by Steve Habrat
As if Batman & Robin didn’t do enough damage to the Batman name, Warner Bros. and DC Comics then came up with 2004’s Catwoman, a film so bad it left the Batman legacy in ashes. Even though the Dark Knight isn’t anywhere to be found in Catwoman, the fact that this character stems from his universe does enough damage. Directed like a miniseries for MTV and set to music that sounds like it was lifted from a perfume commercial, Catwoman is under the impression that it is a sleek and sexy thrill ride that will drive the ladies wild on girls night out. No matter how many sexy actors and actresses director Pitof (yes, that is the name he goes by) throws into the mix, nothing about the film is sexy. Furthermore, Catwoman attempts to be a lioness roar of female empowerment, one that howls at the thought of aging but declares war on the evil cosmetic companies that promote everlasting youth. Confused yet? With a terrible story and some of the worst dialogue you are likely to hear in a movie, Catwoman tosses the comic book character’s origin story in a box of kitty litter and then proceeds to defecate all over it. It does all of this while wearing the most laughable superhero getup you can think of and battling what has to be the lamest villain ever thought up by Hollywood. Does it make sense why I was ashamed to admit I was a Batman fan for so long?
Catwoman introduces us to Seline Ky… Patience Phillips (Played by Halle Berry), a geeky graphic designer who works for a cosmetics company called Hedare Beauty, which is developing a new skin cream called Beau-Line. Beau-Line is supposed to help preserve youth but the side effects are extremely dangerous. One evening, Patience stumbles into the Hedare laboratory where she overhears her boss, George Hedare (Played by Lambert Wilson), and his wife, Laurel Hedare (Played by Sharon Stone), discussing the horrific side effects. Patience is quickly discovered and George orders his goons to kill her. She tries to escape through a conduit pipe but George’s goons have it sealed and flushed out. Patience’s body washes up on a nearby island where a mysterious cat named Midnight finds her and breathes new life into Patience. Armed with new cat-like abilities and crazy skills with a whip, Patience dons a silly leather outfit and takes to the city rooftops as Catwoman. After she commits a robbery, the persistent Detective Tom Lone (Played by Benjamin Bratt) is on Catwoman’s tail, but the two end up locked in a steamy romance. Catwoman also begins setting her sights on the people who were responsible for trying to kill her and exposing the dirty little secrets of Hedare Beauty while she is at it.
While the first half of Catwoman drones on and on about how much of a plain-Jane Patience is, the second half of the film spits out a unconvincing sex kitten that struts along the rooftops of a CGI city (Gotham City?) like she is working a catwalk. She throws her hips around in an unintentionally hilarious costume that is completely absurd, especially when she begins hoping around in a fight scene. Catwoman herself seems to lack a real motive or direction as she prowls the streets at night. She slinks around robbing jewelry stores and when she gets bored, she slips over to the Hedare laboratory to pick off one of George’s goons. Berry tries desperately to own the role while giving it plenty of sassy attitude that would make all the other actresses that have donned the cat-ears double over in laughter. She never once becomes a true threat to the bad guys here, but that may be because every time a fight breaks out, Berry is replaced with a CGI double that jumps around like Spider-Man. If she isn’t making you groan during a fight scene, her origin most certainly will. What makes it even worse is that Pitof tries to sell this outlandish rebirth angle with a straight face.
Then we have Sharon Stone as Laurel Hedare, an aging beauty queen who is addicted to Beau-Line. This addiction has made her skin as tough as concrete and allowed her to feel no pain (I wish I was making this up). She bitches and moans about how she was once the beautiful face of Hedare and now a younger, prettier model is replacing her. Laurel becomes truly evil due to her husband’s infidelity and she ends up murdering him, something that she frames Catwoman for. While the source of Laurel’s rage is clear, it just comes off as idiotic and evil for the sake of being evil. We then learn that Laurel plans to unleash Beau-Line on the public yet she is angry because younger girls are replacing her. Riiiight. Also in the mix is Benjamin Bratt as Detective Tom Lone, who suspects that Patience is Catwoman. Berry and Bratt have little to no chemistry and each meeting they have just screams scripted. Just wait for the scene when they play basketball together and Berry begins jumping around like, well, Catwoman. It never occurs to Bratt that something is up when she begins pulling off moves like she does! Come on! We also have Lambert Wilson’s smug and arrogant George, who is about as intimidating as a mouse. It is okay if you forget he was ever at this fashion show.
When Catwoman isn’t limping by on its poor excuse for a plot, the film is busy trying to wake us up with one overdone fight scene after another. Pitof was the visual effects supervisor of Alien Resurrection and he just can’t seem to resist piling on needless effects here, all of which look rubbery and done on a laptop. It is even worse when he insists on multiple overhead shots of this unknown metropolis, all of which boast absolutely awful CGI to match the fight scenes. Catwoman is anxious to send a message of female empowerment and assure its female viewers that you are beautiful just the way they are, yet the hero struts around in a bra and leather pants with tons of make-up caked on her face and not an ounce of body fat. I’m starting to think that the screenwriters did think that aspect though too well. No matter how low your expectations are going in to Catwoman, they just simply aren’t low enough. A tissue paper thin origin story mixed with forced girl talk, awful performances, sloppy romance, terrible music, and stuck up villains, Catwoman is perhaps one of the worst comic book movies ever conceived. It is a film with little respect for its source material and for the fans of the source. A real hairball!
Catwoman is available on Blu-ray and DVD.
Video review of the new Batman film The Dark Knight Rises. This was a tough film to discuss due to content that many may label as spoilers. I really tried to avoid revealing anything that will ruin the experience so please do not judge the video too harshly. Also, my heart goes out to the victims of the shooting in Colorado. It is a shame that someone had to ruin something that was meant to be fun and exciting. My deepest sympathies are with the families of the victims.
by Steve Habrat
After seeing 2005’s Batman Begins, I was convinced that director Christopher Nolan would be unable to top what he did in the arresting stage setter. The impossible was proved very possible when Nolan unleashed his darkest vision yet in 2008. The Dark Knight was a white-hot comic book thriller that blazed across the movie screen with such power, it was almost sublime. With The Dark Knight, Nolan not only raised the bar for any comic book film to come in its wake, but he also unleashed the late Heath Ledger’s Joker, a brilliant and demented demon of a villain that was the truest portrayal of the Clown Prince of Crime yet. The film was labeled a must-see for Ledger’s performance alone, many forgetting to even concentrate on the blistering story that left audience members traumatized by the end of the film. Nolan weaves a spellbinding crime epic that steamrolls the viewer with its constant twists and turns throughout its epic runtime of two and a half hours. And the real beauty of all of this? The film is a massively bleak superhero movie that doesn’t find our hero triumphing over the evil thrown his way. It was such a bold move on Nolan’s part and handled with such subtlety that many may have missed the fact that Batman didn’t walk away the victor.
For the three people out there who haven’t seen The Dark Knight, here is brief rundown of the overall plot. Set shortly after the events of Batman Begins, Batman (Played by Christian Bale) and Lieutenant Jim Gordon (Played by Gary Oldman) have the scum of Gotham City shaking in their boots. There also happens to be a new D.A. in town by the name of Harvey Dent (Played by Aaron Eckhart), who is anxious to join Batman and Gordon’s war on crime. Running out of options, the mob finds themselves approached by The Joker (Played by Heath Ledger), a sadistic killer in clown make-up who guarantees the jumpy thugs that he can flush Batman out of the shadows and kill him. The mob reluctantly agrees to accept his offer but they soon learn the error of their ways when the Joker is let loose on the streets of Gotham. As the body count rises, the Joker demands that Batman take off his mask and show the world who he really is. Refusing to give in to the demands of the unhinged terrorist, Bruce Wayne approaches Wayne Enterprises CEO Lucius Fox (Played by Morgan Freeman) to provide him a slew of new gadgets that will help him battle the Joker. With the Joker refusing to give in and growing more powerful with each passing second, Batman realizes that the only way to stop this scarred madman is to break his one rule and kill the Joker.
When it was announced that Heath Ledger would be playing the Joker, the news was met with mixed opinions. Many were intrigued, but they didn’t feel the actor would be able to topple the work that Jack Nicholson did in 1989. Others were downright horrified that this pretty boy actor would be tackling one of the most iconic villains of all time. I definitely fell into the first group until I saw a few leaked photos of the late actor with his face smeared with some of the most ghoulish make-up imaginable. It looked absolutely perfect to the point that I didn’t even care if his skin wasn’t permawhite. That was the LAST thing on my mind. Then I saw the first trailer and I was instantly sold. Ledger gives such a detailed performance that it almost takes a few viewings to really catch all the small details. His performance takes hold in his eyes, which appear to be black with evil. He smoothes back his greasy locks of grown out green hair while he consistently sucks at the bubbly scars that contort his mouth into a horrific smile. When he speaks, every word he snarls sounds like he is mocking the person he is speaking to and he always has a come back. He is an unpredictable force that really grabs you by the shorthairs.
While Ledger steals the show, Bale once again really delivers something special. He slips back into Bruce Wayne with ease while Nolan encourages him to really expand his character. Here we really see Bruce’s mixed emotions about the Batsuit and the toll it is taking both physically and mentally. His physical body looks shredded, bruised, battered, and bloody. He sleeps through meetings at Wayne Enterprises and groans while putting a dress shirt on as he explains to Alfred that Batman has no limits. When the Joker emerges on the scene, things really get brutal for Bruce, especially when the Joker begins claiming lives of those who are close with Bruce. The control that Ra’s Al Ghul taught him in the previous film begins to slide wildly off the rails. Just wait until the Batman interrogates the Joker in one of The Dark Knight’s most intense sequences. The only thing keeping Bruce on the right track is Alfred (Played by Michael Caine), who once again acts as the fatherly voice of reason. He continues to push Bruce, even when things go from bad to absolutely awful. It is the small moments between Alfred and Bruce that cut the deepest.
Then we have Eckhart’s Harvey Dent, who is always unfairly overlooked when anyone talks about The Dark Knight. The emotional decay that consumed Harvey over the course of The Dark Knight is absolutely hypnotic. He starts out as such a stand-up guy and it is easy to like him. He keeps his square jaw held high in the air, even as one mobster after another takes shots at him. His slip into evil is perhaps the most heartbreaking aspect of this entire film. Maggie Gyllenhaal steps in for Katie Holmes as the love of Bruce and Harvey’s life, Rachel Dawes. Gyllenhaal is a much stronger actress and Nolan continues to ease her around the clichéd damsel in distress. She gets a terrifying stare down with the Joker that finds him strutting up to her, sticking a knife against her cheek, and whispering, “Wanna know how I got these scars?” Oldman does more outstanding work as Gordon, the last good cop in Gotham City who is forced to turn on his ally over the course of The Dark Knight. This time around, he is filled with even more desperation and grit to try to turn the city around. Rounding out the all-star cast is Morgan Freeman’s Lucius Fox, who is forced to join Batman’s unending battle with the Joker. He is another character who begins to question his relationship with Bruce/Batman, but he is also faced with the same task as Alfred—keeping Bruce in the fight.
The Dark Knight is loaded with enough earth shaking action that will blow your mind. There is a somersaulting semi here and stomach churning mass evacuation of Gotham there. The set pieces are bigger, all due to the stunning use of IMAX cameras that filmed multiple action scenes. The stage is set with an edge-of-your-seat bank robbery that still manages to floor the viewer, even if they have seen it multiple times. The Dark Knight also manages to be smarter than its predecessor, really going heavy with the cracked reflection of our post 9/11 world. It asks moral questions about fighting terrorism, touching on surveillance and torture. What lengths should we go to dealing with terrorism? The Joker also becomes a purple-suited reflection of Osama bin Laden, a horrifying force that suddenly pops up to wreck havoc, leaving twisted wreckage in his wake as he giggles over other’s pain. This reflection really becomes obvious when the Joker begins making threats to keep Gotham City gripped in chaos. Nolan is also interested in ideas of an unstoppable force meeting an immovable object. “You and I are destined to do this forever,” says the Joker to Batman. He means it too. The Dark Knight manages to be the defining film of the Bush era and a shaky snapshot of our paranoid times. Smarter, darker, and downright unforgettable, this is Nolan’s masterpiece, a film with an art house approach and a blockbuster scale. The Dark Knight proves that superhero films can be high art and can have profound things to say about society. This is, was, and ever shall be a game changer of a movie.
The Dark Knight is available on Blu-ray and DVD.
by Steve Habrat
After Joel Schumacher and the money hungry Warner Bros. put the final bullet in the Batman franchise in 1997, the character lay dormant for many years at the studio, sitting on the shelf collecting dust. Every so often, rumors would emerge that the studio was trying to get a Batman project off the ground but you knew nothing would come of any of these rumors. There were also whispers of a Batman/Superman mash-up but that was also unlikely due to how long Superman had been sitting on the bench. Plus, if you even mentioned Batman in a normal conversation, it was followed up by laughs and eye rolling. Then the news came that upcoming filmmaker Christopher Nolan, the director of solid but small thrillers like Memento and Insomnia, was planning to reboot the Batman franchise and take it back to its darker roots. This was glorious news to anyone who was a Batman fan. In 2005, the world was graced with Batman Begins, a darker, meaner, and deadly serious adaptation of the Dark Knight that stayed furiously true to the DC comic book origins of the character. Audiences were a bit hesitant to flock to the film at first but as positive word of mouth leaked out, Batman Begins slowly became a big hit. It was a hit that made up for the Batman & Robin atrocity while also proving to both mainstream audiences and Batfans that there is still plenty of life (and brains) in this masked vigilante. It was untapped potential that the world would be starving for, they just didn’t know it yet.
In the wake of the death of his parents, millionaire playboy Bruce Wayne (Played by Christian Bale) travels the world to study the behavior of criminals. He is soon detained in Asia where he meets the mysterious Henri Ducard (Played by Liam Neeson), who works for a shadowy organization called the League of Shadows. Ducard promises to train Bruce in ways of battling crime and if he can make it through the grueling training, he can join the League of Shadows, which is led by the equally peculiar Ra’s Al Ghul (Played by Ken Watanabe). Bruce makes it through his training but as he discovers the sinister true intentions of Ra’s Al Ghul and the League of Shadows, he escapes and heads back to Gotham City, where he is reunited with his faithful butler Alfred Pennyworth (Played by Michael Caine). Once he lands in Gotham, Bruce reveals to Alfred his master plan for saving Gotham City, which is gripped by organized crime and corruption. Bruce also tries to work his way back into the family company, Wayne Enterprises, which is slowly deteriorating at the hands of slippery CEO William Earle (Played by Rutger Hauer). Once back at Wayne Enterprises, Bruce meets longtime family friend Lucius Fox (Played by Morgan Freeman), who shows Bruce a number of prototype weapons that were shelved by Wayne Enterprises. With access to a slew of nifty gadgets and Alfred and Lucius on his side, Bruce puts together his alter ego that he plans to use to strike fear in the criminals of Gotham City. He also begins trying to form an alliance with Sergeant Jim Gordon (Played by Gary Oldman), the last good cop in Gotham City who hasn’t given in to corruption. With all the pieces in place, Bruce hits the streets as the masked vigilante Batman and his war on injustice begins.
Throughout the two hour and twenty minute runtime of Batman Begins, director Nolan breathlessly explains all angles of Bruce’s transformation into Batman. Both Tim Burton and Joel Schumacher failed to ever really explain where Bruce was getting all these snazzy vehicles and these high-tech weapons to battle the evildoers of Gotham City, which was always a bit frustrating to me. Furthermore, how did he ever get so good at being stealthy and how did he get so powerful in a fistfight? Nolan covers all of that and more, which was incredibly exciting as a fan of Batman. We also get a psychological look at Bruce Wayne, who is consumed and driven by fear and anger, emotions that he is taught to control. He blames himself for the death of his parents, angry that he got scared in the theater that fateful evening. Fear is ultimately the theme of Batman Begins, with Bruce’s father Thomas (Played by Linus Roache) explaining, “all creatures feel fear”, wise words that would lead Bruce to create Batman. Nolan uses this theme of fear to reflect our post 9/11 world, where American citizens are gripped by the fear of terrorism and attacks by rebel organizations that lurk in the shadows. He goes on to reinforce the idea that fear can be one of the most powerful weapons on the face of the earth, more powerful than bullets, bombs, fists, or roundhouse kicks. Entire cities can collapse through mass panic, a heady idea for a summer blockbuster.
With the psychology and reflection of a world gripped by fear firmly in place, Batman Begins can focus on the performances, particularly Bale’s Bruce Wayne. For the first time, a Batman film actually puts the most emphasis on our conflicted hero, who grapples with his identity once he pulls the cowl over his face and begins his never-ending battle. Bale is a whirlwind of emotions from the first time he is on the screen. He suffers from nightmares of a traumatic childhood event that sparked his fear of bats. We see him consumed by vengeance and anger as he contemplates assassinating Joe Chill (Played by Richard Brake), the man responsible for the murder of his parents. He coldly shuts out the affection of Alfred, who desperately tries to reach him before he disappears on his quest to study criminals. His metamorphosis under Ducard is equally gripping as Bruce learns to control his emotions, a discipline that paves the way for the awakening of Batman. This exploration of the character goes on for slightly over an hour before Bruce finally unleashes his alter ego on Gotham City but you will never once find yourself clamoring for the Dark Knight to finally emerge from the shadows. Nolan said that he wanted us to really care for the man behind the mask and he absolutely meant it. Once Bruce becomes Batman, he also has to become the reckless playboy for the paparazzi, a third side to a character that already has two interesting faces. With the reckless playboy, Bale really gets to let loose and have some fun, but the pain and longing creeps in.
Then we have the supporting players who compliment Bale quite nicely. The second best here is Michael Caine’s Alfred, who has looked after Bruce ever since they buried Thomas and Martha Wayne. He is an authority figure, coming down on Bruce after he witnesses a destructive chase between Batman and Gotham police department. We also have Lucius Fox, a gentle “Q” who looks the other way when Bruce asks him to show him the Tumbler, a heavily armored tank prototype that becomes the Batmobile. The best exchanges in the film are between Bruce, Alfred, and Lucius. Gary Oldman’s Sergeant Gordon also gets the proper attention that his character deserves, which was a huge relief for Batfans disappointed with the way Pat Hingle’s Gordon was handled in the previous films. Oldman really gives a reserved performance that ranks as one of my favorite in Batman Begins. The love interest here is Rachel Dawes (Played by Katie Holmes), who has caught quite a bit of criticism for her performance here but I fail to see where she is so bad. She only becomes the damsel in distress one time throughout the film, a strong gal who holds her own when one of the film’s main villains bears down on her. The bad guys here are Dr. Jonathan Crane/The Scarecrow (Played by Cillian Murphy), mob boss Carmine Falcone (Played by Tom Wilkinson), and a figure from Bruce’s past that I won’t reveal here if you have never seen the film. Murphy’s Scarecrow is a real weasel of a villain, one who really uses fear to manipulate and intimidate. Wilkinson’s Falcone is a nod to Batman’s first appearance in Detective Comics #27, a snarling mob boss who controls the law in Gotham. There is also the superb Liam Neeson as Ducard, a father-figure mentor who hides a devastating secret that will rock Bruce’s world.
Batman Begins is heavy on the human drama and the raw emotions but it also delivers plenty of thrilling action to satisfy the summer movie crowd hungry for explosions. An extended car chase will get the adrenaline flowing and a massive prison break that unleashes hundreds of psychos into the streets of Gotham will have you holding your breath. There are plenty of twists and turns in Batman Begins that will keep you guessing about certain characters, with a slow build plot of destruction that will make the hair on the back of your neck stand at attention. The film is relentlessly dark, disturbing, and violent, with plenty that will terrify the children who will want to see it. Batman Begins does come with a few flaws, mostly in the way that Nolan cuts his fight scenes. They are marred by a strobe light approach that makes some of the battles incomprehensible, which was slightly disappointing. Flaws aside, Batman Begins is still an absorbing, chilly look at Batman’s rise, our post 9/11 jitters, and the psychology of a hero. It restores honor to the Batman name and makes fans everywhere proud to stand behind the Dark Knight.
Batman Begins is available on Blu-ray and DVD.
by Steve Habrat
If Batfans were worried about what direction the Batman films were going in after 1995’s half-campy Batman Forever, our worst fears were confirmed with Joel Schumacher’s 1997 atrocity Batman & Robin. For this Batfan, I remained in denial about the movie for several weeks after I saw it, refusing to admit that it was downright awful. As the days passed, I began to face the truth and accept that Batman had been turned into a two-hour toy commercial that had little respect for the character I had grown up with. Schumacher had done what absolutely no one wanted to see and that was return to the silliness of the 1960s. Even more family friendly than Batman Forever, Batman & Robin was relentlessly juvenile, with Looney Tunes sound effects, the dynamic duo playing hockey with the “hockey team from Hell”, and Mr. Freeze delivering some seriously appalling one-liners that made any proud Batfan want to smash their head into a wall then curl up and die. Oh, and they totally ruined Bane! As a result of Batman & Robin, I actually gave up Batman and quit collecting the comics and toys for years after. I was so embarrassed by it and even today when I revisit the film, it is a real chore to get through. For two hours, Warner Bros. and Schumacher crush your spirits and spit in your face with lines like “You’re not gonna send me to the coolah!”
Batman & Robin begins with Commissioner Gordon (Played by Pat Hingle) summoning Batman (Played by George Clooney) and Robin (Played by Chris O’Donnell) to Gotham City to stop the sinister Mr. Freeze (Played by Arnold Schwarzenegger) from stealing a cache of diamonds. Mr. Freeze narrowly escapes the masked vigilantes and returns to his hideout where he is trying to save the life of his beloved wife who is suffering from MacGregor’s Syndrome. Meanwhile, in South America, botanist Dr. Pamela Isely (Played by Uma Thurman) is working under the mad Dr. Jason Woodrue (Played by John Glover) who is experimenting with a serum called “Venom”, which transforms runts into super soldiers. He experiments on a scrawny criminal and in the process, turns him into the hulking killing machine Bane (Played by Jeep Swenson). Dr. Isely witness the experiment and when she refuses to join Dr. Woodrue, he brutally murders her with an assortment of different toxins that she was working on. Isely is reborn as the sexy seductress Poison Ivy, who joins forces with Bane and heads to Gotham City to confront Bruce Wayne about cutting the funding of her project in South America. Once she arrives, she bumps into Mr. Freeze and together, they form an alliance that will have Batman and Robin scrambling to find all the help they can get.
In interviews about the film, Schumacher explains that Warner Bros. really pressured him to keep things light for the children, even more than they did on Batman Forever. They also ushered in toy companies to have a strong input in the design of gadgets and vehicles and it is completely obvious. It was an attempt to make things more “toyetic”. There are countless gadgets strewn throughout the film, most of them serving no purpose at all. Then there is the Batmobile, which looks like a supped-up sports car that will be used for street racing rather than battling crime. I’m stunned that Schumacher didn’t throw text on the screen that read “For sale at your local Wal-Mart!” just so everyone knew it was available. The film has a paper thin plotline that barely makes any sense at all, the whole grand scheme here is that Mr. Freeze wants to freeze the city. The annoying aesthetic that Schumacher applied in Batman Forever is also punched up to one hundred as the film constantly looks like it was filmed in various glow-in-the-dark nightclubs as techno pumps into the fight scenes. While all of this is bad, nothing can compare to the performances that Schumacher captures.
Stepping in for Val Kilmer is the hunky George Clooney, who is so uncomfortable in the role that he is practically looking into the camera and saying it to us. His Bruce Wayne is a grinning and sunny philanthropist who refuses to brood or be at odds with his duty of protecting Gotham City. He is more of a wisecracking dad to Chris O’Donnell’s Robin, who belts out cringe inducing dialogue at every turn. A scene where Batman and Robin glide through the sky on makeshift surfboards has Robin yelling “Cowabunga!” as he surfs over the rooftops of Gotham. There is a disposable side plot that finds Robin growing tired with all of Batman’s rules, which consistently keep him alive and he doesn’t even realize it. He whines and moans that Bruce doesn’t trust him but it never leads to anything substantial. Schumacher also can’t resist lacing the moments between Bruce and Dick with a homoerotic feel that once again is completely out of place. Things really get weird when they begin bickering over Poison Ivy, who introduces herself at a charity ball that has the dynamic duo arguing over who will take her home. The scene culminates in Batman whipping out an American Express card and warning Robin to “never leave the Batcave without it”. I don’t know about you, but I would think it would be odd that Bruce Wayne wouldn’t be at his own charity ball but Batman is there bidding millions of dollars to take Ivy home. Maybe it is just me, but I think doing something like that would give yourself away instantly.
Then we have the villains, who once again steal most of the movie away from the title characters. Schwarzenegger is a lumbering chunk of blue cheese as he delivers some of the films worst lines of dialogue. Every line written for the man is a one liner that references freezing something. He crashes a party and shouts “Everyone chill!” as the guests shriek in terror. Then there is the femme fatale Poison Ivy, who is equally cheeky when she delivers lines like “Curses!” as she is foiled by Batgirl. She spends a good majority of the movie trying to seduce men and kiss them, which is the only thing deadly about her. Then we have Swenson’s Bane, a mindless brute with greenish skin that grunts, groans, and moans as Freeze and Ivy give him commands. For a villain that was extremely deadly in the comic books, it is such a disappointment when Robin and Batgirl swoop in and defeat this hulk. Alicia Silverstone shows up as Barbara Wilson, Alfred’s niece who likes to play sweet and innocent but has a knack for getting in with the wrong people. She ultimately becomes Batgirl but there is no build up to this. She just suddenly becomes part of the team and Batman never once questions her sudden appearance. Michael Gough reprises his role as Alfred and even he seems to be phoning it in here. He gets a side story that reveals his character is hiding an illness that may take his life. This is the most interesting part of Batman & Robin but it certainly doesn’t better the movie. Also returning is Pat Hingle as Commissioner Gordon who is present only to grab a few laughs and then disappear.
By the time Mr. Freeze has converted a giant telescope into a freeze machine that will blanket Gotham City in a thick layer of ice, you will have completely checked out of Batman & Robin. Poison Ivy basically serves no purpose in the movie other than to drag the film out a little bit. Batman and Robin are unable to beat her even though she is powerless yet Batgirl swings in with one kick and Ivy is no more. Our heroes also have time to do a quick wardrobe change in the final act of the film, emerging onto the slick streets of ice town wearing futuristic armor that looks ridiculous. It doesn’t aid the trio in battling Mr. Freeze and seems like it is only here to look cool. And DON’T get me started on the nipples that are once again present on the Batsuit! Overall, it is hard to believe that Batman & Robin is operating in the same universe that Tim Burton created in 1989. An obnoxious mess of a film that is completely unwatchable from the get-go, Batman & Robin is not only the worst Batman film ever made, but is also one of the worst superhero films to ever grace the silver screen. A complete embarrassment on every single level, both for fans and the filmmakers.
Batman & Robin is available on Blu-ray and DVD.
by Steve Habrat
After Tim Burton took Batman to the darkest depths of evil’s soul in 1992’s Batman Returns, Warner Bros. wanted to make the Batman franchise friendlier to families all over America (No death to children here!). With Burton out of the director’s chair and wearing the producer’s hat, Joel Schumacher steps in to brighten the mood, yanking the brooding Batman out of the shadows and tossing him head first into a world of neon lights and rubber nipples on the Batsuit. Schumacher’s Batman Forever, the third installment in the franchise, was without question the grandest Batman film to date. It sprints all over this art deco Gotham City that looks more like a nightclub than an actual metropolis. Some of the dark tones of the original two films remain loosely in tact and newcomer Val Kilmer, who steps in for Michael Keaton, refuses to quit brooding as Bruce Wayne, but the film welcomes in two campy villains, an annoying sidekick, and a homoerotic feel that turns Batman and his antagonists into glam rock drag queens with no purpose or direction. Completely reversing the plot to create a darker Batman, Schumacher takes things back to the campy 60’s television series that starred Adam West as a much more cartoonish version of the Dark Knight and in the process, he horrifies Batfans everywhere.
Batman Forever begins with the dreaded Harvey Dent/Two-Face (Played by Tommy Lee Jones), the former do-gooder D.A. of Gotham City, terrorizing the good citizens of the sprawling city. He blames Batman (Played by Val Kilmer) for not intervening in a courtroom accident that left half of his face horribly scarred. Two-Face soon finds an ally in the rubbery terrorist Edward Nygma/The Riddler (Played by Jim Carrey), a disgruntled former employee of Wayne Enterprises who is out to stick it to his idol, Bruce Wayne. The Riddler devises a way to suck the secrets out of the heads of the helpless citizens of Gotham, which allows him to get inside Batman’s mind and figure out his true identity. Meanwhile, Bruce Wayne has assumed responsibility for the young Dick Grayson (Played by Chris O’Donnell), who watched helplessly as his parents were murdered by the bloodthirsty Two-Face. As Dick spends more and more time in Wayne Manor, he begins to suspect that Wayne is hiding something and he is determined to find out what that secret is. As The Riddler and Two-Face close in on the city, Bruce Wayne begins to grapple with his true identity, leading him to consider hanging up the cape for good.
In the past, I have criticized Burton’s Batman films for not exploring the psychology of Bruce Wayne and what drives him to dress up like a giant bat. Schumacher’s Batman Forever attempts to wrap its head around why Bruce does this and while I admire the effort, it is shoddy and half-hearted. Bruce is urged by love interest Dr. Chase Meridian (Played by Nicole Kidman) to face down his demons, which leads to a handful of moody flashbacks that are ripe with the darkness of the first two films. Unfortunately, a good majority of this side plot was removed from Batman Forever due to the studio’s fear of venturing back into the dark side of Batman. This is just one of the missed opportunities in Batman Forever. There are tons of moments that appear to be going in the right direction but are thrown off by studio interference. Many are quick to place ALL the blame on Schumacher, labeling him the only person responsible for Batman crumbling to glittery ash, but I think Warner Bros. also played a part in this monstrosity. I was always hesitant to put all of the blame on him because you will catch glimpses of the film that Schumacher wanted to make. There are some bleak touches to be found if you are willing to look closely, something that saves Batman Forever from being a total turd.
Another positive that Batman Forever has working in its favor is the casting of Val Kilmer as Bruce Wayne/Batman. Kilmer continues to play Wayne with a straight face, refusing to stop and wink at the audience even when Schumacher slaps nipples on his armor. When he puts on the Batsuit, Kilmer communicates in a whisper that does seem perfect for a guy dressing up like a giant bat, which softens the blow of campy lines of dialogue like, “I’ll get drive-thru.” Things really hit rock bottom for Kilmer when he is forced to team up with O’Donnell’s Robin, who does nothing to lift the creeping veil of camp that is slowly draping over the film. Schumacher also hints at a homosexual spark between the two crime fighters, which would be okay if the previous two films had hinted that Bruce grapples with his sexuality but that isn’t the case here. Kilmer is forced to morph the brooding hero, who has had feelings for Vicki Vale and Selina Kyle in the past, into a bisexual with an identity crisis. It’s a bizarre touch to throw into the series in the third quarter but Kilmer keeps a cool head with the murky twist.
To make things worse for Batman Forever, O’Donnell has no clue how to approach the Boy Wonder. At times, he wants to be just as brooding and dark as Kilmer’s Bruce Wayne and at others, he wants to be a party-boy rebel without a real cause. I had mixed feelings about his character but he really rubbed me the wrong way when he jacked the Batmobile and takes it out for a joyride. Personally, I could have done without the inclusion of Robin, as I personally have never been a huge fan of the character. Then we have the two villains, both who lift the buffoonery of Nicholson’s Joker but forget the measured menace that made his character so unforgettable. When Carrey isn’t on the screen with him, Jones actually knows how to handle his split-personality wacko but whenever the question-mark-clad Carrey enters the scene, the two seem like they are in a contest to see who can out-camp the other. Carrey wins the contest and turns the Riddler into a heavily caffeinated version of the Joker who loves one-liners and loves light-up jackets. Jones and Carrey do an admirable job with the material they are given, but I wish they weren’t asked to act like they are two giddy teenagers. Matching Kilmer’s somber tone is Nicole Kidman’s sexy psychologist (a fitting love interest for this film), who is here to coax the demons out of Wayne. Also back is Michael Gough as the faithful butler Alfred, who contributes another quality performance, and Pat Hingle as Commissioner Gordon, who once again has absolutely nothing to do with his iconic character.
As I stated earlier, Batman Forever was the biggest Batman film at the time and Schumacher loads it with enough action to live up to that reputation. The film does have some marvelous sets even if they do turn Batman Forever into a gigantic neon dance club. The fight scenes lack the brutality of Batman and Batman Returns, at times seeming like the characters are dance fighting (It wouldn’t surprise me if they were) rather than actually fighting for their lives. Schumacher and his crew hope to overwhelm us with action and eye candy so that we won’t notice the fact that the film basically has no plot and they almost succeed. Luckily, Kilmer is a nice fit for Batman and it is a shame he didn’t stick around to elaborate on his performance, but I can’t say I blame him for abandoning the character when the studio is more interested in selling toys rather than making something coherent. Overall, Batman Forever is a regressive film that appeals more to kids than it does to the adult viewers looking for something substantial and weighty. Oh well, at least there wasn’t any “Wham” or “Pow” to speak of, which was a relief for a film that hits the ground with a campy joke about Batman stopping for drive-thru.
Batman Forever is available on Blu-ray and DVD.
by Steve Habrat
While I credit Tim Burton’s 1989 Batman for shaping me into the hardcore fan of the Caped Crusader that I am, my favorite Burton Batman film is without question the bizarre 1992 sequel Batman Returns. Darker, uglier, and meaner than the 89’ original, Batman Returns is a macabre circus of freaks that goes right for the jugular in more ways than one. Burton punches up the violence, the gore, and the sexual innuendos that would make overly sensitive young children cower in fear and nurse scars for life. Burton still makes the grave mistake of putting more emphasis on the formation of the foes rather than Bruce Wayne/Batman’s demons that plague him but Keaton does still get the chance to elaborate on the classic character, giving him more depth here than in Batman. Criticized by many critics and fans for putting more thought into the gothic world of Gotham City than the storyline, Batman Returns does have an even more flamboyant style than the original film but with this style, Burton piles on a sense of dread that practically snaps the film in two. With Batman Returns, Burton goes full goth on the viewer and I love it.
Batman Returns flashes back thirty-three years and ushers us in to a the lavish home of the Cobblepots, a wealthy couple who has given birth to a deformed child that they quickly smuggle out into the snowy evening and dump into the Gotham City sewers. The film jumps to present day with the deformed Penguin (Played by Danny DeVito) readying his plot to reveal himself to the world. It is the Christmas season and hundreds of Gotham’s citizens have gathered in Gotham Square for the Christmas tree lighting ceremony held by the Mayor (Played by Michael Murphy) and crooked businessman Max Shreck (Played by Christopher Walken). The Penguin unleashes his merry gang of freaks onto the city as a diversion so he can kidnap Shreck and blackmail him into helping him re-emerge into the world. Shreck, meanwhile, takes out his frustration with the incident on his timid secretary Selina Kyle (Played by Michelle Pfeiffer) by threatening her and then shoving her out of a window in disgust. She survives the fall and in the wake of the accident, she takes to the streets as a mysterious leather-clad vigilante who enjoys helping women in trouble while also leaving a trail of destruction across Gotham. As the violence escalates, Commissioner Gordon (Played by Pat Hingle) is forced to call upon the mysterious Batman (Played by Michael Keaton) to protect the city.
You’d never guess that Burton was hesitant to return to the world of Gotham City because Batman Returns comes at the viewer like, well, a bat out of Hell. The film begins with the disturbing images of a horrified couple dumping a baby into frigid waters and then quickly shifts over to the Penguin unleashing the Red Triangle Circus Gang on the city to commit mass murder. He cuts the scene up with the Batsignal shooting up into the sky while Bruce Wayne sits sulking in his darkened study, alone and away from the world yet completely comfortable in this isolated world of darkness. He notices the signal in the sky and he dutifully stands up to ready himself for battle. This is one of my favorite scenes in any of the Batman films that have made it to the big screen. Now you understand why I prefer this film to the original blockbuster. Burton isn’t playing it safe anymore and he keeps the gloom up for slightly over two hours. We get to spend quite a bit more time with the man behind the cowl and Keaton continues to fascinate us. He has apparently learned to let love in, yet this time, the destruction is deadlier and he fidgets if he has to make a dash to the Batcave. Keaton sizzles when he plays off of Pfeiffer, who is both his love interest and his villain here. When the two are all dressed up and prowling the rooftops, get ready to have your world rocked. Their showdowns are explosive.
Batman Returns gives us a brief look at the tragedy that has given birth to the Penguin but it takes its good old time to really give us Catwoman, a sultry menace who aligns herself with both Batman and the Penguin. Her shift from timid to seductive is compelling and is a testament to Pfeiffer, who single handedly creates one of the best villains in this series of Batman films. In many ways, she overshadows most of the other villains because you never quite known if she is going to be playing friend or foe. Her origin, though slight cheesy, is one that will have the feminists cheering as she ditches the “His Girl Friday” routine and becomes a snarling liberator who warns the women she saves that they shouldn’t count on the BatMAN to save them anymore. After slicing up a mugger’s face, she whispers to the victim, “I am Catwoman. Hear me roar!” When she is paired up the slobbering sicko Penguin, a perverted freak of nature, it becomes a gothic Beauty and the Beast. DeVito is absolutely perfect as the sad sack Oswald Cobblepot, one who is eager to drain the citizens of their empathy and cackles behind closed doors at people’s gullibility. When he finally reveals his master plan, many may be covering their mouths in horror. Oh yes, Burton plans to go there and when one of Penguin’s gang members speaks up and tells Penguin that his plan may be a little too dark, he quickly reaches for his shotgun and blows the softie away. When I saw this in the theater, my jaw was on the floor.
Burton scales back some of his action in Batman Returns, making things a bit more claustrophobic but still thrilling nonetheless. There are lots of brawls in the snow-covered streets of Gotham between the vicious Red Triangle Circus Gang and Batman that are a lot of fun. The opening riot is appropriately shocking, especially when you see the whacked out appearance of the gang members. There is a fire-eater here, a pair of maniacs on stilts, and tons of freaks on motorcycles that don some horrifying skull masks. Near the end of the film, things take a turn into silliness with the Penguin unleashing hundreds of armed penguins on Gotham. It takes things into campy territory, which is a bit perplexing considering how dark the film was up until this big reveal. Burton regroups with a gruesome four way stand-off between a maskless Batman, a battered Catwoman, a dying Penguin, and a desperate Shreck, who seems slightly out of place in this trio of freaks. Much like the 89’ original, the effects have held up marvelously. Wait until you get a load of the scene where Batman glides over the chaos riddled streets of Gotham City, blending in with a swarm of bats that are filling the streets.
Batman Returns is certainly not a film for children and it erases some of the goofier elements that bothered me in Batman. Luckily, there is no villain dancing around the tunes of Prince, which was a giant relief. The plotline does get a bit weak in points, with the style masking the fact that the story is flying off the rails. Burton botches it at the end with the army of penguins and a funeral procession with six gigantic penguins, but I am willing to forgive due to how great the other 95% of this film is. Once again, Burton wastes the character of Commissioner Gordon, with the beloved ally only making a few minor appearances in all the action. Michael Gough shows up again as Alfred, the kind butler who realizes that he may have to aid Bruce in his battle against two foes looking to level Gotham. Walken is also a lot of fun as Shreck but he sort of clogs up the story at times. Overall, if Burton were hesitant to make this film, you’d never know it because it seems enthusiastically made. It also seems like he got a bit more freedom from the studio to really get weird. Once again, there are some minor tweaks to the stories, which will no doubt drive the fanboys like me nuts but I love this film because it dares to venture deeper into the darkness of the comic books. For that, Batman Returns remains my favorite Batman film from Burton.
Batman Returns is available on Blu-ray and DVD.
by Steve Habrat
One of the most important films from my childhood is without question Tim Burton’s 1989 Batman, the first big screen adaptation of the Caped Crusader that dared to remain buried in the shadows. With Batman, Burton proved to Hollywood that audiences would eat up a deliciously dark and violent superhero movie and they wouldn’t even bat an eyebrow. Burton’s Batman, along with the campy Adam West television series, is what shaped me into the diehard Bat-fan (and collector) that I am today. Yet Burton’s original film had two aspects that I have never been able to really get over and one is the fact that the story is told mostly from the Joker’s point of view. Bruce Wayne/Batman is almost a secondary character to Jack Nicholson’s cackling madman. To make things even more infuriating for this Bat-fan, Burton reshaped Batman’s origin by having the Joker be the one who gunned down Batman’s parents in that dark and damp alley. Despite these flaws that are a BIG no-no to me, Batman is still an awesomely gothic vision of the DC Comics vigilante created by Bob Kane (who gets an awesome cameo here). I firmly believe that Burton was put on this earth to convert Kane’s winged vigilante into movie material and replace the campy tone of the 60’s television series with a freakishly haunting mood that you won’t soon forget.
Batman begins on the dangerous streets of Gotham City, a gothic metropolis that is plagued with decay and filth. Despite efforts from the newly elected district attorney Harvey Dent (Played by Billy Dee Williams) and police commissioner Jim Gordon (Played by Pat Hingle), the city is still controlled by mob boss Carl Grissom (Played by Jack Palance), who rules the streets at night. The real terror is Grissom’s right hand man Jack Napier (Played by Jack Nicholson), who gets a kick out of murder and carries on a hushed affair with Grissom’s gorgeous galpal. Gotham City is also rampant with rumors about a masked vigilante who prowls the rooftops, seeking out the criminals who terrorize the innocent citizens. This vigilante happens to be billionaire playboy Bruce Wayne (Played by Michael Keaton), who vowed to wage a war on crime the night his parents were murdered in cold blood. One evening, Napier is sent by Grissom to raid the chemical company Axis Chemicals, but once he arrives, he realizes that Grissom has set him up to be taken down by Gotham City police. As the standoff intensifies, the masked vigilante known as Batman reveals himself to both the mobsters and the police. In the midst of the chaos, Batman, who is trying to detain Napier peacefully, accidentally drops him into a vat of chemicals that horribly disfigures him, turning him in to the giggling Clown Prince of Crime known as the Joker.
There is no question that Batman belongs to Nicholson’s roaring manic, which is a blessing and a curse. He rips through the movie delivering line after line of iconic dialogue that you will be quoting for days with your buddies. Burton eases Nicholson onto the path of a deadly buffoon who gets a kick out of practical jokes and jabs aimed at the Caped Crusader. The downside of all of this is that his sinister nature is saturated with scenes where he parades around with his goons listening to Prince. They shimmy and shake through the most bizarre art museum you have ever seen, defacing classic pieces with spray paint while belting out “Party Man” at the top of their lungs. This was the type of stuff that really bothered me about Batman. It feels like Burton was pressured into lightening the mood just a little bit so the studio could grab a younger audience. He repeats this at the end with a parade sequence that, once again, is blaring Prince at us (If you weren’t aware, Prince contributed a number of songs to the soundtrack). It’s another party anthem that is meant to get you rocking and drown out the idea that the Joker is about to commit mass murder. Luckily, Burton doesn’t let it completely overtake the scene and we do get the ultimate taste of how evil the Joker truly is.
The emphasis on Nicholson overshadows Keaton’s magnificent performance as Bruce Wayne/Batman. Keaton gives a grade-A performance as Bruce Wayne and in my eyes, he is still the second best movie Batman. He really isn’t given very much time in the spotlight but what little he gets is perfectly brooding. The scenes he gets with Kim Basinger’s Vicki Vale, a photographer eager to nab a photo of the crime fighter, are delicately structured and distantly aching. Bruce so desperately longs for a normal existence but his work overshadows his love life. He brushes over the longing with a dismissive attitude, the cold face of a billionaire playboy who can have any woman he wants. Basinger is a lovesick puppy who wants into Bruce’s heart, but as she discovers more and more about the man and the demons he conceals, the more she views her task as hopeless. He is too removed and distant to ever allow someone to get close. Keaton’s best scenes, however, come when he confides in his trusted butler Alfred (Played by Michael Gough), who is the acting father figure in his life. Gough is, was, and ever shall be the best Alfred ever put on film, at least to me. He is so affectionate and strong with Bruce, acting as both the push Bruce needs to continue on as Batman as well as the stern voice of reason that he searches for.
There is plenty of action to thrill over in Burton’s Batman, all leading to an epic fistfight between the Joker and Batman at the very top of a dilapidated cathedral (Would you expect anything less from Burton?). The opening moments of the film still give me goosebumps, the Batman emerging from the shadows to clobber a duo of thugs who swap rumors they have heard about this winged demon with a taste for blood. The eerie confrontation ends with the thug squealing, “Who are you”, with Batman tugging him a little closer and whispering the iconic answer, “I’m Batman.” Burton is only wetting our appetite with the scene and he carefully places a number of money shot moments throughout his film that will drive any Batman fan wild with delight. The “I’m melting!” scene is a personal favorite of this Batman fan and I still can’t help but smile over how the scene plays out. It is wildly demented with Batman swooping in at just the right moment. All these teases really amp up with a street showdown between the Joker and Batman that hasn’t aged a day. I am still filled with awe during the Batwing battle that leaves the Joker stammering, “Why didn’t anyone tell me he had one of those…. THINGS!” The effects are timeless and the fights are bare-knuckle bloody, which is exactly how they should be. Bravo, Burton!
Throughout this review, I have put my inner fanboy on hold and left a few of my gripes with the movie on the backburner. While I think the image of the Batwing covering the moon is neat, I think it is a bit ridiculous. There are hundreds of people dying below and I hardly doubt Batman would stop to cover the moon up with the Batwing. I also seethe over how Burton wastes the characters of Commissioner Gordon and Harvey Dent. I always loved the relationship between Batman and Gordon and I get none of that here. He is such a spectacular ally for the Dark Knight and sadly, Burton gives him absolutely nothing to do. I still get worked up over the fact that Batman can’t turn his neck, something I have always loathed in these early Batman movies. How is he supposed to fight crime if he can’t even look left or right? Still, Batman has plenty of style and atmosphere, which fits well in this interpretation of the character. Burton’s Gotham City is filled with menace and can really be an intimidating place when the sun goes down. The galloping score from Danny Elfman, who conjures up an iconic theme to for our triumphant hero, compliments all of this gothic tension Burton musters. Grand, exciting, and featuring some of the best performances in a comic book movie, Batman is a flawed but undeniably fun classic that never gets old. A total crowd pleaser for both the diehard Batman fans like myself and the average movie-going public.
Batman is available on Blu-ray and DVD.
by Steve Habrat
In a summer where the local movie theater has been besieged by tights–wearing superheroes who mostly found their allegiance to the Marvel camp, it was only a matter of time before one of them stumbled over their cape. This is not to say that we haven’t had a good summer movie season so far. Thor was an unexpected treasure and X-Men: First Class sits nicely at the top as one of the greatest to come out in quite a while. Now, we have DC Comic’s offering and his name is the Green Lantern. Perhaps you’ve seen a TV spot or two for this one? Or maybe a poster or three? Warner Bros. has launched a massively epic promotional campaign for Green Lantern in an attempt to lure crowds to the movie theater and I think I know why—because he is so excruciatingly un-extraordinary it becomes almost unfathomable. Green Lantern doesn’t really DO anything! He just spouts off one-liners, flies around in a green suit, and hits on Blake Lively. That pretty much sums up the experience of Green Lantern—it doesn’t particularly have much to do. It just thinks it does.
To be fair, I know basically nothing about the Green Lantern. I know he sports a green suit and has a magical ring that lets him create anything that he wants. That was as far as my knowledge went on the DC space cop. I didn’t know that the lore was alien-heavy and drenched in a vibrant day-glo ambiance. His first cinematic outing showed promise by a decently edited trailer and the presence of director Martin Campbell, who shocked the Bond franchise back to life with what I believe to be the best Bond film ever made, Casino Royale. But Green Lantern is a gigantic neon mess of a movie. The film boasts four writers and it’s painfully obvious. The film also inexplicably appears to be directed by three different directors, as it can’t decide on one specific tone. One moment it’s a light-hearted superhero flick for kiddies, the next second it’s a trippy sci-fi action film, then it shifts into dark and gritty territory, then a self-discovery drama, and finally taking the camp route all while drenching itself in endless clichés. It does manage to cough up a few bright moments every once in a while, which makes this jumble somewhat more endurable.
The film starts off with a complex back-story that I wont dive into in my review. I will however tell you this—the movie follows Hal Jordan (played by the wise-cracking Ryan Reynolds) who is an irresponsible hotshot pilot for the Air Force. One night, dying purple skinned alien Abin Sur, who has crash-landed on earth after narrowly escaping a menacing encounter with the hair-raising Parallax, rips Jordan away from his nephew’s birthday party. Abin Sur proceeds to tell Jordan that his Green Lantern ring has chosen him as his replacement in the Green Lantern Corps. Thus begins Jordan’s journey as the Green Lantern, the first human chosen as one of the protectors of the galaxy. Soon the same force that killed Abin Sur threatens Earth and it’s up to Jordan to defend mankind. Green Lantern of course has a love interest. She’s fellow pilot Carrol Ferris (played by The Town’s Blake Lively), who criticizes Jordan for his reckless behavior and has apparently been burned by Jordan in the past. She naturally still houses feelings for him and vice versa. Jordan finds himself envied by the eccentric and timid scientist Hector Hammond (played by the superb Peter Sarsgaard), who accidentally contracts the powers of Parallax in an autopsy on Abin Sur.
Somewhere in Green Lantern, there is a good movie trying to get out. Instead it settles for mediocrity. The Green Lantern’s ring provides him with the ability to create anything his imagination conjures up in a battle with a baddie. At one point, he creates a Gatling gun and in another moment, he creates a racetrack and turns a crashing helicopter into a dragster. In a back alley brawl, he dreams up a giant fist and knocks three thugs on their asses. It’s a neat gimmick that is rarely utilized by the film. It simply never makes a big deal about this ability and instead it subtly shows up from time to time. Further troubling is Reynolds himself, he at times looks like he is so bored in this role and that he’s secretly dreaming he’s on the set of a different movie. He shows absolutely no commitment in Hal Jordan and gives him about as much depth as a kiddie pool. He plays Jordan like a bad imitation combination of Bruce Wayne and Tony Stark. I was troubled from the get-go over his casting and the film only solidifies my concern. Just like his superpower power, he is exceedingly lackluster.
Given all the talent that signed on to the movie (Tim Robbins!?), there is one shining star among the group and that is Sarsgaard’s Hector Hammond. If they are to do a sequel to this, and I’m quite sure that they will, they should make a prequel about Hammond. He’s the only character that isn’t a walking cliché from another superhero movie. He’s an intriguing antagonist and his descent into homicidal madness is the films high point partly because it is basically the only part of the film that provides some real emotion. He slithers through the role as if he’s the only one aware of how bad everyone else is in it. He’s the only one who shows any effort. The most thrilling part of the movie is the climatic showdown between him and the Green Lantern. Unfortunately, it’s all too brief.
Green Lantern further blinds the audience to its mediocre story with heaping globs of neon CGI. It’s non-stop eye candy that is agonizingly artificial. The people behind this thing poured so much into the visuals that they completely forgot to give the thing a human heart. Nothing seems genuine about it and it’s a tailor-made franchise flick. It does offer up a couple intriguing sequences, which are mostly the ones consisting of Hammond and Green Lantern duking it out. The rest are dazzling trips to Oa, the planet that the Green Lantern Corps finds its headquarters. It’s teeming with peculiar aliens that babble on with nonsensical mumbo-jumbo about fear but it’s a place that you won’t mind visiting.
Putting it bluntly, Green Lantern is a pretty lousy movie. Before the film came out, several Warner Bros. heads ranted and raved about how superb the script was for this movie. After seeing the finished product, it must have sounded better on paper because the film is a blatant cash cow franchise flick with absolutely no build-up, a limp hero, and weighed down with too much CGI. The film is impersonal, lacking any trace of spirit. It seems like they were desperate to have another superhero hit outside of Batman, given the tanking of Superman Returns. It’s too bad that the Green Lantern can’t use his ring and imagine a better movie, one that is not all over the place and with a back-story that is not quickly brushed over in a senseless action scene.
Green Lantern is now available on Blu-ray and DVD.
by Steve Habrat
I’ll admit that I was itching to see The Green Hornet the second I heard the buzz (pun intended) about it. I have vague memories of catching the short lived 1966 television series with martial arts legend Bruce Lee as the ass kicking sidekick Kato and Van Williams as the Green Hornet himself Britt Reid. I remember that old theme that still every once and a great while makes its way into pop-culture, whether it is sampled in rap songs or Quentin Tarantino’s Kill Bill. I remember those masked avengers riding around in their tricked out Black Beauty. In fact, I think I was drawn to it because of the similarities to Batman. They both feature a masked millionaire and his sidekick who has come from nothing. They ride around in cool cars. They fight crime in really cool outfits (Although, if GQ ever did a best-dressed superhero list, I think the Green Hornet and Kato may take it from the Dark Knight and the Boy Wonder.). But mostly, they were vigilantes that operated outside of the law. And it was precisely the anti-hero set up that lured me in. Hell, Val Williams and Bruce Lee even had cameos in the popular Adam West Batman television show. While I’m too young to be overly familiar with where the Green Hornet got his start, which was a radio show from the 1930s, I can still hold on to the hope that the film has had some form of respect for him and stayed true to his origins.
Enter the writing team of Seth Rogen and Evan Goldberg, who also penned the hilarious coming of age story Superbad and whimsical director Michel Gondry, of Eternal Sunshine of the Spotless Mind and Science of Sleep fame. Intrigued yet? You should be. Even if you are unfamiliar with the Green Hornet and Kato, there is still the promise of some truly unique visuals and some stinging humor right? You bet there is, and there is also some bone crunching action, lively car chases, eccentric villains, smoking hot secretaries, really cool cars, and a painfully hilarious cameo from James Franco. Somewhere in there, there’s the plot of playboy Britt Reid (Played by Rogen), the–What else?–slacker son of a newspaper publisher who takes over The Daily Sentinel in the wake of his father’s mysterious death. On the seedier side of town, a murderous villain Chudnofsky (Played by the brilliant Oscar winner Christoph Waltz), who looks like a super villain from the seventies, is slowly trying to control all the crime in gangland Los Angeles. The day after his father’s funeral, Britt wakes up to his morning coffee and to his horror, his coffee is dreadful. Plus, it lacks the elegant and decorative leaf that usually adorns the top. Britt storms through the estate looking for the person who usually makes his morning coffee. That person, he discovers, is Kato (Played by a seriously good Jay Chou), who is also his father’s mechanic. After a night of drunken shenanigans, Britt and Kato decide they are going to become masked vigilantes and take on crime throughout the city. Then the Looney Tunes meets 300 style action kicks into high gear.
By this point, be it from reading what I have described to you or seeing the energetic trailers, you know if this is the type of film for you. If you’re a fan of Rogen’s haw-haw stoner humor or a superhero aficionado, you were probably already in line and have already seen The Green Hornet. If you’re not a fan of either, I can’t really do much to convince you to see it. I suffer from my own fanboy demons, so naturally I jumped at the opportunity to see it opening weekend. Now, I’ll also admit I walked out of the theater with a big grin slapped across my face. The film is cartoonish mayhem at it’s absolute finest. And Gondry can’t resist spicing the film up with his trademark surreal flare. The action scenes are inspired, resembling something out of a video game (Kato hones in on all of the baddies weapons that they are wielding). Rogen never snaps out of his along-for-the-ride shtick and some will find that a hard hurdle to jump over. But it’s Chou’s Kato who’s the real star of the film and even through broken English; you can’t help but love him. Whether he is kicking and punching through countless hoards of Chudnofsky’s henchmen or whipping up countless Black Beauties, Chou is always entrancing. And what about Oscar winner Waltz? Well he seems to be lapping up his new career in Hollywood with demented merriment. I’ll tell you this much about his character, just wait until the climatic showdown. He’ll have you laughing and gripping the edge of your seat. And we can’t forget to mention Cameron Diaz, who seemed to be a last minute addition to make the fanboys drool. She isn’t given much to do but fill Reid and Kato in on some of the criminal activity that is taking place in LA. And how does Rogen fare as a superhero? He pulls it off just fine, even if Chou is the real action star here. Rogen mostly falls back on spewing out silly one-liners and hiding behind Kato. Don’t let that fool you, as Rogen does get his chance to play the hero in a show stopping fight scene at the climax. I’ll confess that it is welcome in a genre that has become dominated by brooding heroes who take themselves a little too seriously. But then again, it’s what we have pushed for isn’t it? Heroes that are more emotionally complex, solemn, and that operate within the world we are familiar with. But The Green Hornet’s main objective is to throw all of that out the window and invite us to just have a campy good time.
Every party has its moments where the fun lags and The Green Hornet does suffer from a few lagging moments. The plot of the film is uneven at points and the more twists that they try to throw into the mix, the more cluttered the plot actually becomes. The film works better when it stays on the straight and narrow path. The entire movie is played up like a psychedelic madcap comedy and trying to give it more depth than it deserves slightly spoils the fun. The opening of the film doesn’t provide much of a back-story to the relationship between Reid and his father. They simply don’t get along and Reid’s father doesn’t understand him. That’s about all we get we are supposed to just accept it. The film is just under the two-hour mark and it leaves us asking why they didn’t go another ten minutes and make their troubled relationship a little bit meatier. And the 3D? It reeks of an afterthought and I will say that it’s the first 3D movie that actually began to bother my eyes.
Through it all, The Green Hornet works because it seems like everyone in it is having a blast. I had as much fun watching it, as I’m sure they did making it. The fact of the matter is that the Green Hornet is a third string superhero. He always has been and will continue to be. His film does not rank among the best of the superhero genre and I don’t think anyone under the sun expected it to run with Spider-Man 2, The Dark Knight, Kick-Ass, Iron Man, or Watchmen. It also certainly does not rank with the worst of them (I’m referring to you Fantastic Four, Ghost Rider, Punisher and Wolverine!). I went in with high hopes but, due to some of the seething reviews, I had my doubts. I emerged smiling and completely satisfied. Plus, in these early months of the year where Hollywood dumps all of its crap, don’t expect much in the way of solid entertainment anytime soon. The Green Hornet is the best we will get for a while and after sitting through all the serious award contenders, it was utterly refreshing. The Green Hornet is pure fanboy euphoria. Grade: B
The Green Hornet is now available on Blu-ray, 3D Blu-ray, and DVD.