Godzilla: King of the Monsters is the sequel to 2014’s American re-launch, and the biggest complaint I had with that other film was how frustratingly coy it was with showing Godzilla. I wanted more Godzilla in my Godzilla movie, and King of the Monsters at least understands this need and supplies many of the most famous kaiju in the franchise, like Mothra, Rodan, and the three-headed King Ghidorah. The human drama is just as boring with characters I have a hard time caring about. Vera Farmiga plays a scientist who lost a child during the 2014 monster brawl in San Francisco. She develops a sonar device to communicate and domesticate the giant monsters (now totaling 17 plus). She and her teen daughter (Millie Bobby Brown) are kidnapped by eco terrorists that want to… destroy the world and leave it back to the ancient monsters? It’s a bit jumbled. I felt more for a monster than I did any living person. The plot does just enough to fill in time between the monster battles, which can be fun but are also lacking a few key items. Firstly, the sense of scale is lost. That’s one thing the 2014 film had in spades, the human-sized perspective of how enormous these beasts are. Also the fight scenes are shot in pretty dark environments that can make things harder to watch. There is a simple pleasure watching two giant monsters duke it out on screen, and King of the Monsters has enough of these to satisfy. It’s still a flawed monster mash but at least it sheathes the itch it was designed for, and if you’re a Godzilla fan and feeling generous, that might be enough to justify a matinee with a few of your favorite fifty-story pals.
Nate’s Grade: B-
Without a doubt, no movie has piqued curiosity like Christopher Nolan’s Inception. After breaking all sorts of box-office records with The Dark Knight, Nolan earned some capital. He wanted to make an expensive, intellectually demanding, high-concept movie that takes place mostly in the realm of dreams. The studio said yes, anything to keep their golden goose happy before a third Batman can roll out. Nolan has been tinkering with the script for Inception for almost ten years, trying to scale it down but never being content. This is a story that called for the biggest stage, which required a heavy price tag, and could only be fulfilled once Nolan was an established hit-maker. Early images of shifting gravity and folding cityscapes got people buzzing but then the concern was whether Inception would be too smart for audiences to embrace. You know, the same public that made two Alvin and the Chipmunks films blockbusters. Two weeks running, Inception has made a sizeable portion of money and become the “must-see” movie of the summer. Score one for the public.
Dom Cobb (Leonardo DiCaprio) is an expert extractor. He can sneak into your dreams and discover whatever secret you’re hiding from your self, your wife, even your shrink. All for a tidy sum, of course. He’s on the run from U.S. authorities because they believe he killed his wife Mal (Marion Cotillard). A rich businessman, Seito (Ken Watanabe), promises to clear away the pending charges if Cobb can perform one important job. Instead of stealing an idea, Cobb will have to plant an idea, known as inception. A young upstart (Cillian Murphy) will inherit his dying father?s empire, and Seito wants the guy to break up that empire and sell it off. Cobb enlists the help of a skilled team to pull off what is believed to be impossible; Arthur (Joseph Gordon-Levitt) as the point man, Ariadne (Ellen Page), as the architect of the dream world, Eames (Tom Hardy), a forger who can convince the mark he?s other identities, and Yusuf (Dileep Rao), a chemist that creates a compound to put the team under a deep sleep. They’ll need it because Cobb plans to go three levels deep, a dream within a dream within a dream in order for inception to take root. The only way out is a “kick,” the sensation of falling that will awaken the dreamer. The team is under great risk not just from the dream world, but also from Cobb. He?s been secretly keeping memories of his dead wife alive and she keeps intruding into shared dreaming, causing havoc, relying on the same info that Cobb knows. The deeper they go into the dream the deeper they also go into Cobb’s memories.
Inception can be many things to many people, as is the nature of dreams. I found the movie to be a master class mousetrap. Watching Nolan and his origami-like script fold and bend and connect is a true pleasure. However, the movie is not a great character piece. Cobb is the only person on the entire team allowed any sort of back-story or inner lives or even personality traits. What do we know about Arthur, Ariadne, Eames? Nothing. They are all members of the team, but it is Cobb who is the only one allowed to have supporting details. Despite Cobb’s tragic past with his wife, emotionally the movie can best be described as a bit distant (not cold, distant). Nor does Inception deal with the psychology of dreams or the interpretation of the subconscious and its links to our own reality; this movie does not have Freudian psychoanalysis in mind. What Inception does deliver is a brilliantly staged heist that takes place in the realm of dreams, and if that doesn’t sound like a fun concept then I don?t know what does. To get to that heist, the audience must slosh through about 90 minutes of solid set-up and exposition (Pages character is essentially an exposition device). There are a lot of rules to digest in order for the final hour to have the impact that it does. If you nod off for a portion of that time, like my father, you will be lost as to why anything is exactly happening. Having seen the film a second time, I can say that once the hyperactive “Oh my gosh, this is awesome!” haze of newness wears off you do realize that the pre-heist portion of the movie can be a bit slow. I think that for future DVD-viewings I will skip to the start of the heist and sit back and relax (much like skipping the first hour of King Kong).
After talking about what Inception is not, let’s focus on what Inception is. It is a massively entertaining, brain-tickling thriller with eye-popping visuals that verge toward the iconic. Nolan isn’t the greatest orchestrator of action (a foot chase in Mombassa is pretty lackluster short of a narrow alleyway) but the man knows how to put together tremendously memorable set pieces. From Paris folding upon itself to a fistfight in a revolving hallway, Inception is packed with stimuli to ignite the senses. It’s the first movie in years that I walked out and thought, “How did they do that?” It renewed my sense of mystery and wonder with the movies. And the last hour is ridiculously fraught with tension as the movie descends level after level of subconscious, juggling four separate action set pieces with mounting climaxes. The revolving hallway fight is perhaps my favorite action scene in years. I still got goose bumps the second time. Gordon-Levitt hops from ceiling to floor like he’s Spiderman, or Gene Kelly, all while the camera remains fixed. Gordon-Levitt gets a lot of zero gravity experience in this movie. He might have qualified for a free ride on the space shuttle.
Like the alternate reality of The Matrix, people can manipulate the world of dreams, which allows for some imaginative visuals. Aside from the dreams-within-dreams impacting one another, there aren’t really playful distortions of reality. There?s a few M. C. Escher-inspired staircases but nothing too out of bounds. Nolan devises a reason for this since the dreamers do not want to call attention to altering the dream. They want to hide among the subconscious projections; get in and get out without being noticed. You do wish that Nolan played to the potential of his flexible reality, but on the other hand, it’s still fairly mind-bending to reach inside a magician?s hat into another magician?s hat and so on. I wonder if there was another story that could have succeeded in this setting, namely competing thieves that have to race against time within the world of dreams. Think about it next time, Nolan. That one?s on me.
But the most exciting aspect of the movie is how intellectually stimulating it is. The movie is jam-packed with ideas like Nolan’s other works, so much that it’s hard to fully process everything the film offers in one sitting. The pieces do fit together and the movie follows its own internal logic, so if you didn’t skip out on any bathroom breaks, you should be able to follow along reasonably. On first viewing, Inception is bristling with intelligence and narrative complexity, and it rarely stops to pander to an audience. It expects you to keep up for the rewards that will follow, and they are indeed rewarding. The movie isn’t as complicated to follow but it can definitely get complicated when you try and explain action beyond a literal level. Nolan laces all sorts of narrative stops and peculiarities that can be targeted for an alternative thesis statement on the ending. The very ending shot is ambiguous perfection. It keeps the mystery of what constitutes reality while providing an out for people that want to formulate a happy ending. There’s plenty of room for interpretation and analysis but it doesn’t get in the way of telling a good story. Hollywood is pretty risk averse when it comes to anything that makes people think, let along anything expensive that requires active synapses. Nolan has long been a filmmaker of intellectual heft and non-linear narratives. His narratives are complex puzzles that snap together with airtight precision. The joy of a Nolan film is surrendering yourself to his narrative origami and waiting to see the Big Picture. There are new insights to discover with every viewing. Nolan may not be the second-coming of God, as those frothing at the mouth on Internet message boards proclaim, but I can think of no other director working today who harnesses Big Ideas on such a big stage.
Inception is a $160-million dollar studio film with substance, but it also looks like money well spent. The film looks amazing. The cinematography by Wall Pfister (Dark Knight) is gorgeous without being self-consciously arty, pleasing the senses without drawing too much attention away from the story. But with a screenplay that makes all kinds of leaps, you need the help of a good editor to guide the proceedings. Lee Smith (Truman Show, Master and Commander) is that man. While the repeated cutbacks to the van falling in slow motion can be giggle-inducing, Smith gamely holds everything together thanks to his skill in juggling all the parallel storylines/dreamscapes. Finally, the score by Hans Zimmer (The Lion King, Gladiator) is full of ominous, blaring horns that send shivers and get your blood pumping. Johnny Marr (The Smiths, Modest Mouse) even added an assist by strumming the guitar licks on the score. Apparently Zimmer’s key score themes are actually the tune “Non, Je Ne Regrette Rien,” the Edith Piaf signature song used to signal “kicks,” played at a slowed speed. At the risk of sounding like one of those frothing from the mouth on the Internet, that’s insanely cool.
The acting is uniformly good with a few bumps. DiCaprio (Shutter Island) might need to do something light after continuous roles where he inhabits mean weighed down by guilt and dead wives (three in a row for those counting). He’s a good emotional anchor. Watching the star of 500 Days of Summer and Brick as a suave, cool-as-can-be action star is improbably awesome. Hardy (Bronson) is a scene-stealer mostly because he?s the only member of the team that has a sense of humor. Cotillard (Nine, Public Enemies) who won an Oscar playing Edith Piaf in 2007’s La vie en Rose, gets her best part since then. She gets to do many things as Mal, a projection of a character. This means that she must be limited in how she fills out the character because she is defined by Cobb’s fading memory. Yet she can be malicious, playful, spiteful, loving, vulnerable, and more. Cotillard and her big, glassy eyes do a great service in selling a romance we only see after the fact. Page (Juno) just feels out of place. She seems like the kid among a group of adults. And while the elfin actress will always look youthful until she applies for an AARP card, Page just seems in over her head. Her performance is fine if a bit mealy-mouthed but she still feels miscast.
Inception. Expect it to become a fanboy religion in a matter of weeks. It wears its influences on its sleeve, from The Matrix to Abre Los Ojos (or the American remake, Vanilla Sky). Thrilling, stimulating on different levels, and supremely engrossing, Inception is just about everything you could wish for in a summer blockbuster, except when it can also feel mechanical, distant, and free of emotion and character development save DiCaprio (perhaps this is further evidence that it was all a dream?). Regardless, Inception is easily the brainiest movie of the year, and usually those don?t get packaged as big-budget Hollywood spectacle. Just make sure to bring your totem the second time you watch the movie.
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
Premise: Alcoholic Civil War vet (Tom Cruise) is hired by the Japanese emperor to modernize his army. After being captured by samurai, he finds solace and fights alongside his former enemy against the emperors modernized army.
Results: A miscast Cruise is not turning Japanese, no matter if he really thinks so. The Last Samurai is a conservative by-the-book epic the limply transports the framework of Dances with Wolves and effectively creates Dances with Japanese People. Dont believe me? Lets go to the videotape. Civil War vet (check) haunted by massacre of Native Americans (check), finds peace with a foreign culture (check), falls in love with one of the foreign women (check), and must battle the invading former culture that threatens his new happiness (check). The film does have lovely cinematography and production design, if that means something to you.
Nate’s Grade: C+