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A Look Back: 2012 in Film (Part II)

Ruby Sparks

There’s an odd connection between actual aspiring writers and movies centered on writers that’s tough to pinpoint.  Ruby Sparks is like a vision coming into physical reality for writers, with a character transforming into something anyone else can see, touch and feel.  The initial promise of such a premise is taken in the directions you’d expect, before taking some surprisingly dark turns.  But fellow fictional writers will know that sometimes to truly understand your characters, you’ll have to put them through the worst possible hell.  It is, to borrow from another certain 2012 release, “a necessary evil.”  Ruby Sparks is, at the very least, compelling and leaves a relatively strong impression.  Things do end up a little to conveniently resolved, but given the road taken, such an ending can feel all the more rewarding.

The Expendables 2

Times at the cinema would be so much better if films like The Expendables 2 were easier to pick out.  Like its predecessor, this is a perfect break and escape from reality.  No, the film isn’t fantastical, but it’s a hell of a great time, suspending you amidst ridiculous action and one-linters.  While other cheap, campy B-grade action movies do little but bore, The Expendables 2 entertains and entertains and entertains.  There’s little serious merit here, but the fact you have so fun watching it the first time around makes everything else irrelevant.

Lawless

Lawless didn’t fear showing a generally grisly side to Prohibition-era America, which is showcased in a scene that makes me queasy upon the slightest recollection.  There are a number of ways to generically label Lawless, ranging from Tom Hardy’s Post-Bane Role to Wait, Shia LaBeouf Has Acting Capabilities?  Being one of the few non-haters of the latter actor, even I think he’s outclassed and generally unfit for such a role.  Thankfully, he’s not misplaced to the point of say, Josh Hutcherson in The Hunger Games, while every other performance from Tom Hardy to Jessica Chastain and Guy Pearce is spot-on.  It’s just a shame we only get two scenes with Gary Oldman, who completely owns both and shows us a side to Jim Gordon we might’ve forgotten after The Dark Knight Rises.

The Perks of Being a Wallflower

It’s not every day–or even every year–I can call a film truly resonant with how I generally feel, but The Perks of Being a Wallflower managed to be such a film.  Shame it was a bit of a sleeper, though.  This is a film equally earnest and honest, working better than it probably should thanks to how relatable and irresistible the characters are.  Even Paul Rudd, amounting to a simply sympathetic teacher, manages to bring us into the film more because his scenes with Logan Lerman work so well.  Sometimes comedic, other times seriously dramatic, but always enthralling, The Perks of Being a Wallflower more than earns a personal favorite mark from yours truly.

Looper

Looper was definitely one of the more highly touted films of 2012.  Many people seemed to think it would be the next “it” thing for science fiction action thrillers, with big comparisons being made to Inception.  The film met with almost universal acclaim but seems to have become little more than a dud on the windshield.  While this is a bit of a shame, the film does have, at its core, some very potential shortcomings.  To be fair, like Philip K. Dick’s works, most of these issues stem from the film’s deliberate approach to pose ideas without completely fleshing them out.  It becomes a bit of a backdrop to the story, rather than a consistently integral part.  Some say this works to the film’s strength, I say this is a story that belongs in novel form rather than on the big screen.  Don’t get me wrong, Looper is a very solid film in its own regards, it’s just many of the paths taken are unexpected in a way that necessarily fit.  For much of the second half I forgot we were in the future, or even an alternate reality.  This isn’t a movie you watch for spectacle or visions of another world, it’s a movie you watch for its surprisingly down-to-earth story with alternating thrills and drama.

Argo

In my original review of Argo, I mentioned that while a good piece of filmmaking, it’s not one I’d have honored with several Oscar nominations.  It seems the Academy felt surprisingly similar notions, except they got a couple things mixed up.  Give Ben Affleck the Best Director nom and possibly retract its Best Picture nomination, along with Alan Arkin, despite being one of the best parts of the film.  But I digress.  Argo had a lot to live up to in my books since I’m a huge fan of The Town.  Ben Affleck has a thing about surprising many of us, which is very welcoming.  For a film with so many characters and a rather forgiving runtime, Argo feels surprisingly whole and complete.  Outside of Victor Garber, I think everyone was sufficiently developed.  The plot is expansive in some ways, but the actual story at-hand is very focused.  Not to mention we get possibly the more intense final act of any film from 2012 in Argo, which isn’t in, how do you say, a bang-bang boom-boom kind of way.  Far from my top pick of the year, but definitely one of the most well made releases.

Skyfall

I can already hear the boos coming on this one: I’m not a James Bond fan.  The whole spy movie genre is a bit elusive to me, but I can set things aside to enjoy them if I so desire.  Daniel Craig’s first outing as 007 in Casino Royale does hold up as what you could call a good movie that just happened to be associated with James Bond.  Quantum of Solace, on the other hand, was about as solid as the T-1000 at the end of Terminator 2.  Thankfully, Skyfall brought integrity back and offered a few eye-catching surprises along the way.  This is still very much a Bond film with some hard-boiled action/thriller elements pushing their way in for the final act.  Skyfall doesn’t transcend or turn its back on its faith, which means fans of the series will still get the most out of it.

Flight

I’m trying to remember if Denzel Washington has ever given a subpar performance, much less been in a bad film.  He’s able to easily outclass the best actors Hollywood has to offer and, go figure, his only Academy Award isn’t for one of his top-notch performances.  We can now add Flight to his almost intimidating resume, in which his character goes through so much in its accurate portrayal that it could be labeled synonymous with gripping tragedy.  Without giving anything away, the ending is a bit of a buzzkill and makes what comes off as a long, hard journey abruptly hit some sort of a roundabout.  Still, even for such a good year, you’re not going find many films with a lead performances that commands and demands as much Denzel does here.

Wreck-It Ralph

I can remember seeing the trailers for Wreck-It Ralph and thinking “whatever, just get Pixar out of their slump already!”  Then the film’s style brought comparisons to Scott Pilgrim vs. the World and I suddenly grew intrigued.  Said film is among my favorites and one that I enjoy even more with subsequent viewings.  I can’t see Wreck-It Ralph achieving the same effect, but it was surprisingly fun, enjoyable and one I’d be all for seeing again and again.

Lincoln

We had quite a few Oscar bait films this year and Lincoln shamelessly abides the criteria.  If there’s any surprise we’re thrown it’s the amount of comedy, usually courtesy of Tommy Lee Jones.  Obviously an actor like Daniel Day Lewis brings the iconic personality we think of when we imagine Lincoln, though it can definitely become overbearing.  I must reiterate that this performance is literally 50% elaborate storytelling.  No, this is hardly a deal-breaker and, in the hands of Steven Spielberg, we have a nicely handled and borderline immaculate film.  The only downside is it isn’t the year’s most compelling release since it takes about as much chances as I do with the ladies.

Silving Linings Playbook

This is the movie that actually drove me to travel nearly an hour away just to see what the hype was about.  I’m a bit of a sucker for rom-com/dramedies since, when handled well, they strike me like few others.  Two hours of watching and cumulative driving later and I can easily say that it was a wait and trip well spent.  Silver Linings Playbook hits the dysfunctional character note like so few movies and the results are pure bliss.  Comedy and drama run equally high and effectively with no weak links.  Silver Linings Playbook is tough to describe and justify, but if I had to sum it up, I’d say go see the movie and experience it yourself.  Even if it doesn’t crack your top movies of the year, it’s guaranteed to be among the most entertaining and rewarding.

Life of Pi

A scene from Life of Pi showed before a screening of Prometheus and my reaction was, to quote my friend, “so confused.”  That scene was literally all I caught of the film before deciding to eventually see a 3D screening.  I always feel uneasy when thinking Ang Lee since I just can’t separate that name from 2003’s Hulk, a film that continues to leave a repugnant taste in my mouth.  But rest assured, Life of Pi is no Hulk.  Life of Pi is one of the most beautiful, fascinating, well directed and edited films of 2012, bringing an odd story to light that keeps us riveted, regardless of whatever crazy direction it might take.  One pleasant surprise is the ending, which avoids the happy Hollywood archetype but doesn’t take the slummy road either.  Simply put, Life of Pi is a wondrous piece of work and a movie I can’t wait to experience again from the moment it comes out on Blu-ray.

Killing Them Softly

I had my eye on Killing Them Softly for a few months, though shortly after I saw the summertime trailer it drifted off and became but a distant memory.  It’s fitting then, that the film itself will likely suffer the same fate as its previews.  Killing Them Softly certainly isn’t a bad film, it’s just a bit of a drag and feels too incomplete for its own good.  This is really a film that I thought was good for killing time, it’s just I wish it had been done with a better, more investible and worthwhile piece.

The Hobbit: An Unexpected Journey

The whole idea of splitting film adaptations into multiple releases is just weird.  Monetary reasons aside, it kind of defeats the point of having an adaptation in the first place.  Typically a film adaptation is used to give us the short, sweet and entertaining version of a story.  If we’re lucky, we’ll occasionally get some good twists, but it’s often just the motion picture equivalent to spark notes.  So the fact we’re getting nearly 10 hours for a book that’s less than 400 pages is really just overkill.  Now, taken in its own regards, The Hobbit: An Unexpected Journey is a conflicted and inconsistent film.  It’s tough for me to tell whether the film wants to be a comedy or fantasy drama.  Even during its most serious moments, I kept thinking “is anyone on our side going do die?”  Granted, that’s probably the way the book is, but it cut back on the sense of urgency that The Lord of the Rings had.  That, I think, is a key reason this semi-adaptation of The Hobbit falters, in spite of retaining some laughs, entertainment and occasional majesty.

Django Unchained

Tarantino is a very inconsistent director with me.  I liked but didn’t care much for Reservoir Dogs; Pulp Fiction is, as we all know, a classic; Inglourious Basterds did what I thought no Tarantino movie would do in boring me; and Kill Bill just never appealed to me, hence why I haven’t bothered with them.  While I figured I’d enjoy Django Unchained based on the trailers, I was completely unprepared for the unrivaled level of entertainment I got out of it.  If Django Unchained is simply entertaining, then Silver Linings Playbook is a snorefest.  Now, if we break the film apart there are points that can be criticized, but there’s so much fun and enjoyment to be had that any shortcomings quickly become irrelevant.  A true crowd pleaser, Django Unchained can definitely earn more than a couple wholesome theatrical viewings.

Les Miserables

And finally we have 2012’s last impression according to release date (and alphabetical order): Les Miserables.  I’ve gone on to call Les Miserables the most frustrating film of 2012 because of how much I wanted to enjoy and be soaked into its story, only to be let down at almost every corner.  Detachment, spontaneity and weariness are how I’d describe the adaptation we’re afforded, which only accomplishes the visual class of Hooper’s previous effort, The King’s Speech.  I’d want to give the film another chance down the line, but one sitting was laborious enough.

 
 

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A Look Back: 2012 in Film (Part I)

I’ve been contemplating just how and when to provide my thoughts on the films of 2012.  This is the year I saw more new releases than any other, with the current count topping 30.  I thought about doing the usual Top 10 list with a few honorable mentions, but the more I thought about it, the more I realized this has been a very comprehensive year for me.  And with pondering came the idea to make this an equally comprehensive look back.  This is why I’ll be going through 2012’s releases over the course of a three part blog.  The first part will feature the first half of the movies I saw, according to release.  The second part will cover the remaining half and the third will provide my ranking of every film, along with the movies I wanted to see but missed out on for whatever reason.  With that, let us begin my look back at the movies of 2012.

Haywire

First up on the calendar is Steven Soderbergh’s Haywire, one of the few films I actually held off on until it hit home video.  Let’s just say I’m glad I didn’t pay a penny to see this shoddy mess.  If you look up “haywire” in the dictionary, you’ll find it means “erratic” or “out of control,” which is exactly what this felt like.  Except it’s erratic in a disjointed, juvenile and amateurishly handled way, as opposed to being genuinely gripping.  The plot is cluttered, the characters aren’t worth investing in, the acting borders on atrocious and the low budget production style lends nothing to a film that, in turn, lends nothing to us.

Wanderlust

Next we have Wanderlust, a film that seemed to divide audiences with both its content and humor.  I’m open to most any style of film so long as its done right, something Wanderlust doesn’t grasp.  Like Haywire, I caught Wanderlust after its home video release, and it was a weary reminder as to why I like to trust my sagging gut.  This movie commits a huge crime that so many comedies are guilty of: lacking laughs.  Hell, forget laughs, entertainment is an even more criminal absence.  Were it not for the fact this was one of the few films of 2012 I disliked, Wanderlust would likely remain in my forgotten bin.  So bravo, Wanderlust, you achieved memorability for being that much closer to sheer atrocity.

Project X

I enjoy a good time as much as the next person, with or without drinking.  Parties can be a fun break from reality, though they seldom are.  Project X looked about as promising as that gigantic end of the semester party littered with everyone you hate from middle school.  I just knew that if I got the chance to see it, I’d utter nothing but the most disparaging remarks.  Then the film itself caught my interest and before long, my attention was sustained.  Much of the key events in Project X are genuinely eye catching which, combined with its proper amount of exposure, makes for a far more engaging watch than I ever conceived.  Now, I can’t take things out of proportion and say this was a good movie, but it was surprisingly enjoyable.  What makes it even more so is that this came out when so few films could even achieve any form of entertainment.  As such, it was the perfect break from a long, lethargic slumber.

21 Jump Street

21 Jump Street is yet another film I didn’t catch in theaters, primarily thanks to the unappealing trailers.  My gut impressions weren’t far from those for 2010’s Rise of the Planet of the Apes, which appeared dead, pointless and unconvincing.  But as you probably know, Rise was a very good film, remaining one of the greatest surprises I can recount.  In some ways, 21 Jump Street was also a pleasant surprise.  It’s definitely not on the same level as Rise, but what amazed me was that the film worked at all.  Laughs aren’t necessarily a constant, but entertainment was in sufficient supply, allowing my attention to actually go somewhere.  The film is very self-aware of its silliness, which is used to its advantage.  Is it a favorite?  Absolutely not.  Is it a good time regardless?  Very much so.

The Hunger Games

Not counting re-releases, The Hunger Games was my first theatrical viewing for 2012.  I went into this film almost completely blind, knowing only that it was similar in premise to Battle Royale.  Ultimately, it proved to be a fulfilling watch, remaining a memorable piece despite losing some of its edge after subsequent viewings.  The marketing was surprisingly well done, since very little of the actual Hunger Games were shown.  Lawrence puts on another solid performance alongside Woody Harrelson and, to my surprise, Lenny Kravitz.  We get a lot of brief looks into the depicted world, which is visionary without being self-indulgent.  This helps avoid overexposure, but I can’t help but want more, even with a nearly 2 1/2 hour runtime.  I’m actually about halfway through the first book, and have to say what I’ve read is adapted rather faithfully.  Both the book and film are solid works; neither are the top players of their respective styles, but there isn’t too much I can complain about.

Lockout

The title of this movie is Lockout.  I’d call it Guy Pearce’s One Liners.  Beforehand, I figured this would at least be a fair sci-fi romp.  Not long into the movie, I was ready to call it a night.  There’s a distinct lack of personality here, aside from how ineffective everything is.  The premise?  Tired and occasionally sporadic.  Main character?  Schwarzenegger would be proud.  Our villain?  A poorly handled maniac.  Investment?  Minimal to the very degree.  Lockout did little beyond slowly tiring and annoying me, only to become a film I’m happy to push out of memory.

The Avengers

Now we have The Avengers, the big money-maker of 2012.  There’s really no hiding the fact few films even touch The Avengers for sheer entertainment value.  The nerd and geek spectacle here is Category 7.  If nothing else, the final act warrants the price of admission alone.  Comical and awe-inducing moments run a constant, with just enough drama to remind us this isn’t merely a playful simulation.  Most will probably agree when I say this is a film you watch simply for fun at its most pristine level.  Anyone who actually doesn’t want that should stay away.  Those same people should also get their priorities straightened out.

The Dictator

Hopes for fun times ran high after The Avengers, something The Dictator couldn’t deliver enough of.  Crudely offensive and gratuitous material is what Sacha Baron Cohen is all about.  While it worked in a movie like Borat to wonderful degrees, here the comedic effects began to feel increasingly forced, leading to less and less fulfilling moments.  I can recall a considerable number of scenes from Borat, having seen it only a couple times.  The Dictator?  I’d be lucky to recollect half a dozen.  To say The Dictator was completely lacking is a harsh exaggeration, but I wouldn’t enthusiastically sit through it again.  It’s a load of heavy-handed offense, sprinkled with sparingly (but crassly) enjoyable moments.

Men in Black 3

Once again, we have a film I skipped out on seeing in theaters.  Almost nothing in Men in Black 3’s previews grabbed me, and despite not feeling so negative about the second film, I couldn’t justify spending primetime money on a stale-looking threequel.  Skip ahead one at-a-friend’s home viewing later and I’ll say it’s actually worthwhile in some regards.  The emotional arc, though debatably inconsistent, does make for a good way to help things come full circle.  Laughs are far from frequent, the villain is beyond weak and entertainment is in the so-so to relaxing range.  But our characters are colorful, usually fleshed out and when all is said and done, we could’ve certainly had a worse conclusion.

Moonrise Kingdom

The journey to Moonrise Kingdom was one ripe of frustration for yours truly.  I say this since no theater around me showed it, which mixes horribly with high anticipation.  Thankfully, by the time I did see this strange, unorthodox product, I had little to complain about.  Moonrise Kingdom definitely gets a nod for most unique feature of the year, as well as the most quirkily charming.  The ensemble cast is in terrific form, with the younger actors proving to be among the best in my entire memory.  These aren’t easy characters to play, especially considering their age, but they fit the roles wonderfully.  Even when deadpan and alarmingly stoic, you can’t help but be brought in.  Moonrise Kingdom is just like opening an odd yet colorful children’s book, one that withstands repeat readings through adolescence and into adulthood.

Snow White and the Huntsman

I have a sneaky suspicion that Snow White and the Huntsman’s relationship with me isn’t far from how everybody’s first special someone turns out.  The more I saw leading up to it, the more interested and hopeful I grew.  Then the film came out and I was left feeling…stumped.  A number of things definitely worked, namely the look and atmosphere.  Charlize Theron generally made for an effective villain, but she wasn’t as fully realized as I longed for.  Something that truly crippled the film was Snow White herself, who hardly says or does anything.  Aside from “you should know, you’re the one hunting me,” I can’t remember a single line she spoke.  Kristen Stewart isn’t a bad actress, but she isn’t up to par for silent emoting, which is an improper direction to take with Snow White’s character.  There’s a great movie here, but it’s buried underneath a slumbering mud pile which we endure for too much of the runtime.

Prometheus

Even with the likes of Bully and Zero Dark Thirty, I don’t think any film has or will top the controversy of Prometheus for some time.  Outrage has followed and literally ravaged this film from every angle.  I suppose I can consider my shield null and void when I reaffirm my praise for the film.  I’ve always been fascinated by the universe and lore of the Alien franchise from a conceptual standpoint.  The ideas and glimpses we’re afforded are always enjoyable and, if nothing else, visually interesting.  Call it a tease, bait and switch or complete and utter ploy if you must, Prometheus at least maintained my attention.  Do tired cliches of its genre(s) make their way into the current cut?  Yes.  Does the idea of waiting even longer for more answers frustrate me?  To a degree, but that’s part of the point.  A few questions are answered while more are posed, and just because we have questions doesn’t mean each will (or should) be resolved.  This is something the film poses at its very core during at least one scene, which rings true with the very beginning of the Alien plotline, as well as our own impulses as human beings.  It’s the kind of film that gets you thinking more and more the deeper you dig down, which in itself is something I personally admire.  An arbitrary compliment, perhaps, but someone or something has to ignite further discussions for us.

Rock of Ages

I once described Scott Pilgrim vs. the World as an excellent case for the legalization of select substances.  Subsequently, Rock of Ages is a film that I urge adults (of age) to see with drinks lined up for sips and shots aplenty.  Oh, and they might want to have 9-1-1 on standby.  Here we have a movie cheesy enough to make cholesterol levels spike to terminal levels.  Let’s just say it’s a miracle people weren’t diagnosed upon leaving their theater.

Brave

Two things kept me from watching Brave in theaters: audience and reception.  Disney and Pixar cater to kids, which oftentimes translate to some of the worst possible moviegoing experiences.  That and despite a generally positive recommendation, some people really picked the film apart.  It wasn’t until the end of my recent Pixar wrap-up that I decided to sit down and watch the film.  The first and most obvious part to address is that Brave looks incredible.  Several scenes and shots are convincingly life-like.  People make arguments that animation still has a ways to go before it can make a convincing case for reality.  To them I say watch Brave on Blu-ray.  For me, Brave was what you could call a tease.  The set up and setting promise something big, bold and interesting.  In a way that’s what we get, if by big we mean big to a child, bold referring to the sheer concept of the film’s catalyst, and interesting in regards to what’s suggested throughout.  The film seems to promise more than it delivers, and when there’s so much at the studio’s disposal, it comes off as underwhelming.  Now if we take the film for what it is, at face value, it’s not bad at all.  It is rather silly, I’ll admit, but if you go along with it the story can maintain your interest, providing a good dynamic between two of the characters.  To say it’s better than Cars 2 is a given, but the same can’t be said for it returning Pixar to their former glory.

Seeking a Friend for the End of the World

It seems to have become a pattern for the worst movies I experienced this year to be utterly forgettable.  If not that, then they fail to make much of an impression for much of the runtime.  Seeking a Friend for the End of the World sadly fits the latter category, since this is a film I really wanted to enjoy.  It simply never managed to grab me.  Much of what we need is in place: an impending scenario, decent character types, motivation to keep at least one of them going, moments aiming for comedic and dramatic effect, etc.  Yet none of it ever pulled me in.  Much of the movie falls on its characters who, in some ways, are different from what we typically get.  This would be great if I had a care in the soon-to-end world for them, which I didn’t.  And a film that fails to make me care fails to get more than a shrugged mention.

The Amazing Spider-Man

I’ve already mentioned that a couple films took me by surprise in 2012.  But if I had to pick one which completely exceeded my expectations and became a true favorite, it’d be The Amazing Spider-Man.  Not every promise made from the previews and trailers was kept, but at the very least we got a more grounded and realistic origin story.  Granted, this means a lot of familiar ground is covered, but the film shows it’s less the content and more the execution that matters.  The characters, especially Andrew Garfield and Emma Stone as Peter Parker and Gwen Stacy, respectively, are tough to not get behind.  Their interactions and dynamics, among others, are why I felt so gripped and transported.  Not many films get me hoping for them to go on for double their runtime (or more), but The Amazing Spider-Man achieved just this.  I don’t care if we’re seeing much of the same stuff or if our villain is less than remarkable, there’s so much more that I managed to cling to and joyously savor.  For that, it effortlessly holds up as one of my favorite movies from 2012.

The Dark Knight Rises

Now the big guns are coming out.  As of my initial viewing(s), The Dark Knight Rises stormed onto the top of my favorite movies of the year, looking down at the competition with disdain.  Here we had a re-envisioned character coming full circle in a tour de force, featuring another great villain, visual/audio marvels and strong emotional payoff throughout.  By the time I saw the film a third or fourth time, however, things began to look gloomy for what is, in itself, a gloomy movie.  The Dark Knight Rises is a tough film to get into on that level without exposing certain details, the least of which is its ending.  What I’ll leave this brief recap at is that the film remains enthralling, if inconsistent.  Scenes with a scene-commanding Bane and scene-stealing Catwoman are among the film’s best moments, while parts getting into the nitty-gritty plot are, much like The Dark Knight, less engaging.  Subsequent viewings have only made its cracks all the more apparent, which might not cripple it the way they do Bruce Wayne, but they’re not doing it any favors either.

 
 

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The Dark Knight Rises: Full, Spoiler-Free Review

Christopher Nolan’s Batman films are among the few you can get away with coming to a verdict on before even seeing.  The big reason is that, regardless of what we’re given, it’s going to be quality work.  At this point it’s, well, pointless to talk about Batman Begins and The Dark Knight since they both live up to said pedigree.  And just like the initial skepticisms for those two films, concerns are beyond cast aside in The Dark Knight Rises.

Not many films get the idea of effective marketing, but The Dark Knight Rises really has it down.  The trailers often showed similar footage and, beyond the limited release of the prologue, all we had to work with were fragments.  As such, this is less a movie to spoil and more one to discuss in limited detail.

The film is set eight years after The Dark Knight, with Gotham’s criminal activity apparently at an all-time low.  During that time, the city has thrived off of a lie which has taken its toll on those who know the truth.  Much of the film’s first half reacquaints us with just what consequences have followed, which is played off as the more immediate threat ensues.

Enter Bane, who we all know from the trailers as the man who’ll become “Gotham’s reckoning.”  In a recent behind-the-scenes video, actor Tom Hardy said “The Joker wanted to watch the world burn.  Bane’s here to pull the pin on the grenade.”  There’s really no other way to say it, as Bane is pretty much the embodiment of a Batman villain in the form of a terrorist.  It gets to the point that you almost forget this is based on a graphic novel.  That is, until one or two tiny parts creep up and remind you that nothing is quite off limits, even under Nolan’s direction.  The presence and role Bane has is infrequent but significant.  It’s just a shame that his lines are still tough to make out, despite addressing the concerns of many fans (including myself).  Eventually it comes down to actions speaking louder than words, but it’s still tough to get a first impression when much of what you hear sounds like sheer distortion, bass and accent.

The villains from the Dark Knight films have been perhaps the most memorable.  And while Bane does more than enough to leave an impression (or two), we thankfully get a bit more of our heroes a la Batman Begins.  Superb as The Dark Knight was, the film was really about the Joker; his show-stealing scenes almost took away from our actual hero.  Not so much the case here.  Christian Bale puts on his best performance as Bruce Wayne and Batman, with the rest of the main cast matching his commitment.  In fact, while we’re on that subject, Michael Caine deserves an Oscar nomination for his performance.  He has hardly three or four scenes, but those moments really count and stick with you.

It’s a good thing we have these characters to enjoy and invest ourselves in, because without them, the story would definitely cripple.  Plot points almost come off like small details at first, but quickly play bigger and even pivotal roles.  To the more indifferent viewer, these are bound to be potential problems, but to the film’s credit, it’s at least trying to take itself and its audience seriously.  If you can’t get the entire picture, you’ll at least get the gist of things.

What The Dark Knight Rises manages to be, more than anything, is an effective concoction.  For a while it brews and swells with set ups and potential before utilizing the last hour to build the intensity with more than a few gripping, boiling points.  It leaves you panting, losing breath but still wanting to be subjected.  The universe is deeply grounded with characters pulling you in while the action and tension leave you immobilized.  It’s a fine, worthy conclusion that shows it’s less about matching or outdoing its predecessors, but more about ending the series on a proper note.

 
 

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Quote Review: Inception (2010)

“You mustn’t be afraid to dream a little bigger, darling.”

The very least that can be said about Inception is that it’s one heck of a discussion spawner.  Nolan really offers us something to think and speculate, resulting in something that a less attentive viewer might not get at first, but remains fulfilling for multiple viewings.  We’re also given action sequences as they should be handled in that they’re gripping but don’t leave us wondering just what the heck is going on.  This is truly one of the best all-encompassing films you’ll find.

 
 

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Upcoming Stars Worth Looking At

Some might share my predicament in having an email on AT&T, leading an instinctual curiosity of the often embarrassing articles courtesy of Yahoo.  One that caught my eye in particular was on the upcoming, breakout stars in film this year.  For those who aren’t aware, Yahoo don’t exactly do their homework for articles; what else can explain the inclusion of Rihanna on the aforementioned list?  But there were one or two worth mentioning, such as Noomi Rapace of the Swedish Girl with the Dragon Tattoo adaptations and Prometheus.  So this got me thinking: How about the stars who are on the rise, might make a real breakout and are actually promising?  Well, let’s waste little more time and get on with it!

Tom Hardy

Let’s get the obvious culprit out of the way: Bane himself.  For some (including myself), Tom Hardy has already made a bigger splash than what other actors do for their entire career.  Sure, he’s not quite a household name, but the man is gradually working his way up the (good) Hollywood ladder.  Even without the anticipation of The Dark Knight Rises, Hardy would likely be on his way as an admirable star between staring in Warrior, Inception and the upcoming Depression-era film Lawless.  Though the British actor feels that his portrayal of Bane won’t make him a household name, I think it’ll at least open even more roles for him.  He’s already well on his way, and I can’t see his solid selections heading downhill any time soon.

Joel Edgerton

Okay, I might be giving a bit too much credit to Mr. Edgerton since most people don’t know him beyond co-staring with Hardy in Warrior.  But the man has shown talent and promise.  Some might not remember, but he played Owen Lars in two of the Star Wars prequels.  He’s also playing Tom Buchanan in the upcoming remake of The Great Gatsby alongside Leonardo DiCaprio and Tobey Maguire.  No, he might not hit it big this year, but there’s a chance he could prove to be a competent performer sometime in the future.

Tom Hiddleston

Hiddleston is already been making a bit of a name for himself despite the fact he’s only really known for being Loki.  2011 was a pretty big year him, including roles in Thor, Midnight in Paris and War Horse.  He’s also set to reprise his role as Loki in Thor 2 and is even signed up for three TV movies (the two-parter Henry IV and the title role in Henry V).  Right now most people just know him as the guy Hulk slammed around in a classic Avengers scene, but given his upcoming roster, chances are he might become one of the next go-to actors.

Michael Fassbender

Many people consider Michael Fassbender to be THE underrated star to keep an eye on.  Haywire may not have been the best of his recent selections, but between playing a young Magneto in X-Men: First Class, the lead role in Shame and, like the aforementioned Noomi Rapace, holding a role in Prometheus, the man is building some serious momentum.  Not just that, but he’s proven to be a great player in almost all of his films, earning the most praise for Shame.  Hopefully his lack of other films coming out this year won’t deter his rise.

Andrew Garfield

Among the younger-looking inclusions on this list, Andrew Garfield was, until recently, only known for playing Eduardo Saverin in The Social Network.  If people weren’t sympathizing with Eisenberg’s egocentric Zuckerberg, they were likely rooting for Garfield’s character.  And now he’s playing Peter Parker in the soon-to-be-released Spider-Man reboot, which has quickly dispelled much skepticism.  If the film manages to be a big hit (which looks very likely), then it’s guaranteed to open even more for the young, talented actor.

Cillian Murphy

When you see Cillian Murphy, you likely think of him as “that guy who’s been in half of Nolan’s recent films.”  And it’s true that, outside of playing Scarecrow and having a supporting role in Inception, there hasn’t been much to credit him with.  But this doesn’t mean he doesn’t have a shot at being another potential player in the near future.  The upcoming film Red Lights holds some promise, which features Murphy alongside Sigourney Weaver.  It might not impact the box office, but there’s potential for studios to take notice.  Also, if it means anything, Nolan actually thought of casting Murphy as Bruce Wayne in Batman Begins before being handed to Christian Bale.  If those two were in the running, then it has to be a good sign!

Jeremy Renner

It’s really surprising how Jeremy Renner still hasn’t become a household name, given his filmography and (well deserved) accolades.  He’s received two Oscar nominations, has proven to be incredible versatile between roles in The Town, The Hurt Locker and Mission: Impossible – Ghost Protocol.  He’s even taking Damon’s place in the fourth, upcoming Bourne film.  The man is very talented and is just barely into his 30’s; so why don’t more people seem to know about him?  For those who might have looked this actor over, I suggest watching the movies he’s in again and taking note: Renner has a lot of promise and is someone I think more directors would be wise in considering.

Joseph Gordon-Levitt

Of all the listed actors, this is the one that’s closest to being widely recognized.  It seems that right when 50/50 hit theaters, everyone was all ablaze about Joseph Gordon-Levitt, claiming him the next truly big actor to look out for.  Most of us know by now that he’ll be playing young cop John Blake in The Dark Knight Rises as well as a lead role in Looper.  But why stop there?  We’ll also be seeing him in the upcoming action/thriller Premium Rush and the much-anticipated Lincoln as Robert Todd Lincoln.  Sounds like our boy has his resume booked and ready for just about anything.

Carey Mulligan

What?  You thought I was going to leave the female demographic unrecognized?  Actresses like Carey Mulligan are further solidifying themselves in a crowded field, but it’s a good thing they’re around for us to enjoy.  Sure, Carey might have been part of a less-than solid piece in Wall Street: Money Never Sleeps, but with other works such as Drive, Brothers, Shame and Public Enemies, I think we can let one stinker slide.  For some reason I associate her with Michelle Williams (another young and promising actress), even though they hardly look alike.  Either way, we’re talking great talent at a young age, and things should be going uphill for Carey.

Anna Kendrick

So Carey Mulligan has the lackluster Wall Street sequel to potentially complain about.  Anna Kendrick, on the other hand, has been involved in each Twilight film to date.  How can someone featured in those films make this list?  Much like Carey, it’s her good selections and roles that got her on this list.  Between Up in the Air, an earnest performance in 50/50 and a small but fun role in Scott Pilgrim vs. the World, she’s certainly not one to simply shrug aside (like many of us foolishly did when the latter came out).  Those combined with roles in ParaNorman, The Company You Keep and the seemingly relevant 2013 film Get a Job are enough proof to convince me that she’s more than just a sweet, pretty face.

Marion Cotillard

Most of us probably recognized Marion as Cobb’s wife from Inception.  Yet what many probably don’t realize is that she won an Oscar three years earlier for the French film La vie en rose.  Some have already noted her very briefly as Miranda Tate in The Dark Knight Rises as well.  Similar to other French actress Audrey Tautou of Amelie, Marion might not become an actress of Hollywood fame (any time soon), but this shouldn’t deter people from keeping their eyes peeled for whatever else either star might be in.

 
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Posted by on June 4, 2012 in Film, Movies

 

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Quote Review: Warrior (2011)

“Spare me the compassionate father routine, Pop. The suit don’t fit.”

Warrior is the exact type of movie we need more of; aware it’s covering familiar territory and focusing on doing the story right.  This is done so effectively that new life is actually brought to its genre, thanks in large part to how the three key players keep viewers gripped and shaking with anxiety.

 
 

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