Batman: The Dark Knight Rises

Though it never reaches the same heights as the first two films in Nolan’s reimagined Batman series, overall it was a more cohesive film, with fewer negative points as well – it was never as impressive as the first film’s delivery of a new, grittier flavour, nor as thrillingly strange as the second, but it was also solid and entertaining throughout, despite a slow start.

What’s really remarkable is that despite the costumes and exaggerated combat, this isn’t really a comic book film like Thor or the new Superman. It’s actually much more like an exaggerated spy film about terrorists, one of the recent Bond flicks or a Bourne film, which despite the lack of masks have similar action and exaggerated combat despite the ostensible realism.

But indeed, while one of the best things about the re-envisioned Joker of the second film was that he used Guerrilla tactics, here what made Bane’s story so fascinating was that it was set up like a large-scale bit of terrorism: this Bane isn’t a Venom-pumped, leotard-wearing merc in a mask that recalls Mexican wrestlers, but a formidable leader of an extremist faction quite willing to die for him, using the media to his advantage and spouting anarchic ideals – though lying about them.

And then the emotional heart of the film – working somewhat less well – is Bruce Wayne’s struggle to find meaning in his life without Batman, which is ultimately fruitless. What does ensue, however, is some very memorable imagery about rehabilitation and climbing out of a desperate prison, some incredible scenes of street combat and a clash between Batman and a huge but eloquent, persuasive and supremely confident man.

The film throws up a huge number of questions, none of which it cares to answer – which I rather liked. Is it a critique of anarchy? Are the disgusting, corrupt businessmen in the right here or the violent criminals who overthrow them – or are both repulsive? Is fear really what makes you strong? Is the hidden antagonist really dead? Is the little parting stinger with Joseph Gordon-Levitt – hooray for a superb career trajectory for cute lil’ Tommy – going to signify anything more (I doubt it, as this is a very neat end to a trilogy, but it would be nice, and I feel silly for forgetting the possibility has occurred to me in the trailers, only to forget it until Batman’s line about a mask, very shortly before the reveal)? Is too much technology always going to be weaponised for terror? And should thieves, vigilantes, lying officials and the super-rich always be applauded as long as they end up sacrificing themselves for what is good?

And does the fact that really, the only way Batman could have got out of that last predicament was with the help of Superman hint at a Justice League film to mirror the Avengers success? Haha – no hope of that!

There was much else to smile about in this film – an excellent new Catwoman, some superb scenes with Michael Caine, visceral action scenes and an amusing oblique reference to Killer Croc – though in truth it just lacked enough iconic imagery to really endure. Still, it’s part of what may be the great apex of superhero films, and I’d rather see it again than the lauded The Avengers, even if the new Spiderman was more entertaining and heartfelt than either.

If anything, what I hope for now is more DC properties to be tapped. Superman gets his new film next year, which may or may not be gritty and severe, but it’s really the wider universe I’d like to see tapped. Not necessarily The Flash, arguably the obvious choice, or Dr Strange, who apparently is likely to get the big screen treatment soon, but ones less often seen onscreen.

Actually, the truth is I’d love to see a Captain Marvel film with Freddie and lots of Elvis references. Unlikely, I know, but hey – if Ant Man can get a big-screen adaptation, The Big Red Cheese certainly should be able to! 

Batman Begins: http://adzfilm.blogspot.co.uk/2011/09/batman-begins.html

The Dark Knight: http://adzfilm.blogspot.co.uk/2011/04/batman-dark-knight.html

The Amazing Spider-Man

Watched The Amazing Spider-Man, the franchise’s reboot with Andrew Garfield instead of Tobey Maguire. It’s been criticised as unnecessary, but reboots are fashionable and it was certainly a different enough angle from the other series to work. It was also by far the best of the bunch, and Garfield is a far, far better Parker than Maguire, if a little too old to play him as a teen. He’s likeable even when he’s making terrible choices or being a jerk, can pull off both the vulnerable geeky Parker and the wise-cracking Spiderman, and fills out that costume very nicely with his skinny but muscular frame. All can agree he’s cute.

This version of the story has Parker very much searching for the truth about his father despite how lovely Uncle Ben and Aunt May are. It actually makes for a much neater storyline, because it means that the superhero’s rise and the appearance of the supervillain are linked rather than coincidental. The main story opens with that familiar staple of Western culture: how utterly horrific the American high school experience must be, with good ole Flash in bully mode again. The radioactive spider bite comes from Oscorp labs, where Peter is looking for information about his father, which is better than just going on a school trip. The radioactive spiders are also the source of his webbing, which is another way the story is neatened.

Spider Man doesn’t yet love Mary Jane, so here we get Gwen Stacy instead (no ‘oh snap’ jokes, please). George Stacy is given an interesting role as a father who is at first combative and scary, but is won over and eventually provides some of the most significant emotional points of the film after what happens to Uncle Ben – also meaning there is no need for a JJJ yet. Meanwhile, the antagonist is Curt Connors, here given an extra link to Parker’s past, and a potentially goofy villain made mostly believable and compelling. Everything has just been written in a much tighter and slicker way – Parker has just the right balance of being a selfish teenage jerk at the start (forgetting his obligations, disobeying teachers, picking fights) and being full of remorse later on, as well as revelling in being behind a mask. The plot is generally very tight, with only one real objection from me (Connors comes up with a master plan, but decides to go after Parker at his school first, allowing him the lead he needs to find him and clues to his plan), and Garfield’s charm really helps with a character difficult to get just right.

I’m glad The Social Network seems to have propelled him to major stardom. I’m actually looking forward to the sequels more than to any continuation of the Avengers storylines except perhaps Iron Man. Who was the shadowy figure in the stinger?