by Steve Habrat
In 1987, director Paul Verhoeven unveiled RoboCop, a satirical science fiction blockbuster that has been long celebrated by critics and audiences as a classic of the genre. Despite offering gruesome thrills and unrelenting action, this beloved classic has even earned recognition from the prestigious Criterion Collection and was released by the arthouse company on laserdisc and DVD a few years back. It should come as no surprise that a remake of RoboCop was rumored for many years—unsurprisingly, really, considering that Hollywood is running on fumes in the creativity department. After almost ten years of development, America finally has Brazilian director José Padilha’s RoboCop, a buffed and bloodless affair that features a staggering A-list cast. With names like Gary Oldman, Michael Keaton, Samuel L. Jackson, and Jackie Earle Haley filling up the cast list, you’d think that there must be something solid to this blatantly unnecessary remake of a classic. Truthfully, RoboCop 2014 isn’t nearly as bad as you may have expected it to be. It’s far from empty headed and the veteran performances carry plenty of weight, but the film is so concerned with making an intelligent statement that the film nearly forgets to have any fun or offer any adrenaline-pumping set pieces. It also makes the grave mistake of handing over the title role to Joel Kinnaman, a newcomer that works hard but never fully earns our sympathy or respect.
RoboCop picks up in Detroit, 2029, with police officer Alex Murphy (played by Joel Kinnaman) and his partner, Jack Lewis (played by Michael K. Williams), doing some dangerous undercover work in an attempt to bring down crime boss Antoine Vallon (played by Patrick Garrow). In their investigation, they begin to discover that Vallon may have ties to several officers in the Detroit police department. After a nasty confrontation between the undercover officers and Vallon’s men, Jack is left severely wounded and clinging to life. Alex manages to make it through the confrontation unscathed, but Vallon’s men soon track him down and implant an explosive device inside his car. While enjoying a quiet evening at home with his wife, Clara (played by Abbie Cornish), and his young son, David, the device is triggered, leaving Alex with fourth degree burns covering his body. Meanwhile, in Tehran, the United States is waging war with the help of robotic soldiers and hulking droids created by OmniCorp. On American soil, OmniCorp CEO Raymond Sellers (played by Michael Keaton) is pushing to have these robots and droids patrol American streets, but he is met with resistance from Senator Hubert Dreyfuss (played by Zach Grenier), who claims that the robots and droids lack human emotion. Desperate to make his vision a reality, Sellers enlists the help of Dr. Dennett Norton (played by Gary Oldman) to meld man with machine. After a lengthy search for a proper candidate, Sellers and Norton settle on Alex for the human/robot program, and in the process create a revolutionary new figure of justice—RoboCop.
Where most blockbusters today attempt to mask their lack of intelligence with countless CGI battles, gunfights, fistfights, and miles of devastation, RoboCop begins with heady debates about the use of robots and droids in the thick of war. The battle rages on a nightly news program called The Novak Element, hosted by Pat Novak (played by Samuel L. Jackson). In this sequence, we are treated to some tense urban action sprinkled in between Novak’s bug-eyed stare and his questioning of America’s “robophobia.” Points are made on both sides of the issue, bullets fly, bombs explode, and things seem to be getting off to a strong start even before the credits have rolled. Padilha and his crew are letting us know that they are well aware that the original RoboCop was interested in smarts just as much as it was interested in spilling blood, and you have to commend them for acknowledging this. However, as the seconds tick by in RoboCop 2014, it becomes increasingly clear that the filmmakers seem reluctant to have a little fun. There is a brief rush of giddy excitement when Alex steps into a training session in an abandoned warehouse, but the action feels square and the approach is uninspired as Jackie Earle Hayle’s Rick Maddox taunts the stomping RoboAlex by calling him “Tin Man.” I’m sad to report that the action rarely picks up from here, only really cutting loose during the final showdown in the OmniCorp lobby.
While the action may not exactly take your breath away, a good majority of the performances will keep your eyes glued to the screen. Perhaps the most mediocre of the bunch is Kinnaman, who fails do anything interesting with his screen time. He’s the typical macho cop/mushy family man in the early scenes, and when he’s sentenced to his new RoboArmor, he’s only sporadically pathetic as he realizes that he will never have a normal life again. Still, he can droop his mouth into a proper frown as he aims his machine gun and fires at the bad guys, which is always an action-movie plus. The ever-welcome Oldman is the top dog here as Dennett, the doctor tasked with placing the injured cop inside a machine. Oldman earns more sympathy when he is forced to switch off Alex’s emotions than the actual RoboHero does. Keaton nails his role as Sellers, the ruthless OmniCorp CEO who may not be as upstanding as he seems. Jackie Earle Hayley does a fine job as Maddox considering that the screenwriters have handed him the film’s worst dialogue. Strapped inside his exoskeleton, he looks like something out of Elysium, but he still finds a groove as a certified badass. Jackson is his usual shouting self as Pat Novak, the nightly news host who speaks directly to the audience and acts as a pale moderator to all the heated debates. Abbie Cornish rounds out the main cast as Alex’s suffering wife, Clara, who slowly regrets allowing the suits of OmniCorp to slap her husband inside that black armor.
Undoubtedly the most controversial change in RoboCop 2014 is the PG-13 violence that the studio opted for rather than the gruesome R-rated approach Verhoeven took to the original. Throughout it’s nearly two-hour run time, there is barely a speck of blood, which makes it clear that Columbia intends to turn this new RoboCop into a sanitized series that will sell just as many toys as it does tickets. Despite the lack of bloodshed and carnage, Padilha’s RoboCop is still a well-paced story that builds quite nicely. The only time that the film really drops the ball is with Vallon and his villainous shenanigans. He is quickly bumped off and forgotten so that Padilha can make room for bigger and badder tricks. It also wouldn’t have hurt to include villains that are a bit more colorful than what we are left with. Overall, you can’t fault RoboCop 2014 for attempting to be much more than a mind numbing, popcorn-muncher of a film, but this constant strain to be saying something prevents the audience from receiving the action jolt they are craving. Maybe a different lead would have helped, too. Oh well, as far as remakes go, it could have been much, much worse.
Jackie Brown (1997)
by Steve Habrat
After the massive success of Reservoir Dogs and Pulp Fiction, the hype around Quentin Tarantino was through the roof. He put a creative spin on the gangster movie with Reservoir Dogs, made Pulp Fiction, which was labeled a modern day masterpiece, and then turned around and nabbed a Best Original Screenplay Oscar for it. Everyone was wondering what this exploitation-obsessed film guru would do next. Rather than writing another original screenplay, Tarantino chose to pen an adaptation of Elmore Leonard’s novel Rum Punch. Reworking the title as Jackie Brown and swapping the heroine’s race from white to black, Tarantino makes a modern day blaxploitation film that actually turns out to be his most mature work in his catalogue. Leaving behind the countless pop culture references and dialing back on the knee-jerk violence, Jackie Brown is a slow moving drama that lacks the instantly iconic characters and razor sharp humor that peppered his first two films. In true Tarantino fashion, he has gathered an ensemble cast and even found a way to revitalize the careers of blaxploitation queen Pam Grier and B-movie actor Robert Forster, who went on to earn a Best Supporting Actor nomination for his role. Despite being more mature, Jackie Brown does sag a little under its weight and lengthy run time, but I’ll be damned if Tarantino doesn’t put up a fight to keep the film off the ground.
Jackie Brown (Played by Pam Grier) is a beautiful but lonely flight attendant for a small Mexican airline called Cabalas Airlines. On the side, Jackie, whose career has hit a snag, smuggles money from Mexico to the United States for charismatic gunrunner Ordell Robbie (Played by Samuel L. Jackson). It turns out that Ordell is under surveillance by the ATF. After one of his employees, Beaumont Livingston (Played by Chris Tucker), is arrested, Ordell visits bail bondsman Max Cherry (Played by Robert Forster) and arranges for a $10,000 bail to spring Livingston out of fear that he may become an informant. It turns out that Livingston already blabbed to ATF agent Ray Nicolette (Played by Michael Keaton) and LAPD detective Mark Dargus (Played by Michael Bowen) while in custody and the two men intercept Jackie while she is arriving at the airport. Fearing that Jackie may also become an informant, Ordell once again visits Max and arranges her bail. After meeting Jackie, the mild mannered Max begins developing feelings for the tough flight attendant. Meanwhile, Ordell plans to murder Jackie but instead, she negotiates a deal to smuggle $550,000 of Ordell’s money out of Mexico, enough cash for him to retire. Ordell agrees, unaware that Jackie may be helping out the ATF agents. To make sure he ends up with the money, Ordell hires a stoner beach bunny named Melanie Ralston (Played by Bridget Fonda) and former cellmate Louis Gara (Played by Robert DeNiro) to help out with the job. With this much money involved, all the thugs begin devising way to make off with the cash for themselves but Jackie has other plans.
At two and a half hours, Jackie Brown certainly has its fair share of backstabbing, double crosses, and scheming going on. While it seemed appropriate in Pulp Fiction, Jackie Brown seems to just be rambling on and sometimes not in a good way. The first hour of the film is fun, a little sexy, and funny in spurts, but after a while, I was left wishing that Tarantino would pop the cork on crazy and get the party started. He never really does and it is slightly disappointing. However, you can’t really blame Tarantino for toning it down a bit after his rambunctious behavior in Pulp Fiction (Who could forget the Gimp?). And then there is the trademark dialogue, something we really look forward to when going into his movies. In Jackie Brown, you feel as though Tarantino is blending his dialogue with Leonard’s and the results are mixed. There are a few funny lines here and there and only a few moments where it is truly memorable, but none of it comes close to what was in his first two films. Despite lacking the shock and crazy of his first two films, Jackie Brown does prove that Tarantino can pile on the emotion and really hook us with a touching love story. You really root for the romance between Jackie and Max, a love that is really the heart and soul of the movie. It is like Tarantino revealing his softer side, something he doesn’t really seem to enjoy too much (just watch an interview with him). Dare I say that Jackie Brown makes us feel a little warm and fuzzy inside?
If the bloated plot of Jackie Brown begins to wear on you, you may find some relief in the performances, mostly the ones from Grier and Forster. Grier is in fine form as the sensitive but fierce Jackie, one tough mama who doesn’t put up with any of the torment dished out by Ordell. Age seems to be holding Grier back from really kicking ass and taking names but she is as sharp as a tack when it comes to staying one step ahead of everyone but Max. Forster is measured, gentle, and subtle as Max Cherry, the kindly bail bondsman who develops a crush on the curvy Jackie. You can’t help but love him as he jams out to crooning R&B classics in his car, music he heard from our badass heroine. Together, the form an unlikely romance but I suppose that opposites attract. Plus, you feel like Max really deserves this romance. Jackson tones down the intensity he brought to Pulp Fiction and brings a menacing cool to Ordell. Watching him manipulate the thugs around him will have your knuckles whitening, especially when he shows up at Jackie’s apartment to settle some business. DeNiro is quiet fun as the loose cannon Louis, a slouchy thug who never can resist the bong in front of him. He gets some great moments with Fonda’s Melanie, a perpetually stoned and horny beach bunny who is always taking too long to get ready. Keaton is on point as the hotshot ATF agent who is always chewing on a piece of gum. We also get a funny and jumpy performance from the rarely seen but always welcome Chris Tucker as Livingston. Tucker isn’t here long but you’ll certainly remember his character.
Even if things are a little too drawn out, Jackie Brown still manages to entertain you even in its slower moments. I really enjoyed the scenes where Louis and Ordell sat around and discussed firearms over beer and weed as Melanie rolls her eyes in boredom. These scenes crackled with Tarantino’s punchy dialogue and humor, his usual trademarks. I also enjoyed the way Tarantino laid out the climax of the film, dropping all of his characters into a busy shopping mall and letting them try to outsmart each other while the money bops around in a shopping bag. Then there is the final confrontation, which does flirt with Tarantino’s unpredictable flashes of violence and bloodshed. Overall, I do like Jackie Brown and I have to say that I did fall head over heels for Grier and Forster. I also love the idea that the film is a big fat valentine to Grier and her feisty roles from years past. Yet as a tribute to blaxploitation cinema, Jackie Brown is a little clunky. It seems to lack the sass of the blaxploitation subgenre. I give Tarantino credit for breaking away from his usual formula but Jackie Brown left me starving for his crazy side.
Jackie Brown is available on Blu-ray and DVD.
Batman Returns (1992)
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.