The Dark Knight Rises

Christian Bale, Tom Hardy, Gary Oldman, Joseph Gordon-Levitt, Anne Hathaway, Marion Cotillard, Morgan Freeman, Michael Caine, Matthew Modine

Dir. Christopher Nolan
Scr. Christopher Nolan & Jonathan Nolan (based on characters by Bob Kane)

It is quite a sight to see – a filmmaker with complete creative control. There aren’t many who get it and, those that do, much too often squander it. At 164 minutes and the absence of the Bat suit for the first 40-ish of those, how did Nolan not have producers breathing down his neck and telling him to get on with it? I’m not complaining. In fact, it’s a beautiful thing. And the result is a very different superhero movie. In fact, TDKR is perhaps better described as a drama with some rather impressive bouts of action thrown in. And it works for Batman in a way it wouldn’t for many others. This is not a perfect film and I can’t help but wonder whether it can really stand alone, but, jeez, it made me buzz. It also made me cry and gasp and, a couple of times, chuckle. I couldn’t help but be thrilled.

At the close of The Dark Knight, Batman (Bale) took the blame for murder, hung up his cape and, as we discover, somewhat let himself go – eight years on Wayne is a limping, gaunt recluse, holed up in his mansion with only his faithful butler Alfred (Caine) for company. Everything changes with the arrival of Bane (Hardy), a masked and ruthless villain hell bent on “freeing” Gotham City from its shackles. Mayhem ensues, as you’d expect.

There is a lot going on in this film. And Nolan doesn’t often let the audience take a breather and put the pieces together. ‘Keep up’, he seems to be saying, ‘you’ll be rewarded in the end.’ There has been some discussion about Bane’s vocals and more than a few are complaining about how hard he is to understand. It’s a reminder of how much we rely on watching an actor’s mouth to pick up what our ears might miss. So, that might be part of it. But I also think it’s Nolan saying ‘come on, just tune in and concentrate.’

Much has also been said about the twists and turns in the film and, of course, the ending. Without spoiling anything for anyone, I would just say there are no simple solutions for Nolan. Expectations are high and, even when they’re not, conclusions are never easy. But Nolan has certainly tried to provide closure. It just won’t please everyone, that’s for sure.

I cannot gush enough about how great this film looks and feels. There’s no one as grim and tortured as Batman and, boy, Nolan once again nails the all-pervading sense of darkness. Whatever you want to say about its story and lofty themes, there is little doubt of how brilliantly this film is physically crafted.

Superhero films sometimes suffer from a severe lack of acting nuance. Don’t get me wrong – cartoonish can work. But in TDKR we also see how fine acting can add real drama and emotion. This is certainly Bale’s best outing as Batman. Oldman, Freeman, Caine – I simply can’t criticise. Gordon-Levitt is extremely good and less ‘deer-in-the-headlights’ than he can sometimes be. For me, Hathaway is a surprise. In fact, I would say she is a highlight. Cotillard is stunning and lovely, as always. Hardy has a tough job, with only his bulk and his eyes to work with, and he does a very fine job.

This is by no means a masterpiece and, I hope, not Nolan’s final opus. I continue to argue with myself over whether Dark Knight is a better film. In the end, taken as a trilogy, Nolan has done a phenomenal job. There is no doubt Batman will be rebooted, but I pity the filmmaker who decides they are up to the task. I highly recommend this film.

---------------------------

Bane: You do not fear death. You welcome it. Your punishment must be more severe.

A Royal Affair

Mads Mikkelsen, Mikkel Folsgaard, Alicia Vikander, Trine Dyrholm, David Dencik, Cyron Bjorn Melville

Dir. Nikolaj Arcel
Scr. Nikolaj Arcel & Rasmus Heisterberg

This film truly wowed me. Expecting a good-looking, costume-laden historical drama, I was both surprised and delighted to be met with so much more than that. Sure, this movie is grand – royal opulence, sweeping vistas, heritage on display, etcetera and so on. But it’s also wonderfully intimate, utterly tragic, with a dash of hilarity and some very big and thorny ideas on offer. Knowing absolutely zero about this particular period in Danish history (or, let’s face it, any period in Danish history), I also felt much wiser by the time the credits rolled. Hugely recommended and certainly a strong contender for the top ten of 2012 list.

A Royal Affair is set in 18th century Denmark and, as the title suggests, is the story of an ill-fated (aren’t they always?) love triangle between King Christian VII (Folsgaard), his English wife Caroline Mathilde (Vikander) and the royal physician Johann Struensee (Mikkelsen). It’s also the story of the Enlightenment, of insanity, of passion and tragedy. What more could you ask for?

This luscious film can stand alongside the best historical dramas I’ve seen come out of the UK or France or the US. Benefiting from some beautiful heritage locations, this film looks and feels wonderfully authentic. The costumes are suitably intricate and glorious, bosoms heaving and wigs galore. And when we see the grit and grim of the lower classes, I could almost feel the rats scurrying around my feet.

Against this background, the true success of this film are its more intimate moments of fragility and the lofty ideas and ideals at its heart. It’s a superbly written movie – compelling and nuanced, it doesn’t feel anywhere near its 137 minute running time. I laughed out loud a handful of times and cried twice, but not once did I feel emotionally manipulated.

The acting on offer is top-notch. You may not recognise many of them (unless you’ve watched the Danish crime show The Killing), but they are all very good indeed. Mikkelsen, who has one of those faces that let you know he has truly lived, is brilliant as the German doctor who becomes more powerful than a king. He is all restrained emotion, until he truly can’t hold it in anymore. And then his performance is completely heart-breaking. Vikander is a gorgeous actress and has the perfect mix of youthful guile and weary resignation that this role requires. The stand out for me, however, was Folsgaard as the unfortunate King. He manages to be both an unlikeable and sympathetic character. On the edge of insanity for nearly the entire film, he is never as incompetent as we think he is. A wonderfully executed performance.

If you fancy a bit of history, you will not be disappointed by this film. And if you want a little more to your historical films than just grand houses and frilly costumes, you will also not be disappointed. This is a gripping film. Go see it.

The Way

Martin Sheen, Deborah Kara Unger, Yorick van Wageningen, James Nesbitt, Emilio Estevez

Dir. Emilio Estevez
Scr. Emilio Estevez

This is an absolute wee gem of a film. Poignant, funny, tragic, beautiful. It’s like a Lonely Planet guidebook come to life. And, to top it all off, Martin Sheen is in almost every scene. What more could you ask for? It’s certainly more than a little contrived and far too deliberately paced at times. It’s also incredibly sentimental. But I found I was able to forgive a lot and just sit back and enjoy the journey.

Tom Avery (Sheen) is a 60-something ophthalmologist widower living a comfortable life in California. On receiving the tragic news that his only son Daniel (Estevez) has died during a storm while walking the Camino de Santiago (the Way of St James), he travels to France to recover the body. But instead of swiftly returning home as intended, Tom decides to complete the trail his son could not. Along the way, he meets an array of travelers, all searching for some elusive remedy or inspiration – Joost (van Wageningen), a kind young Dutchman hoping to lose weight; Sarah (Unger), a mysterious Canadian who says she is walking the trail to quit smoking; Jack (Nesbitt), a verbose Irish travel writer with a severe case of writer’s block. And, of course, Tom discovers much about himself and his estranged son.

I do love a history lesson and The Way certainly provides an interesting one. The Way of St James is the pilgrimage route to the Cathedral of Santiago de Compostela in northwest Spain, where it is thought that the remains of St James the apostle are buried. The walk is a long one – over 800 km from Saint-Jean-Pied-de-Port in France. In the film, the aging Tom takes approximately two months to complete his pilgrimage. It’s a fascinating journey, with beautiful scenery and ancient landmarks.

But this film is not a documentary. While Estevez weaves history and religion throughout the plot, we are always reminded that this is a personal story of a man grieving for what he has lost. It’s a tale of self-discovery, not just for Tom but for all that travel with him. But it doesn’t force such discovery in your face (well, not too often). Rather, it’s a quiet, slow-burning film. Compelling, for sure – there is action and laughs along the way, and a wonderfully surprising soundtrack. But it is also utterly hypnotic – it takes your hand and invites you to walk along with it.

The performances in The Way are near faultless. Estevez inserts himself into the film sparingly and effectively as the deceased Daniel. Nesbitt is entertaining as ever, loud and rambunctious and ever-so-slightly annoying. But in a good way. Van Wageningen is simply lovely as jovial Joost. Unger has more to work with than the other supporting characters and she is brilliant as Sarah, a woman with much to hide. But for all their good work, this is undeniably Sheen’s show. He’s the anchor and he manages to convey so much without much more than a look. It’s clear that Estevez wrote the role with his father in mind and Sheen doesn’t disappoint.

I heartily recommend this film. It won’t be everyone’s cup of tea, perhaps too slow and, at time, meandering for some. But I adored The Way, sappiness and all.

----------------------

Daniel: You don’t choose a life, Dad. You live one.

The Amazing Spider-Man

Andrew Garfield, Emma Stone, Rhys Ifans, Denis Leary, Martin Sheen, Sally Field, Campbell Scott

Dir. Marc Webb
Scr. James Vanderbilt, Alvin Sargent & Steve Kloves

It seems very odd to reboot a franchise so soon after a trio of movies with the same superhero. We had Tobey Maguire in the red and blue suit in 2002, 2004 and 2007. And this film doesn’t pick up where they left off. We start again, spider bite and all. Maybe ten years is a much shorter time period in cinema history than it used to be. Or maybe they just thought they could do a much better job. And, in many ways, they have. This is a thoroughly enjoyable film with some great effects and a stellar cast. But I just couldn’t help leaving the theatre thinking ‘what exactly was the point?’

Peter Parker (Garfield) is a teenage struggling with what most teenagers struggle with. He’s trying to figure out exactly who is he, trying to get the girl (Stone) he likes to notice him, and trying to avoid getting beaten up. Abandoned by his parents at a young age and left to be brought up by elderly relatives (Sheen and Field), he’s more angst-ridden than most. Mysterious science documents, left hidden by his father, led him to the lab of Dr Curtis Connors (Ifans) and an encounter with a genetically altered spider that changes his life.

Undoubtedly, one of the strengths of this film is the special effects. They have finally managed to make a man swinging from building to building on super-strong webbing utterly awesome. The heft and weight is spot on and he no longer looks like a flying cardboard cut-out. I didn’t love the 3D (when have I ever loved 3D?!) – I found myself slipping the glasses off a lot during scenes that were so obviously 2D. The light loss with the glasses on was extremely annoying. I do have to admit that I did duck twice, so, yeah, I guess the 3D sucked me in a little.

The other real strength of this film is the performances. Maguire was a whiny, wee Peter Parker. Garfield is a revelation. Well, not really, because he has been pretty great in everything. But he brings to Parker/Spider-Man a perfect blend of angst and humour and self-righteousness and sorrow and fragility. Plus, he’s adorable and a completely believable teenager despite his advanced years. Stone is great, as ever. Spunky and intelligent, she’s has chemistry to burn with Garfield. Ifans gives a solid performance, though the Lizard is not the most interesting of villains. A completely added bonus and highlight is the duo of Sheen (Uncle Ben) and Field (Aunt Mary). They are two such acting powerhouses and add some real emotional weight to the life of Peter Parker.

If superhero movies are your thing, there’s much to like in this film. It’s nothing new and maybe we could have lived without another Spider-Man for a few more years. Having said that, I’m looking forward to the next instalment.

------------------------

George Stacy: Thirty-eight of New York’s finest, versus one guy in a unitard.

Rock of Ages

Tom Cruise, Alec Baldwin, Catherine Zeta-Jones, Paul Giamatti, Russell Brand, Diego Boneta, Julianne Hough

Dir. Adam Shankman
Scr. Justin Theroux, Chris D’Arienzo & Allan Loeb

I really, really wanted to like this movie. It seemed to be made for me. With Shankman at the helm, a wonderfully eclectic cast, and a whole lot of eighties soft rock, what could possibly go wrong? Well, quite a lot apparently. It has moments, glorious moments, where everything seems to come together beautifully. But, for the most part, Rock of Ages is truly awful. And not so-incredibly-awful-that-it’s-actually-brilliant awful. Just awful. I can forgive a lot (and often do) but, for me, it’s the mean-spiritedness of this film that just didn’t sit right.

Rock of Ages is the story of a small town girl (Hough), living in a lonely world, who took the midnight train going anywhere. And a city boy (Boneta), born and raised in South Detroit, who took the midnight train going anywhere. Well, not quite. She came into town on a bus and I don’t know where he was born and raised, but you get the picture. Girl, with big dreams, meets boy, with big dreams, and sparks fly. Alongside this love story is the battle between a group of conservative housewives, led by Zeta-Jones, and the proprietor (Baldwin) and patrons of The Bourbon Room, a nightclub on the Sunset Strip. And alongside this is the weird and wonderful story of Stacee Jaxx (Cruise), a rock god with some serious issues.

These not-so-neatly interwoven storylines make Rock of Ages a bit of a narrative minefield. Of course, Shankman has some great songs to fall back on and make sure things are moving along at a swift pace. But it doesn’t always work and, at a little over two hours, this film simply feels too long. The film is, of course, based on the Broadway show of the same name. And while I can imagine the energy in a theatre when the crowd-pleasing songs are belted out, the movie lacks the intimacy and, sadly, the resulting electricity.

And that mean-spiritedness I talked about, well, it’s just bewildering at times. Zeta-Jones’ character is so incredibly evil and cold that it defies belief. The scene where Jaxx pees, well, where he shouldn’t be peeing is horrible. And talk about inappropriate. Okay, sure, Grease was completely inappropriate in its day and all the better for it. But Rock of Ages simply feels slimy and a little bit grotesque. The scene in which Jaxx and the Rolling Stone reporter get it on was truly unpleasant and not nearly funny enough. I don’t know what I was expecting, but this wasn’t it.

It does hit the mark on occasion. The New Kids on the Block parody is truly inspired and very funny. The use of the classic rock tunes on offer is mostly pretty clever. The sing-off between Zeta-Jones and her cronies and Brand and his posse is gold.

And a few kind words also have to be said about the performances. Zeta-Jones can truly sing and is an absolute highlight in that regard. Brand is funny, although his accent seems to be all over the place. Baldwin is good, as is Giamatti, though both seem wildly out of place in this film. The two youngsters are pretty good – they can sing and definitely dial up the cheese, but they don’t have enough on-screen magnetism to carry the large parts of the film they are required to. The reason for seeing this film, if you still want to, is Tom Cruise. His performance is mixed, but when he gets it right, it’s a beautiful thing to behold. Think Iggy Pop, with a dash of Axl Rose, and a sprinkling of Jon Bon Jovi.

I don’t recommend this film. Although, even if I had a chance to read this and every other bad review before seeing the film (in some crazy time-travel adventure where I go forward in time and have nothing better to do than read my own blog), I still would have still wanted to watch Rock of Ages. Go figure.

----------------------------

Dennis Dupree: This place is about to become a sea of sweat, ear-shattering music and puke.