My Thoughts on Batman Vs Superman: Dawn of Justice

The superhero genre continued its dominance of the box office in 2016. The year saw the likes of Captain America: Civil War, Deadpool and Doctor Strange. But there was one film that I was really looking forward to; Batman Vs Superman: Dawn of Justice. And while the film became the talking point for many cinema-goers and comic book fans, I don’t think it was for the reasons Warner Bros. Pictures and DC were hoping for. I personally wasn’t too thrilled that they had chosen to skip a sincerely needed sequel to Man of Steel in favour of making their own version of The Avengers. Yet while I understand and share the common complaints and criticisms that many had, I still found a significant amount of enjoyment from watching it. 

My early skepticism about the film’s narrative and the studio’s eagerness to please its audience came to fruition in a film with an unnecessarily contrived and cluttered plot. With the sole precursor to Snyder’s “DC Universe” being an origin story for Superman, the task of establishing an entire franchise in 151 minutes and with little setup was a disaster waiting to happen. I’d argue that a considerable amount of the narrative issues could have been alleviated by a Man of Steel 2. The iconic question “Does the world really need Superman?”, the notion of him being the last Kryptonian, the “complex” character and motivations of Lex Luthor, and the existence of other superheroes could have been addressed in a story told immediately after the destruction of Metropolis and General Zod’s death. This would have suitably set the framework for a future confrontation with Batman and the eventual formation of the Justice League.

I particularly hated Jesse Eisenberg’s turn as Lex Luthor which was a completely dreadful and unnecessary attempt to reinvent the quintessential villain. And it hurts even more knowing that he is now a permanent part of this franchise. Elsewhere, the previously strong approach to Louis Lane’s character in Man of Steel was squandered by her reduction to the damsel in distress role yet again. Put simply, Batman Vs Superman suffers from a monumentally shoddy approach to its writing.

So what did I actually like about the film? First, I love the look of the film. I’ve stated numerous times that while Zack Snyder’s filmography is a hodgepodge of quality, his understanding of the visual side of film is pretty good. From Superman standing in front the US Capitol building to Bruce Wayne’s apocalyptic nightmare, Batman Vs Superman feels and looks very much like the pages of a comic book. Meanwhile the titular fight, though brief and enhanced with digital effects, manages to capture the weight of these two titans being thrown around. It’s simply a joy to watch. 

Second, Ben Affleck as Bruce Wayne/ Batman was undoubtably the best part of the entire film. I can even excuse Synder’s vision of the capped crusader as a cold-blooded murderer, unlike many. This version of Bruce Wayne is weathered, spent and bleak, which is perfectly shown in his tense exchanges with Alfred. The entire warehouse scene in particular, vigorously displayed a new approach to the iconic character that was brutish and terrifying. I’m really looking forward to seeing more of Batfleck, especially with in the eventual standalone film. I also thought Gal Gadot’s Wonder Woman offered a pretty stellar performance in her limited screen time.

In the end, Warner Bros. Pictures’ haste to achieve the same dominance as Marvel backfired and the studio is reeling from it. I don’t think there’s a conspiracy against the studio or DC, but I feel that in the wake of Marvel’s success, comparisons are inevitably going to be drawn between the two. And on that basis, Warner and DC are going to struggle to compete. Wonder Woman is on the horizon and so too is the Justice League, and if those fail to turn heads, then I’m afraid that we'll likely see a revamping of the franchise yet again in the near future. 

RespawningCouch Podcast: Game Review: Batman Arkham Origins

This week, Nick and Jack give their thoughts on the third instalment of the "Arkham" franchise. Does this build on the stellar nature of the previous two? Or is it suffering from a lack of innovation? 

Things A "Movie Lover" Collects: Statues/ Figures

A very recent and expensive voyage I’ve taken has been into the world of overly priced and highly addictive action figures and statues. Namely Hot Toys and Sideshow, my unfortunate obsession with the Marvel Femme Fatale ‘Black Widow’ and the LiveForFilm website brought them to my attention after their Avengers line had been announced. Hot Toys, a Hong Kong based company, specialises in 1/6th and 1/4th representations of iconic and recent film characters. Acquiring film licences such as The Dark Knight, Predator and The Avengers, the end result has been a stream of specularly recreated figures that are simply works of art. From the headsculpts and costumes to the buckles on their footwear, Hot Toys’ artists/ craftsmen spend an incredible amount of time and effort to implement these intricate details and screen accuracies: 

 

On the other hand Sideshow, an American distributor of Hot Toys, has also made a name for itself through their foray into 1/4 scale statues. Similarly attaining licences from Iron Man, Star Wars and actual comic books, they have produced an impressive breadth of highly detailed and well crafted representations. With prices ranging from £200-500, my collection only comprises of Black Widow from Iron Man 2, obviously:

I myself had always had an apprehensive train of thought towards the idea of collecting statues and figures. Back in the good old days Star Wars was the craze with the re-releases in the cinemas. Naturally my brother and I collected the figures, sets and ships that are all currently presiding in the attic. Gundam Wing and Totoro Plushes increased with my exposure to my Japanese roots, but the thought of spending £155 on a “toy” never crossed my mind. But are they worth it? Some people collect these things as an “investment”, and while I stand to make a tidy sum if I were to sell them, to me their simply works of art created by fans and enthusiasts of films and cinema. I love the characters and, for the most part, the films. While the likes of Sucker Punch and The Spirit were absolutely terrible, their costume designs and visual look always appealed.  A larger percentage of my collection surrounds The Avengers, primarily because of their creative and unique designs. Whether it’s Captain America’s iconic red/white/blue design, to Iron Man’s impressive stature, there’s a joy in gazing upon each figure and changing their poses. 

In a cynical light, the hobby could be labelled as glorified ‘doll collecting’, but after spending a lot and time staring/ displaying them, I can’t help but appreciate these as a near-perfect, artistic and physical representations of beloved film characters. Like the rise of vinyl toys, these optimise the new pop-cultural nature of "art" in general. Mind you, my wallet is crying. 

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

RespawningCouch Podcast: Episode 23: Best of 2012 So Far, Skyfall Trailer and Olympic Games Opening Ceremony Thoughts

This week: Jack and Nick discuss their favourites of 2012 so far. Then give their thoughts on the new 007 Skyfall Trailer, as well as a heated assessment of Danny Boyle's Olympic Ceremony. (Sorry about the volume issues)

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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 

Entertainingly Bad: Batman and Robin

Batman and Robin 

In my opinion, Adam West is Batman. Forget Bale, Keaton, and Kilmer, West is the man. From the infamous cheesy dialogue to the incredible fight scenes, my first ever experience of Batman was the 70s version from Batman: The Movie, on VHS. I was never able to see Tim Burton’s interpretation of Batman during my childhood, due to their ‘dark’ nature and my age. Therefore, my first cinema experience of Batman was Joel Schumacher’s film, Batman Forever. When comparing it to Nolan’s interpretation of Batman, Batman Forever is bad, but I still find it entertaining and quirky, due to its place in my childhood. However Schumacher’s sequel Batman and Robin is a different story. It tainted my whole perception of Batman as a superhero until Batman Begins. It was bad, but now looking back at it as a ‘film lover’, I have to admit that it is a guilty pleasure.

Here is my breakdown:

The Story: The dynamic duo, Batman (George Clooney) and Robin (Chris O’Donnell) attempt to stop Mr. Freeze (Arnold Schwarzenegger) and Poison Ivy (Uma Thurman) from taking over Gotham......then the world!!! Simple really. 

The Star:  Arnold Schwarzenegger: From his hilariously, unthreatening costume with glitter body paint, to his infamous dialogue which consists only of puns, what is there not to laugh at. With lines such as: ‘What killed the dinosaurs?.... The Ice Age!’ or ‘Ice to meet you’, you can’t help but just giggle. Schwarzenegger’s career is priceless. From killing millions of bad guys and the Devil (yeah believe it or not: End of Days), to being pregnant (Junior), his acting career is ‘brilliant’. Yet, it’s his deliver that is his trademark. The heavy Austrian accent, gives charm to his roles. From the ‘serious’ acting in Conan to the ‘comedic’ nature of Junior, it all creates a uniqueness to Arnold. And in Batman and Robin, its no different. Just epic, take a bow!!! 

Worst Actor (Bad and not funny): George Clooney: Precisely the reason he isn’t in my list of ‘Batmen’. God, why did they cast him as Batman?. He brings nothing but dullness to the characters of Bruce Wayne and Batman. Clooney just came across as being out of place. His deliver of the dreadful script was boring and uninspiring, he seemed to moan though his lines in a mono-toned manner. Just terrible. 

Worst Actress: Alicia Silverstone: Not only is she playing Batgirl , who I always thought was a useless character. Batgirl just seemed like a character that was implemented only to connect with the female demographic (if there was one). But was also there to bring another female character into the comics for geeks to drool over, along side Catwomen (ehhhh...right). She just seemed like a joke, and consequently took away the serious tragedy and pain that we felt for Bruce Wayne and Batman, in the comics. Now, in Batman and Robin, she really doesn’t add anything to the plot and the film in general. Batgirl only appears three quarters into the film, and then she does nothing ,except pose. One thing that really pissed me off with Alicia Silverstone's performance was her 'English Accent', as she is the niece of Alfred. Try and identify which part of the UK she is from. Its no British accent I’ve heard of!

Best Line: There are too many: Here are a few: 

Cop: ‘Please show some mercy!’

Mr Freeze: ‘Mercy? I’m afraid my condition has left me cold to your pleas of mercy’ 

Mr Freeze: ‘Tonight, hell freezes over!’

Mr Freeze: ‘If revenge is a dish best served cold, then put on your Sunday finest. It’s time to feast!’ 

As you can see, all of them are from Schwarzenegger’s performance. But that’s why they’re great. His stern deliver, just makes the dialogue fantastically hilarious. I bet you that after you watch it, you’ll be quoting his lines endlessly. 

Worst Line: The First Bloody Lines: 

Robin: ‘I want a car. Chicks dig the car’

Batman: ‘That’s why Superman works alone’

A good opening to a film is one of the most important aspects of a film. From the opening, you need to convey the surroundings, the nature of the film and the characters. Batman and Robin got it terribly wrong. Not only showing costumes that had Bat Nipples and asses, but opening on an awful line. Obviously a reference to the DC Universe, but was it necessary? No! Was it funny? No! SO WHAT WAS THE POINT OF IT! 

This piece of dialogue is also a great summary of Robin’s dialogue. For the vast majority of the film, he is complaining about how Batman is better, how he should have saved the day, how he should get the girl...... etc. And it’s terrible. Its like a whiny child who wants constant attention from his parents, and keeps crying and whining. They should have brought back Burt Ward!  

Best Prop: BAT CREDIT CARD: The Nostalgia Critic’s rant about this particular item is hilarious, go watch his review. The technicalities of this prop in relation to BATMAN, are fascinating. Just think about it: You have to give various personal details including: NAME, ADDRESS , PHONE NUMBER, SOCIAL SECURITY NUMBERS, and would need to show some sort of I.D (PASSPORT OR DRIVING LICENCE) etc. 

Bank Account Details:

Name	Batman
Address	Bat Cave,  Underneath Wayne Manor,  Gotham
Profession	Superhero
Phone Number	The Bat Signal?
Signature	Bruce Wa....... I mean BATMAN

Plus, why would Batman ever need money when fighting a bad guy. And why does Batman need a credit card? Bruce Wayne is a rich businessman worth millions, why would he need to borrow money?

Conclusion 

Batman and Robin, is just terrible. There isn’t a good thing about it. The dialogue is terrible, the action scenes are more camp than the 70s version (seriously) and it has GEORGE CLOONEY as Batman, what more is there to add. But, whilst in a critical perception Batman and Robin is terrible, just watching it is hilarious. All you can do is laugh. I suggest watching again with a bunch of mate, crate of beers at the end of a week. Maybe create a ‘Batman and Robin Drinking Game’, there's enough there to play with.