Begins is such a serious film that it almost seems a disservice to call it a “comic book movie.” There are no floating sound effects cards and no nipples on the Bat suits. Nolan really goes about answering the tricky question, “What kind of man would become a crime-fightin’ super hero?” Batman Begins answers all kinds of questions about the minutia of the Dark Knight in fascinating ways, yet the film remains grounded in reality. The Schumacher Batmans (and God save us from them) were one large, glitzy, empty-headed Las Vegas entertainment show. No explanation was given to characters or their abilities. Likewise, the Gothic and opulent Burton Batmans had their regrettable leaps of logic as well. It’s hard not to laugh at the end of Batman Returns when Oswald Cobblepot (a.k.a. The Penguin) gets a funeral march from actors in emperor penguin suits. March of the Penguins it ain’t. Nolan’s Batman is the dead-serious affair comic book lovers have been holding their breath for.
The action is secondary to the story, but Batman Begins still has some great action sequences. Most memorable is a chase sequence between Gotham police and the Batmobile which goes from rooftop to rooftop at one point. Nolan even punctuates the sequence with some fun humor from the police (“It’s a black … tank.”). The climactic action sequence between good guy and bad guy is dutifully thrilling and grandiose in scope. Nolan even squeezes in some horror elements into the film. Batman’s first emergence is played like a horror film, with the caped crusader always around another turn. The Scarecrow’s hallucinogen produces some creepy images, like a face covered in maggots or a demonic bat person.
There are only a handful of flaws that make Batman Begins short of being the best comic book movie ever. The action is too overly edited to see what’s happening. Whenever Batman gets into a fight all you can see are quick cuts of limbs flailing. My cousin Jennifer got so frustrated with the oblique action sequences that she just waited until they were over to see who won (“Oh, Batman won again. There you go.”). Nolan’s editing is usually one of his strong suits; much of Memento’s success was built around its airtight edits. He needs to pull the camera back and let the audience see what’s going on when Batman gets physical.
Another issue is how much plot Batman Begins has to establish. This is the first Batman film to focus solely on Batman and not some colorful villain. Batman doesn’t even show up well into an hour into the movie. As a result, Batman Begins perfects the tortured psychology of Bruce Wayne but leaves little time for villains. The film plays a shell game with its multiple villains, which is fun for awhile. The Scarecrow is really an intriguing character and played to gruesome effect by the brilliant Cillian Murphy. It’s a shame Batman Begins doesn’t have much time to develop and then play with such an intriguing bad guy.
Batman Begins is a reboot for the film franchise. Nolan digs deep at the tortured psyche of Bruce Wayne and come up with a treasure trove of fascinating, exciting, and genuinely engrossing characters. Nolan’s film has a handful of flaws, most notably its oblique editing and limited handling of villains, but Batman Begins excels in storytelling and crafts a superbly intelligent, satisfying, riveting comic book movie. The best bit of praise I can give Batman Begins is that I want everyone responsible to return immediately and start making a host of sequels. This is a franchise reborn and I cannot wait for more of it.
Nate’s Grade: A