Other Notable Films of 2014

As I previously stated; 2014 was a difficult year to watch the latest and "greatest" cinema releases. The following are a few others that I felt weren't necessarily my favourites of last year, but were notable in their own little ways:

Dawn of the Planet of the Apes: A surprisingly enjoyable sequel to the surprisingly enjoyable first film of this rebooted franchise. Great performances all round and a story that’s thankfully restrained in scale but retains an essence of grandeur. 

Guardians of the Galaxy: A slick and highly energetic first outing for this band of unusual and very likeable characters. Strong performances, great visuals, plenty of action and an underlying level of humour offers something fresh in this increasingly saturated and morbid genre. The villain’s a bit of a letdown though.

Interstellar: Christopher Nolan’s latest sci-fi epic was visually stunning and sounded amazing, Matthew McConaughey’s performance. But to be brutally honest was rather mediocre. It’s a notable addition to 2014 because of the spectacle.

Killers: Don’t be fooled into expecting balls-to-the-wall, martial arts action by the “producers of The Raid” marketing ploy. This is a slick thriller with a disturbing and uncompromising story of murder, torture and revenge. While it’s final act is too outlandish, this is an visceral and thoroughly engaging film.

 

The Lego Movie: While the insufferable theme song is still engraved in my brain, this was a captivating and very funny film about toy bricks. Let me reiterate; a captivating and very funny film about toy bricks. Fantastic animation, hilarious characters and a creative script provided laughs and endless smiles from my podgy face. 

  

Man of Steel Review

I’ll admit the superhero genre is getting out of control, and I share the same views of many film critics that it’s starting to ruin the medium. I loved The Avengers and The Dark Knight Trilogy, but when I see the upcoming likes of Thor 2, The Wolverine, The Amazing Spider Man 2, Captain America 2, The Avengers 2 and a multitude of others, it’s very distressing. A new Superman film was therefore always in the works after the failure of Superman Returns and with the recent profitable nature of Batman and the various Marvel’s assets. I had no problem with that up until Zack Snyder was attached to the project. His last film Sucker Punch didn’t provide justification for why Warner Brothers or DC would hand over such an influential and important comic-book franchise over to Snyder. So, does Snyder finally find his A-Game?

The film follows the origins of Superman, the ‘Man of Steel’. Krypton is in imminent, planetary danger as its core goes haywire. Meanwhile General Zod attempts a coup on Krypton’s Council, but his failure lead him to his imprisonment. The legacy of the Krytonian race rests on Jor-El and Lara sending their son to Earth. Kal-El, A.K.A Clark Kent crash lands in Smallville where he is adopted by Jonathan and Martha Kent. Now grown up, Clark attempts to discover who he is? Who are his real parents? And what his purpose is? Meanwhile General Zod returns to threaten the human race in order to protect his own. I’ve not read many of Superman’s comics, and therefore don’t fully understand the entire story around the hero. But the entire purpose of a reboot and origin story is to educate the audience on the narrative surrounding a particular hero/villain. To be honest, if it fails to do that in an engaging and entertaining level then it's failed. Here David S. Goyer and Snyder, with guidance from Nolan, have created a film that deals with the basic mythos surrounding the character, but in a well-structured and dignified manner.

This film portrays Superman as an outsider on a planet that would dissolve into fear and panic if he were to reveal himself. Goyer’s screenplay does well to demonstrate this conflicted nature of the character and his uncertainty over his existence. The traditional distinct personas of Clark Kent and Superman are swapped for a more subtle definition of the two. Here, Clark is still finding his purpose on Earth and beginning to understand his impact on humanity, thus has remained relatively secret. This torn nature between the character is further developed through his interactions with Zod. Both have the desire to bring Krypton back from the ashes but in different manners, to the point that Superman questions his personal motives and determination. 

Henry Cavill certainly looks the part and adds a modern twist on our preconceived notions of the character. He’s not the matured and “leader/savour” of humanity, instead Goyer and Snyder write him as the extraterrestrial he is. His longing for justification and to conform into society is one that Cavill’s “subtle” performance really highlights, even with the minimal dialogue.  Amy Adams offers a solid and charming performance that thankfully doesn’t deteriorate into a typical damsel in distress. There are the beginnings of a romance between the two, but it isn’t an instantaneous reaction that often feels too forced in many films. As a matter of fact, many critics and fans have actually criticised the lack of the traditional romantic chemistry between the two. But I would be inclined to argue that it wasn’t necessary to definitively engage with this integral element within the narrative of Superman’s origins. 

Michael Shannon is genuinely threatening as General Zod. While his hairstyle is questionable, Shannon brings his own slice of madness to the proceedings. It’s over-the-top at times, but its a performance that manages to still bring some empathy towards the character and his reasoning behind his actions. Russell Crowe gets a surprising amount of screen-time, and puts it to good use. It’s obvious that he enjoyed the role and the freedom with the character, which results in some great moments between father and son. Meanwhile the likes of Kevin Costner, Antje Traue and Diane Lane offer a strong supporting cast that are integrated into the narrative and Superman’s own character development relatively well. 

Looking back at all of his films, what Snyder constantly does well is presentation. 300, Watchmen and even Sucker Punch showcased his ability to create visually attractive cinema with engaging set-pieces. Man of Steel continues Snyder’s style of film-making and thankfully brings back the grandeur and gravitas we associate with Superman. From the off, the planet of Krypton is strikingly realised, definitely showing the “alien” nature of the superhero’s background. Simple touches like the “sonic boom” whenever Superman flies away or the dust on his cape, add a lot to the actual visualisation of the character. This certainly goes a long way in the film's many action sequences.

I had some major problems with The Avengers, and one of them was the final “Battle Scene”. It lacked scale and a sense of threat for the inhabitants of New York, making it feel rather subdued. Here there’s a strong sense of power and force to each confrontation as planes get destroyed, trains get thrown and buildings collapse. The population of Metropolis crumbles after ever blow, resulting in a surprisingly high body count for a superhero film. It’s fast, manic and there's something immensely satisfying in seeing Superman punch someone through a building or grinding their faces against endless roads, which this film hates. Hans Zimmer’s score continues his strong form, with some really emotional and intense tones and tempos that complement the ensuing drama and action. My one slight problem with the film becomes clear in the last 20 minutes as the CGI and quick editing start to turn into a sensory overload that increasingly becomes drawn out. In hindsight, the final act simply diverges into a chaos of fistfights, quick exposition and irrelevant “adventures” with Daily Planet journalists. But to be fair, I'm just nitpicking at this point. 

Man of Steel is everything I wanted from a Superman film; a solid and engrossing story, interesting characters and intense action. The press haven’t been too kind to the film, and I wonder whether that’s the stigma attached to Zack Snyder’s name. Sure it’s got its problems, but like my uncontrollable love of The Raid, Man of Steel proved that if a film entertains you to the point of wanting to watch it again, then it’s a pretty successful one. The impressive feat of any comic-book film is whether it consequently gets people interested in the character, and with myself wanting to see what they do for Man of Steel II, I think that about sums up my thoughts on this one. 

8/10

RespawningCouch Podcast's Audio Review

RespawningCouch Podcast: Review: Man of Steel (Spoiler-Free)

Does Zack Snyder find form in this reboot of the superhero of all superheroes? Absolutely, and in awesome style.


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Favourite Film and TV Characters: The Dark Knight Rises’ Bane

While The Dark Knight Rises remains a film that has split the fans, Tom Hardy’s Bane has been universally met with approval. I’d go as far as arguing that he was the most notable character of 2012. From his strong physical presence to his unique voice, Bane offered a significant challenge to the Bat that was evident during his screen time. The original character of Bane is a complex one that, as with the very nature of the comic book industry, has a variety of backstories and personalities. The initial creation of the character had been for the sole purpose of breaking Batman’s back during the Knightfall storyline in the early 1990s. However the sheer popularity surrounding him resulted in the character becoming a regular villain in the Batman franchise. 

My first exposure to Bane was through Joel Schumacher’s horrendous Batman and Robin. Subsequently and understandably, the character cemented himself as a Luchadore with an terrible case of uncontrollable rage. It was only through reading Knightfall and Bane’s other comic appearances that he revealed himself to be a more engaging and profound individual. While the general populace see him as a giant brute with the capability of toppling buildings and picking up cars, there’s a tragic angle that distinguishes him from the likes of Killer Croc and Scarecrow. Surprisingly I’m not a massive fan of Knightfall, primarily because it’s rather dated. The writing and the art obviously resonates with hardcore fans of Batman, but the comic never clicked for me. This was Bane’s first appearance and while it was an intriguing one, it left more to the imagination than the series was actually capable of showing and facilitating, which inevitably was the problem of his original purpose. Nolan’s Bane, on the other hand, offered a realistic perspective that was genuinely more interesting and confounding . 

After Heath Ledger’s Joker stole the entirety of The Dark Knight, Rises was always going to have a tough time replicating the sheer impact and presence that he brought to film. The choice of Bane was undoubtably a challenge for both the film’s writers and fans to wrap their heads around. Taking a drug fuelled, “mexican wrestler” and framing him within the context of Nolan’s gritty and realistic world wasn’t an easily comprehendible notion. Yet the end result offered both a clever and physically impressive adversary that was distinctive and undoubtably inspiring. 

At the heart of my love for the character is Tom Hardy. Hardy’s performance, both physically, vocally, and especially through his eyes, was a captivating one that managed to surpass the impact of much of the film’s cast. His physique silenced some of the hardcore fans, but more importantly was the fact that he and Nolan used their freedom with the character to bring something different. This villain wasn’t simply a fully-charged brute, but like the comics he was an highly intelligent and formidable antagonist.

His voice, while criticised, has a menace and bellow that resonated throughout the film. Apparently Hardy drew inspiration from Bartley Gorman, an Irish traveller and boxer known as the “King of the Gypsies”. Other sources have linked him using the likes of Richard Burton and other British actors to formulate the voice. Either way it still remains distinctive and effective. The distorted and mechanical mix and various inflections resulted in simple chit-chat and breathing seeming a lot more threatening and fierce. Meanwhile, his appearance channels a militaristic but constricted look. The mask and the general abundance of straps showed a character restraining his descent into sheer pain-induced rage, but one that’s visually striking as he stand over a crippled Batman. The physical prowess is there through Hardy’s toned physique, and so too was the scarred mien from his tormented ordeal in “The Pit” and his past. 

But where Hardy’s performance surprisingly succeeded was the manner in which he captured Bane’s human side. Behind the “swagger” that persists through his taunts and general laid back attitude as he watches Gotham fall, there was a mysterious and emotional angle to the character. His origins and early existence are all shrouded in ambiguity, with his adoption into “The League of Shadows” and his relationship with Talia Al Ghul providing an more ardent exploration into his psyche than was previously expected. His expulsion from the League and dismissal by Ra’s Al Ghul hinted at a darker and vindictive expansion of the character that went beyond the intentions and notions the group stood for. Meanwhile the tears he sheds towards Talia proved to be an unexpectedly, fascinating divulgence that offered a touching moment showing a robust chemistry between the two. In some respects it’s pretty impressive to see a character suddenly exposed in an almost sympathetic light. And this is where Bane differed from the previous antagonists of the trilogy. While Ra’s Al Ghul and the Joker offered a constant state of unpredictability throughout the course of the films, their onscreen persona’s did little to change from the madness and panic that surrounded them. Here for this solitary scene, we’re shown the tragedy and frailties of Bane’s character. And that proved to be more intriguing then the rest of the film and his anti-climatic exit. 

I really like The Dark Knight Rises even with its flaws and problems. But Bane in particular stood out. From a great idea in concept and writing, his comic book persona caught an interesting balance within Nolan’s perspective. Bringing him back to a more “human” character with more of an emotional stake in the narrative and characters, Bane offered a distinctive looking and sounding adversary to the omnipotent Batman. Tom Hardy’s great performance managed to add something other than a physical presence, and less of the stereotypical hulk many understand the character to be. Even with the endless parodies and impersonations, Bane still remains captivating to watch and undoubtably one of my favourite film characters. 

Nick’s Thoughts On Batman Begins and The Dark Knight

The Dark Knight Rises marks the end of what might be the finest superhero trilogy of all time, but is it the best of the three? In this fan’s opinion the answer is “No”. With any trilogy the first question that usually arises is; “Which film is the best ?”. Many would say the Dark Knight, mainly due to Heath Ledger’s Oscar winning performance and the fact that it was an impressive culmination of writing and direction. Initially I too believed that the Dark Knight was the “Ultimate Superhero Movie of All Time”. However after numerous watches there are a few obvious issues that ruin an otherwise highly enjoyable and an impressive technical feat. Hence I give you my reasons for why Batman Begins remains my personal favourite. 

Begins is the under-appreciated of the three, not only critically but in terms of its financial gross. Many have dismissed it’s slow pacing and the lack of bold action set pieces when compared to The Dark Knight. Yet it’s the perfect origin story. Nolan balances his take on Batman’s dawn whilst developing the important character of Bruce Wayne. Simultaneously the film manages to emphasise Ra’s Al Ghul’s and the League of Shadows’ unfolding plot to destroy Gotham without losing focus on its primary goal as an “Origin Story”. Blending entertaining action scenes, such as the Bat mobile chase, with Wayne’s personal life, the internal friction within Wayne Enterprises, and his personal relationships with the different characters culminate in a film rich with dynamism, narrative sophistication and ambition. An ambition that’s seen in Nolan’s choice of an antagonist. 

Many were surprised by the choice of Ra’s Al Ghul as the main villain. Back then, I admit to being slightly perplexed at Nolan’s decision to tackle a previously unexplored and more “mystical” realm of the Batman Universe. Yet in hindsight it was a smart move that allowed him to bind Wayne’s adoption of the cape and cowl, with the emergence and motivation of the film’s villain without constantly interchanging between the two plot threads. This would have been difficult when using someone like the Joker who would require more focus to be shifted towards his conflict with Batman rather than the origin story arc. This a similar reason for the choice of The Scarecrow, however his character is used to bridge the Falcones’ stranglehold on Gotham to the bigger picture of the League of Shadows. Though I must confess I was slightly disappointed by his demise via a taser.        

The common phrase thrown around Nolan’s Batman is “gritty” or “dark”, The Dark Knight stirred up a lot of controversy for pushing the BBFC and CARA rating systems to their limits. Mysterious and brutality are traits of Batman and Gotham’ characters, yet a Begins added a “human” integrity to him and his fellow personalities. Whether it ‘s the quick liners from Alfred or Lucius Fox, they provided light relief from the dark, corrupt setting of Gotham and the visual hallucinations created by the Scarecrow, serving to remind us that Batman is still human. This humour is less apparent in the Dark Knight which tries to produce laughs through the Jokers’ anecdotes and actions. Many would say that humour isn’t really important in Batman films due to the dark and serious nature of the villains and setting. But we have seen recently that films that have “matured” using undertones of seriousness regularly miss the mark of the source material and original influences; i.e Quantum of Solace. 

 Another aspect that Begins gets right is the Gotham City setting which is much more true to the comics with undertones of the gothic styling that Tim Burton used in the 1989 Batman film as exemplified by the dark, gritty backstreets and slums of the “Narrows”. The film’s colour palette of oranges and browns separate it from sinking into the dark blues and blacks normally associate with modern action cinema, and in turn give the locations and surroundings an essence of character that’s missed in Knight and Rises. The Gotham City in both the Dark Knight and Rises, even though grounded, revolves too much around the cities of New York and Chicago losing the sense that Gotham City is actually a fictional place rather than based on a specific location.              

I’m not saying that The Dark Knight is awful, on the contrary as I said previously Heath Ledgers’ performance is the most outstanding within the trilogy. But that’s precisely what’s wrong with Knight, it’s a Joker film at heart. Begins’ careful and intricate development of Bruce Wayne and Batman is forgotten and replaced by the sheer presence of Ledger. While the death of Rachel Dawes and the promotion of Jim Gordon to Commissioner offer substantial changes in both narrative development and emotional threads, the film ignores the key principles of Bruce Wayne and Batman. The whole idea about Batman is that he has no super powers, bar the millions of dollars and high tech gadgets he possesses, and therefore the character Bruce Wayne undergoes many of the internal struggles and psychological fragilities as a regular human being. Batman only represents the brute that exacts fear into others, leaving all the burden to fall on Wayne tragic shoulders. It forgets this element to the point that we hardly see Bruce in Knight. Instead The Dark Knight compiles of numerous action scenes with Batman most notably the motorcycle chase and the final standoff with the Joker, which are all entertaining and good to watch but doesn’t really give us the sense that we can really relate to the character of Bruce Wayne when all we are witnessing is Batman beating the pulp out of enemies.               

Another glaring problem with The Dark Knight is its third act, especially the way the character of Harvey Dent / Two Face is handled. In previous films the character has never been truly adapted from the comics to the screen. From a brief “blink you’ll miss it” appearance in Tim Burton’s Batman, played by Billy Dee Williams, to a camp and almost laughable performance by Tommy Lee Jones in Batman Forever, Dent stands as a paramount villain within the comic book universe, yet no-one is willing to explore his tragic backstory . The problem with Nolan’s Harvey Dent is the shallowness and rushed nature of his character progression. From the build-up of Harvey Dent as the “White Knight” of Gotham and then the transformation to Two Face, Knight’s story structure leaves little room for Two Face to make an actual impression, and give a suitable conclusion to the Joker’s “scheme”. Nolan follows his predecessors by not fully delving into the tragedy that is Two Face and how his transformation puts a strain on the relationship between Jim Gordon and Batman, as well as impairing and almost causing Batman to doubt whether he can truly  save Gotham. Granted this would have taken another film to progress this specific story arc, however it just seems odd to leave out such a vital character in the DC comics and not even attempt to make a film based on him. Maybe the possible difficulty in grounding a person with half a face in reality may be one of the main reasons that Nolan didn’t continue the Harvey Dent / Two Face story arc, though it would have been nice to see a Batman film based on one of my favourite Batman graphic novels, “The Long Halloween”.      

In hindsight, the Dark Knight seems out of place within the trilogy, with the Harvey Dent Act being the only narrative continuation between it and Rises. Many would put this down to the untimely death of Heath Ledger and the belief that the final film would have continued the rivalry between the Joker and Batman. Instead Nolan comes back full-circle and firmly brings the series back to the forefront of Bruce Wayne’s fundamental motives and sensibilities. If I had to score each individual film it would probably go along the lines of a 7 for Dark Knight, 8 for Dark Knight Rises and a 9 for Batman Begins. But at the end of the day a lot of praise should go to Christopher Nolan for creating a trilogy of Batman films that many people would say greatly represents the famous comic books and deserves to have a place on our shelves. 

Nicholas Singleton

The Dark Knight Rises Review

The Dark Knight Rises 

Christopher Nolan’s Batman films have easily become the most critically applauded and financially successful of the superhero’s long catalogue of film adaptations. Grounding the characters and universe in a semi-realistic manner has brought a “rebooted” look and grasp to the capped crusader. From the camp, safety PSA-type of the Adam West television series to the gothic surealism of Tim Burton’s efforts, Batman arguable has finally found his cinematic footing in the streets of a modern Chicago under the direction of Nolan. With the sheer hype and expectation towards his last Batman film, the question was always going to be whether it would mirror or surpass the “flawless” status The Dark Knight has received. 

Set 8 years after the events of The Dark Knight, Gotham still mourns the death of its hero Harvey Dent yet prospers under his valiant legacy. In comparison Bruce Wayne has become a reclusive cripple and has hung up the cowl and cap.  Meanwhile dangerous mercenary Bane has escaped custody and threatens to eradicate the filth and corruption of Gotham through an elaborate yet destructive plan. Rises continues to showcase the prowess and complexity to the Nolan brother’s writing and direction. Pushing the scale, the Joker’s previously hinted chaos in Knight is thoroughly realised through Bane’s brutal plans. Continuing the morbid and deeply unnerving atmosphere of fear and anxiety, the film manages to convey the tumbling descent of both Gotham’s heroes and citizens. It’s an engaging and well-structured story that manages to balance various narratives courses and the introduction of a multitude of new characters. However the writing is by no means perfect with some of the dialogue falling flat, and the conveyance of time never persists from the visual changes in the seasons. The third act falters under its need to answer every question and reveal additional twists and turns without the substance and length to do so, as it did in The Dark Knight. Nevertheless, it’s a smartly written and carefully balanced story, for the most part, that constantly builds the tension and thrills culminating with an ending that’s pretty much perfect. 

The grandeur of The Dark Knight Rises is further emphasised by the superb and impressive cast Nolan has coordinated. After the introduction of Two-Face during the rather rushed and overly frantic third act of The Dark Knight and the sheer number of recognisable actors in Rises, there was certain skepticism over the overall integrity and balance of the film. Christian Bale returns to the forefront after Heath Ledger stole the show in Knight. His troubled emotional and psychological state of mind becomes paramount to both the story and his character’s own progression. Some may argue that we’ve seen this before, but Bruce Wayne’s own internal struggles and flaws present a much more interesting and integral affair than the simple actions of Batman. In comparison, as the film’s lead villain Tom Hardy’s intense performance as Bane provides a truly threatening and compelling character that has the substance and context to build from. His voice-work and the subsequent voice modulation, arguably more comprehensible than Bale’s, offers a varied personality that’s almost charming even with his intimidating appearance and crippling conviction. Anne Hathaway’s inclusion in the film as Selina Kyle, A.K.A Catwoman, had been a source of tension and while my personal attachment to the character still rather looks down on her portrayal, she does well creating a sense of chemistry with Bale. Meanwhile Joseph Gordon-Levitt’s considerable screen-time shows his capabilities and growing ability onscreen. While his character Officer Blake may seem too perfect in front of Gotham’s decaying backdrop, Levitt has an interesting depth that holds its ground amongst a strong cast that each manages to leave an impression. 

The cinematography continues the greys and dark tones we’ve come to expect from a Batman film. Changes in locations and scenery add a few more colours to the monotone palette, while Batman’s traditional fondness for the darkness is swept away by the questionable over-use of daylight. Cinematographer Walter Pfister continues the slick and gritty visual style of the previous films with some gorgeous shots of the desolate streets of a snowy Gotham or the verticality of the Pit. Yet Rises’ 12A or PG-13 rating have obviously lead to the cutting down of violence, which quite evidently hurts the film’s editing and subsequent flow. Cut-aways seem out-of-place and the sound design rather whimpers at idea of making Bane’s “handiwork” seem a bit more brutal and ferocious. Labelled an “action film” by many, Nolan reaches Michael Bay proportions with missiles and explosions destroying cars and buildings. It’s an abrupt shift from the styles, subtly and vision of the original comic material. However Rises’s set-pieces are intense and impactful. Batman’s sewer fight with Bane in particular is a stunning exchange of fists and dynamic camerawork. Meanwhile Hans Zimmer offer’s a very familiar and tense soundtrack that continues to uses the deep notes and constant drum beat of his recent work. 

In the end The Dark Knight Rises is a highly enjoyable and solid conclusion to a truly remarkable trilogy. Is it the best of the three? No, but while I still believe Batman Begins captured the quintessence of the characters, setting and feel, Rises maintains the high standard we’ve come to expect from Nolan’s films. The story and dialogue have a few minor hitches, and holes can be poked at the third act’s revelations, but the performances are fantastic and the general direction culminates in a stunningly engaging and satisfying ending. 

8/10