Vice

Director: Adam McKay
Starring: Christian Bale, Amy Adams, Steve Carell, Sam Rockwell, Tyler Perry, Alison Pill, Lily Rabe, Jesse Plemons, Justin Kirk, Shea Whigham
Running Time: 132 min.
Rating: R

★★★ (out of ★★★★)

Whenever a biopic is released on a controversial public figure from either past or present, our favorite conversation is restarted about how fair and accurate the treatment of said subject will be. Strangely enough, the more polarizing they are, the higher standard the filmmakers seem to be held to. Will it be a hatchet job or an overly sympathetic portrayal that humanizes their irredeemable actions? Maybe a balanced mix of both? Depending upon who you ask, Steve Jobs was either vilified as a soulless monster in Danny Boyle's Jobs or was let off the hook too easily. Mark Zuckerberg was a meglomaniacal antisocial parasite in The Social Network, or if you prefer, simply a shy, ambitious genius who developed a web site to impress a girl. Oliver Stone's W., signaled what many believed was the neutering of a once great filmmaker who failed to go for the jugular in depicting a ripe for skewering Bush 43 as he exited office. Now, writer/director Adam McKay makes up for that with Vice, a movie unlikely to spark any of those conversations since he leaves so little room for debate about how Bush's V.P., Dick Cheney, should be viewed.

On an evilness scale, Vice's rendering of Cheney lands somewhere between Hitler and Darth Vader, with a little Grinch thrown in for good measure. Without holding back, McKay unloads on his target with a contempt only momentarily tempered by his excursions into satiric silliness that end up making Cheney look that much worse by mocking him. And like his simarly topical The Big Short, it's done in trademark McKay style, jumping back and forth through time, breaking the third wall, and telling as much as it's showing. From a cinematic standpoint, it's a total mess, with a few endings too many and a tendency to treat its audience like simpletons.

For those who already despise Cheney, this preaches to the choir, even if those on the fence will gladly jump on the bandwagon once they get the film's take on what he's done. His supporters will be fuming, citing it as the latest example of the Hollywood liberal elite run amok. And they're not necessarily wrong, since this is about as one-sided an attack as it gets. But boy is it entertaining, taking risks few political dramas or comedies have attempted, much less gotten away with. It doesn't all connect, but when it does, it's pretty vicious. 

Pinning down exactly when the story of Dick Cheney (Christian Bale) begins and ends is no easy task, but it speaks volumes that one of the the first glimpses we get of the future Vice President is as a young man drunkenly stumbling out of his car after being pulled over by Wyoming police in 1963. The journey that takes him from that moment to the brief opening scene of him responding to the 9/11 attacks can be traced back to his relationship with power-hungry wife, Lynn (Amy Adams), the mastermind behind his eventual ascent.

It's Lynn's ultimatum toYale dropout Dick to shape up or get out that leads him to D.C.,working as an intern for outspoken economic advisor Donald Rumsfeld (Steve Carrell) in the Nixon administration. After Watergate and Nixon's resignation, Cheney rises to the position of Chief of Staff under President Ford, then as Secretary of Defense under Bush 41. Heart problems and a stint as Halliburton C.E.O. come after, and while the movie makes it very clear that his story could have easily ended there, it doesn't. His most infamous chapter follows with a stint as Vice President to George W. Bush (Sam Rockwell), leading to Cheney's emergence as a manipulative Washington puppet master. With his tentacles extending to even the most controversial foreign policy decisions and in worsening health, he covertly spearheads an administration many believe left a trail of death and destruction in its wake.   

While it's all a bit too much to take in with McKay rarely bothering to even feign any sense of objectivity in delivering what often plays as Oliver Stone and Michael Moore's cinematic love child, it's at least tied together by an undeniably fascinating and controversial idea. The Unitary Executive Theory is the principle by which Cheney seems to live and breathe, and is firmly rooted in the belief that the President is invested with the power to control the entire executive branch. If some believe should be a limit or check on the extent of it, Cheney's not one of them, and in carrying out the duties of the Vice Presidency, he demonstrates what can happen when you extend that constitutional theory as far as possible, then wield it like a club. After stretches of cloaking every event of the script in this power-hungry outlook, it becomes clear that McKay wants you to believe Cheney's tenure as Vice, his marriage, ambitions, relationship with his daughters, and ultimately, his life, are all driven by this conceit.

McKay unequivocally succeeds at depicting this worldview, while also making excellent use of an unknown narrator named Kurt (Jesse Plemons), who we're told has some kind of relationship to Cheney that's cleverly kept under wraps until the film's final minutes, paying off in a major way. Some may find that to be the story's real hook, if not for Bale's rightfully heralded performance, which manages to do something the film itself only rarely manages to: humanize him. And simultaneously demonize him. With a massive weight gain and prosthetics, he not only looks the part (complete with a scary facial resemblance), but really understands it, even in places where the screenplay seems to be mocking every facet of his ideology.

Bale conveys this urgency in the man to plow forward because somewhere along the way, be it from Rumsfeld or his wife, it was drilled into him that history is written by the winners. This path replaces alcohol as his addiction, but like most, he's only as good or bad as who's surrounding him. While it's become sort of a running joke to guess which supporting role Amy Adams will be annually nominated for and lose, her work as Lynn Cheney ranks amongst the strongest in that regard, kind of an expanded version of the ice cold character she played opposite Philip Seymour Hoffman in The Master, albeit even more outrightly devious and controlling. In other words, she's living proof that behind every successful man is a woman. And the (fantasy?) scene where they recite Shakespeare to each other is really a keeper.

Despite earning a nomination himself for this, Sam Rockwell provides what essentially amounts to amounts to an SNL characterization of George W. Bush. Whether or not that's McKay's intention (and it's easy to believe so), it might be the only element in the film that plays as an all-out comedic farce. Depicting Bush 43 a moronic bumbling drunk who can't spell his own name or tie his shoes is undeniably low-hanging fruit, but it also seems very dated, more in line with something we'd see on some sketch show a decade prior. Is that the point? Either way, it begs the question of what time and distance has done to our percetion of his Presidency. Often, it's tough to tell if the movie's in on its own jokes or not, as Rockwell's portrayal is basically everything Josh Brolin resisted doing in W. 

Less broadly comedic is Carell's performance as Donald Rumsfeld, who ends up as kind of a tragic figure of sorts after his maniacal mentoring of Cheney. A little goofy, but smart and impulsive, Carell strikes just the right chord, making you wish he had an even more screen time. Tyler Perry shows up as Colin Powell, an uncredited Naomi Watts cameos as a FOX News-like anchor, along with nearly half a dozen "blink and you'll miss it" appearances from various actors as figures like Gerald Ford, Condoleezza Rice, Henry Kissinger and Roger Ailes.

If there were any lingering doubts as to how you're supposed to feel about Dick Cheney, McKay very proudly posts his reminders at every turn that you better hate him! And if you don't, he'll make sure you will by the time Vice ends. Unfortunately, that end point isn't exactly clear since a moment arrives late in the third act that seems to signal a perfectly logical conclusion, yet he keeps going, missing the opportunity to close on a single, powerful image that perfectly encapsulates his subject's life.

Even after an ailing Cheney is fighting to take his last breath due to heart problems and waiting on an eleventh hour miracle, the movie manages to get more shots in. Is this supposed to be the most one-sided of poltical takedowns? Or is it a spoof of one-sided political takdowns? We may never know, but with Cheney's legacy sealed, he gets a film as messy, muddled and confounding as he is, succeeding most at turning him into a bigger showman than he could have ever hoped to be.

2019 Oscar Nominations (Reaction and Analysis)

For those wondering whether my recent reviewing inactivity meant I wasn't watching or at least following the films embroiled in this year's Oscar race, it's time to put that theory to bed. I have been and will pretty soon be publishing a single post rundown of at least four of them to avoid things backing up any further. As for Tuesday morning's announcement of the nominations for the 91st Annual Academy Awards (full list here) by Kumail Nanjiani and Tracee Ellis Ross, it went well. Or at least better than last year's farce with every other nominee's name being misprounced by a popular comic actress. While the format was almost too laid back and missing the big press conference atmosphere, both were pros who appeared to enjoy being there doing it. So, considering the Academy's recently abandoned attempt at a "Popular Film" category and having no present host for the show, the nominations basically went off without a hitch.

Let's face it: No one's happy when their favorites are left off or tune in on February 24th to see a handful of films nominated they've never heard of. But the Academy's recent efforts to make the Oscars more "popular" reeks of corporate greed since they're only responding to network ratings pressure. And for the record, the Oscars are annually still the highest rated awards telecast despite the fact that no one even watches broadcast TV anymore. So, sorry, ABC can bite the bullet once a year while hardcore film fanatics enjoy the night, however long it may stretch

Ironically though, with the gap between critics and audiences still growing by the minute, quite a few immensely popular movies got in and the media and public outcry for a more diverse field was heard. We also a have the first superhero movie nominated for Best Picture, as well as Netflix and other streaming services really breaking through for the first time. Me? I just want to see the best work nominated and let the cards fall where they may. It's time to find out how AMPAS did this year, with some of the more noteworthy takeaways:

-  Netflix's Roma and arthouse, um, favorite, The Favourite lead the field with 10 noms a piece and are joined in the Best Picture category by the more popular entries Black Panther, BlacKkKlansman, Bohemian Rhapsody, Green Book, A Star is Born and Vice. We get an 8 film field this year.

-Barry Jenkins' If Beale Street Could Talk and Damien Chazelle's First Man are left out of the Best Picture race, denying us a rematch between the Moonlight and La La Land directors. In the case of the former, it just couldn't pick up enough steam throughout the season outside of Regina King's supporting performance, while First Man was darker and more introspective than anyone expected from a film about Neil Armstrong. On the plus side, it did well in the technical categories and is still highly regarded by many, if not the Academy. Predicted Gosling snub aside, it even failed to snag a supporting nod for Claire Foy.

-What happened to A Star is Born? A month ago it was a lock for EVERYTHING. Now, compared to those (unreasonably?) high expectations, it may as well be considered an awards flop. Plenty of think pieces will surely be written about what went wrong, but Bradley Cooper snubbed for Director? The saddest part is that it isn't even much of a surprise given he hasn't won anything up to this point. While it's hard to call any movie's 8 nomination tally disappointing, Cooper and Gaga look very shaky in their categories and previous sure bet Sam Elliott is quickly losing traction to Green Book's Mahershala Ali in Supporting. The film's expected triumph in Best Original Song with "Shallow" just might be its sole win, assuming that isn't also now in jeopardy.

-Marvel's Black Panther (with its over $1 billion worldwide box office take) becomes the first superhero movie nominated for Best Picture, thus opening the flood gates. Or maybe not. If the quality's there, then fine. But I can't be the only one who's a little nervous they'll start nominating lesser ones. Or, after getting this out of their system, wait years before rewarding another again? Regardless of how many statues it takes home, it has changed the game.

-Bohemian Rhapsody's continued dominance (with 5 nominations) is the biggest movie story of the past year, especially if you know how troubled that entire production was and the road it took to even get to the screen, and successfully no less. Even if we're still not completely sure who directed it. But good for Rami Malek. I'm sure few thought he'd be in this spot right now competing against Vice's Chistian Bale as a frontrunner for Best Actor.

-No slight on him but Willem Dafoe (At Eternity's Gate) clearly got the underdog Best Actor spot so many hoped would go to Ethan Hawke for his critically lauded, career best work as an emotionally tormented minister in First Reformed. Instead, we'll have to settle for a first time Original Screenplay nod for Taxi Driver writer Paul Schrader, suddenly the comeback kid at age 72.

-No supporting or lead nominations for both Timothee Chamalet (Beautiful Boy) or John David Washington (BlacKkKlansman), respectively. But something had to give. There are so many slots and and a certain number of performances that can fill them. Many get left out, and it's rarely a reflection on the work. These are two unfortunate examples of such a casualty.

-Glenn Close has Best Actress locked up, with Lady Gaga, Roma's Yalitza Aparicio, The Favourite's Oliva Colman and Can You Ever Forgive Me?'s Melissa McCarthy sure to be clapping on the sidelines when she wins her career achievement award. It's a narative that's only begun to come into view in recent weeks, with The Wife gaining serious momentum thanks to her rousing acceptance speeches.  Is Emily Blunt's ommisson for Mary Poppins Returns really that much of a surprise? Given the Academy's tastes, it may be. And Elsie Fisher getting recognized for Eighth Grade was always a pie-in-the-sky longshot, mostly due to their aversion to nominating kids in lead categories.

-Spike Lee is finally nominated for Best Director for one of his most commericial and challenging pictures yet, BlacKkKlansman. Except it's starting to feel like 1989 all over again with Peter Farrelly's crowd pleasing race relations drama Green Book playing the Driving Miss Daisy to Lee's Do The Right Thing in the Best Picture Race. With its recent PGA win, it really might be the frontrunner, save for the fact that Farrelly himself isn't nominated. Was recognizing the filmmaker behind Dumb and Dumber and There's Something About Mary too far a bridge for the Academy to cross? More likely, Green Book just seems like less of a director's achievement than the competition.

-They sure do love the polarizing Vice, with Adam McKay sneaking in with a mild surprise nod. Roma's Alfonso Cuarón and Cold War's Pawel Pawlikowski (unseating Cooper in the only real "shocker") become the first pair of directors of foreign language pictures to make the cut in this category, and both for black and white lensed films.

-No documentary nomination for Won't You Be My Neighbor? has to be the most egregious snub of this year's nominations. Hands down. We know they have a history of crazy decisions in this category, but there's just simply no excuse here. The outrage is justified.

-Heading into the show it seems to be a 3-way race between Roma, Green Book and, to a slightly lesser extent, Bohemian Rhapsody. Of course, we also know how that could change.

American Hustle

Director: David O. Russell
Starring: Christian Bale, Bradley Cooper, Amy Adams, Jeremy Renner, Jennifer Lawrence, Louis C.K., Jack Huston, Michael Pena, Shea Whigham 
Running Time: 138 min.
Rating: R

★★★ (out of ★★★★)

My immediate reaction after the final credits rolled on American Hustle was that it was a "fun time." But I can't help but think whether that response would been different had I not known the film received ten Oscar nominations, including all four acting categories and Best Picture. Almost needless to say, expectations were pretty high for what ends up being the weakest film in David O. Russell's comeback trilogy, which includes The Fighter and Silver Linings Playbook. While much more of a mixed bag than either, what's most surprising is how light and fluffy it is. It's basically an all-out comedic farce that's more entertaining than expected, but also far less substantial. It's loosely based on a real FBI Abscam sting operation in the 1970's but it isn't a biographical drama of any sort and certainly won't be mistaken for Argo anytime soon. The script almost seems to be making a complete mockery of the story which hardly matters since the real draw here is the acting, with costuming and (sometimes overbearing) soundtrack choices trailing not too far behind. With a less talented director and cast it's easy to imagine this being a disaster. Actually, it's still kind of a disaster. Just a really wild and fun one.

It's 1978 when con artist Irving Rosenfeld (Christian Bale) meets Sydney Prosser (Amy Adams) at a party in New Jersey and the two embark on a personal and professional relationship in which Sydney (posing as English aristocrat "Lady Edith Greensly") start running loan scam. When their latest mark turns out to be undercover FBI agent Richie DiMaso (Bradley Cooper), they're recruited by him to help with four stings in exchange for their release. But Sydney has other plans, getting romantically close to Richie to manipulate him as a jealous Irving stands on the sidelines. How much of this plan and her feelings morph into reality is a question that hovers in the air up until the end. Richie's biggest sting involves entrapping Camden Mayor Carmine Polito (Jeremy Renner), who's attempting to raise funds to revitalize gambling in Atlantic City. This sets in motion a convoluted plot involving a fake Arab sheikh, a secret wire transfer and the mob. But Irving's most dangerous problem is his stay-at- home wife Rosalyn (Jennifer Lawrence), a certifiable loose cannon who's no dummy. She knows something's up, and that knowledge could tear this operation and their family apart.

Remember that scene in The Wolf of Wall Street when Jordan Belfort turns to the camera and tells us he did a lot of illegal stuff but won't waste time boring us with the details? That's American Hustle in a nutshell. If there were a pop quiz on all the double crosses, fake-outs or even just the basic mechanics of the plot, it's an exam many wouldn't pass. And yet Russell manages to make it completely beside the point, instead focusing on the interplay between these wild characters, each seemingly crazier than the next. Clearly, the major plotline has less to do with Abscam than the love triangle involving Irving, Sydney and Richie, even if there are points where we doubt it can be considered a love triangle since the characters are all playing each other. The whole movie functions as one giant scam with everyone wearing masks at various points.

The two best performances come belong to the women, with Adams showing a side of herself as an actress we've never quite seen before, turning in her most intense work since The Fighter. Tough, but emotionally damaged goods, Sydney knows she's battling for more than to just stay out of jail by pulling off this scam. She wants prominence in Irving's life, ahead of his wife and son and is willing to use the hapless Agent DiMaso to do it. If some people are smarter than they look, Richie DiMaso is definitely not one of those people, falling for Sydney's hustle (and cleavage baring attire) hook, line, and sinker. He's also somehow target a legitimately honest politician and all-around great guy for his sting. In fact, Renner makes Carmine so selfless and likable in what should be the sleaziest of roles, that it's  impossible for the audience not to resent DiMaso for deceiving him. But Cooper gives him this helplessly pathetic quality of a man struggling to move up the bureau ladder and win a woman he thinks he's in love with, but really doesn't know at all. His hapless superior (played hilariously by Louis C.K.) is literally the only character who is worse off or commands less respect.

Holding the whole film (and his hairpiece) together is Bale, the real brains behind the operation, which isn't saying much. With a hideous wardrobe and a huge gut, few would be able to recognize the actor, and when they do, even fewer would believe he was capable of being this funny. So misguided and self-absorbed, Irving destroys the one relationship he has that means anything to him: His friendship with Carmine. It's possibly the only scam he's ever felt guilty about.  He spends most of the movie in a complete panic, as would anyone married to Jennifer Lawrence's Roselyn, the only character not at all like the rest.

On paper, Lawrence again seems completely miscast in a role meant for an older actress, only to respond by stealing the movie with a performance that starts as fully comedic before moving into some darker territory by the last act. In a picture where it's tough to take anything or anyone seriously, she uses limited screen time to turn what could easily have been a one joke character into a real force deserving of audience sympathy. That's a tight rope to walk and while all the hype and praise surrounding Lawrence has been exhausting, she proves again with her work that it's deserved. Her intense sing-a-long to Wings' "Live and Let Die" is a particular standout. Unfortunately, an uncredited Robert DeNiro turns in a comedic cameo as--you guessed it--a mobster. Ugh.  He also appears at just the point where the film starts getting a little overstuffed, making his shoehorned arrival feel especially unnecessary.

While it's clear Russell has a love for the period and certain details are deadly accurate, there's rarely any doubt he enjoys laughing at it also. As do we. If he was going for a Scorsese vibe, what transpires on screen often comes across as a comedic spoof of that. Call it "Scorsese Lite." Was that intentional? Does it even matter? All I know is that the whole thing is a lot funnier than most would have you believe. About halfway through you just forget everything and revel in the zany antics of these characters and enjoyable performances. If the developments were treated more seriously it might have been a better movie, but I'm not sure it would have been nearly as entertaining or interesting. This is about watching talented actors at the top of their game successfully disappearing into their crazy roles. Even the characters seem to forget about their own story on occasion. American Hustle might be all over the place, but it's most successful when not taking itself too seriously and functioning as a bizarre character study. Luckily, that's most of the time.    
     

The Dark Knight Rises

Director: Christopher Nolan
Starring: Christian Bale, Tom Hardy, Anne Hathaway, Joseph Gordon-Levitt, Gary Oldman, Michael Caine, Marion Cotillard, Morgan Freeman, Matthew Modine, Nestor Carbonell, Juno Temple, Ben Mendelsohn, Brett Cullen
Running Time: 165 min.
Rating: PG-13

★★★★ (out of ★★★★)

So, here we are again. It's been four years since the release of The Dark Knight, but it definitely seems much longer. Re-watching it again recently I was surprised how poorly it's held up and how on target my original complaints were. They only loom larger now. Poor editing choices, pacing problems, cringe-worthy dialogue, a poorly written love interest and a third act mess. And it was still pretty great. Much it saved, or at least greatly covered, by the late Heath Ledger's unforgettable Oscar-winning performance. It really was the rare case of one actor rescuing an entire film and a lesson in the danger of heightened expectations.

Now, with the arrival of The Dark Knight Rises comes the closing chapter in Christopher Nolan's Batman trilogy, and another instance where it's difficult to approach a Batman film without seeing it through the prism of a real-life tragedy. At least for a while. We can only hope that doesn't last, because very little of what occurs in this final installment bares little resemblance to a reality we know. And what a relief. This is escapism at its finest. It's not only by far the strongest film in the series, but Nolan's grand-scale masterpiece and the movie everyone insists its predecessor is. He takes the gloves off, raising the stakes and escalating the mayhem. Knowing this is the end frees him up to anything, and boy does he take full advantage.

A palpable sense of fear and tension comes from sensing everything's up for grabs and anything can happen. And it mostly does. There seems to be no rules, but within that framework Nolan still manages to create something structurally sound and airtight, free of filler and flaws. Nearly three hours breeze by without a minute wasted. Of course, there's no performance like Ledger's, but there shouldn't be. In fact, it wouldn't even fit here. What's delivered instead is a more ambitious threat both terrifyingly physical and deliberately planned, as well as two tour-de-force supporting turns that steal the film outright. The results on screen don't lie. But the real story isn't how much better this is than Nolan's previous Batman outings, or anything else in the genre. It's that it isn't even close.

Revealing anything is probably giving away too much, so it's best to tread lightly when discussing the plot, which is as multi-layered as The Dark Knight, but more focused, with much of its thematic content calling back to Batman Begins. Eight years have passed since Batman took the fall for District Attorney Harvey Dent's death and a crippled, bearded, Howard Hughes-like Bruce Wayne (Christian Bale) remains secluded in his mansion, even as trusted butler Alfred (Michael Caine) unsuccessfully attempts to coax him out of seclusion. Wayne Enterprises is crumbling after a failed investment in Miranda Tate's (Marion Cotillard) energy project while Commissioner Jim Gordon (Gary Oldman) grows tired of living the lie that inspired the Dent Act, a bill that's cleaned up crime and restored peace to Gotham City. At least temporarily.

Enter Bane (Tom Hardy), a masked mercenary with an intricate, carefully orchestrated plan to gain control of the city and instigate a revolution, restoring power to the people. With support from Gordon and most of the Gotham Police, including rookie detective John Blake (Joseph Gordon-Levitt), Batman/Bruce Wayne is drawn out of retirement. But he must also contend with the arrival of cat burglar Selina Kyle (Anne Hathaway), whose own motivations may or may not include helping him.  

From the exciting opening hijack scene revealing Bane, the film grabs hold and doesn't let go. Sounding like a Scottish Darth Vader, talking and breathing heavily through his life-sustaining gas mask, he's a horrifying presence as much for his oratory delivery as his freakish, hulking physique. All the complaints about his voice being unintelligible are unfounded and the few times I did had to concentrate on what he was saying was well worth it since its so hypnotically creepy. You actually look forward to his soliloquies about the troubles of Gotham and hang on every word, which is a good thing considering he lectures a lot.  Beyond that, the physicality Tom Hardy brings to the role is astounding, making his fights with Batman the most intense the series has seen. There's a feeling he could literally die at this man's hands. Brilliantly skirting the line between comic book adversary and reality inspired cult leader, he's true enough to be believable in both worlds, but successfully functions as both in Nolan's.

Bane's motivations aren't outright political or socioeconomic, nor are his actions (most notably an attack on Gotham's stock exchange) meant as some kind of endorsement or condemnation of the Occupy movement. The film isn't a social commentary. It's about Batman. And this may be the first Batman film that really is. Or rather, it's more about Bruce Wayne. The line between the two is fuzzier than ever in this installment, if not eliminated entirely. As a result Nolan plays fast and loose with Batman's identity, finally freed from the constrictions of having to "hide it," making Bale's performance more compelling as a result. The two personas are so inseparable that when a major character finally pieces the two together he feels out of the loop and the last to get the memo. Bale spends his least amount of time in the Bat suit, which feels right and means more when he's eventually back in it. That gravely voice is still there, but for some reason it bothered me less this time, either just because he isn't under the cowl as much or there's too much else going on to care. The movie is literally it's title, and that focus results in Bale's best work in the role yet.

Gotham City is also for the first time becomes a living, breathing character and fleshed out as much more than merely an action setting. This is a story that feels epic in scale, more so when Bane's plan starts to come to fruition and we head into the exhilarating final act, which contains a pair of shocking, game-changing twists. The city is literally at war with itself but the movie never feels like its playing in standard action territory because these sequences are seamlessly presented with minimal CGI, and the story stakes feel so high. Unlike The Dark Knight, nearly all of that action takes place in broad daylight so we can actually see what's happening and the camera isn't shaking, which makes for a notable improvement in presentation.  It might also mark the first time a nuclear bomb is used in a movie in a way that doesn't feel contrived or ridiculous.

Nolan's script opens up the entire city and pushes every important supporting character to center stage alongside Batman. It could have easily felt like an Inception reunion with so many cast members from that film on board, but it doesn't because each is plugged into wildly different supporting roles that help piece together the ambitious narrative. Morgan Freeman's Lucius Fox probably has the least to do this time around while Michael Caine gets some of his most emotional moments in as Alfred. Despite being laid up in a hospital bed for nearly half the film, Oldman still manages to be as much of a force as Jim Gordon, this time eaten up with regret. And taking the requisite Eric Roberts/Tom Berenger veteran character comeback role in a Nolan movie, Matthew Modine turns in exceptionally solid work as a clueless, but power-hungry Deputy Commissioner Foley. 

If the Two-Face material felt shoehorned into the last act of the last film, than this one represents the most successful integration of two villains yet, if you want to classify Selina Kyle as a villain. Bane doesn't care about the haves or the have nots, the one percenters, or the rich getting richer, but Selina does and let's Bruce Wayne know about it. Yes, it's true she isn't referred to as "Catwoman"  by anyone during the course of the film which makes perfect sense since it wouldn't fly in this context. Of all the villains in the pantheon, Nolan was supposedly most resistant to incorporating this character into his grittier, more grounded universe, and it's hard to blame him. Michelle Pfeiffer's performance in Batman Returns, falsely held up as the gold standard, may have been appropriate for that film, but the interpretation is campy beyond belief, and that's coming from someone who loves the classic 60's TV series.

As the trailers have hinted, Anne Hathaway absolutely knocks it out of the park, delivering the definitive interpretation of the character by making her a believable human being with real motivations. Devastatingly sexy and lethally dangerous, Selina's damaged goods who might have past the point of redemption and I loved how the usually super-expressive Hathaway's eyes just seem to go dead. There's legitimate doubt which side she's on that lasts until practically the final scene, and is only enhanced by Hathaway playing Selina as if she might not know either. And I love the catsuit, which actually seems like a functional uniform for her job rather than a costume. She's also given just the right amount of screen time to make the necessary impact. Much like Ledger, in hindsight it seems impossible anyone would think she was miscast or another actress could have done this better. And I've thought it too. We couldn't have been more wrong.

Marion Cotillard's Miranda Tate is thankfully no Rachel Dawes, and along with Selina Kyle, finally disproves the allegation that Nolan is incapable of writing strong female characters.Calling Hathaway's performance the picture's strongest is high praise, especially considering Joseph Gordon-Levitt almost walks away with it. Despite what you may have heard, his part as Gotham cop John Blake is so huge in both camera time and importance that you may as well consider him a co-lead alongside Bale. As the only hopeful, idealistic cop left amidst a sea of corruption, he seems to understand Bruce Wayne in ways no one else can, and Levitt plays him as the ultimate good guy, struggling to hold on to his values even as his city collapses around him. The movie's as much about him as it is Batman.

There comes this point in the picture when Nolan does something we didn't think he'd ever do, that he swore he'd never do, and even Christian Bale said he better not even try. But somehow he pulls it off, and without us even realizing he did until it's over. It's surprising just how powerful this ending is. Talk about sticking the landing. It feels like the cherry on top of a sundae, bringing the saga circle and confirming that Nolan hasn't been overpraised for his resuscitation of a franchise that was left for dead before 2005's Batman Begins. Even when the execution had holes, his overall vision for the trilogy was airtight. So now the strongest film gets a somewhat divisive reaction. Why?  Because Ledger's not in it?

The Dark Knight Rises, besides actually being fun, feels like The Empire Strikes Back of the series, fulfilling all its lofty ambitions while still leaving us wanting more. Nolan could easily continue, but he's right to go out on top. Saving the best for last, he's come the closest to shaking the stigma associated with comic book movies by using its origins as a jumping-off point to something bigger. His work's done, but the beauty of the Batman franchise has always been how open it is to wildly different interpretations. Just pity the poor director who has to follow this one.

The Fighter

Director: David O. Russell
Starring: Mark Wahlberg, Christian Bale, Melissa Leo, Amy Adams, Jack McGee
Running Time: 115 min.
Rating: R


★★★ ½ (out of ★★★★)


The Fighter is a story about a hard-working guy surrounded by well-meaning morons. That comes as a relief since here I was going into this thinking I'd be re-watching The Wrestler, only this time with boxing. It isn't technically about boxing, or even really a sports movie. The morons in question are family and this film offers up the best case yet for that old saying that you can't choose your family. The Fighter is all about family, but not in that sappy, sentimental way most sports movies are about them sticking together to triumph over adversity. This is about how they can, despite their best intentions, hold someone back and stop them from getting where they need to go. That's just the starting point for a true story that actually feels like a true story for its brutal honesty and realism, holding nothing back in its sometimes ugly, occasionally hilarious depiction of its subjects. That the director's controversial hot head David O. Russell (ironically taking the reigns from The Wrestler's Darren Aronofsky who dropped out to make Black Swan but stayed on as a producer) insured it would be edgy and not go the predictable, sentimental route of other true life sports stories. His gritty, take no prisoners approach to the material helps a lot as for nearly two hours the biggest fights happen outside the ring, in living rooms, outside of crack houses and on front porches as a dysfunctional family struggles to get on the same page. Anyone arguing that a frightening Christian Bale or to a slightly lesser degree, his unrecognizable co-star Melissa Leo, didn't deserve their supporting Oscar wins (or Amy Adams her nomination) for their work here don't have a leg to stand on. Mark Wahlberg may be the star, but this movie's theirs.

"Irish" Micky Ward (Wahlberg) is a struggling, slightly past-his-prime welterweight boxer from a working-class family in Lowell, Massachutsettes whose older half-brother Dicky Eklund's (Bale) claim to fame is maybe (depending on who you talk to) knocking out Sugar Ray Leonard years ago in a televised HBO match. Now, he's a 40-year-old crack addict thinking he's getting a televised special on his "comeback," that's actually a documentary on the dangers of drug use. Consumed with the past and living vicariously through Micky, Dicky is a total disaster as his trainer, driving his career into the ground by spending his days at a crack house and booking him against much heavier fighters he doesn't stand a chance against.  Not helping any is their manager mother, Alice (Melissa Leo), more concerned with Dicky's hopeless, imaginary comeback and re-living the past than getting Micky the right fights. Only their father George (Jack McGee) seems clued into reality and when he introduces Micky to feisty bartender Charlene (Amy Adams) and they begin a relationship, her attempts to get him to see the damage his professional damage his family is causing him results in an ugly feud. With Dicky's crack addiction and erratic behavior worsening, Micky is forced to choose between his career and family.

One of the film's most memorable moments is its opening as Dicky, once known as "The Pride of Lowell" for his in-ring accomplishments, walks the neighborhood with his brother and it's clear at least some of Dicky's boasting is true, or was at one point. This great sequence (set to The Heavy's "How Do You Like Me Now") really takes us into the neighborhood and lets us speculate whether these guys are local legends because they're great, or just simply because of a lack of better alternatives or anything else for these locals to latch onto. It's never really established whether either of these guys were ever great boxers (you could even argue Micky is somewhat terrible based on what we see), which ends up being one the story's better attributes. A glory hog, Dicky is a legend in his own mind and all the attention (whether it be good or bad) is just added fuel for him to self-destruct as he selfishly but maybe unknowingly leads his brother's career down the gutter while succumbing to his addictions. And boy is this some supporting performance from Christian Bale, reminding us in case we've forgotten during his Batman stint, why he's still one of the very best at what he does. The transformation he undergoes here is nothing short of astonishing. Unrecognizably skeletal (dropping nearly as much weight as he did for The Machinist) and perfecting a credible Boston accent, this is an acting tour-de-force that if entered into the lead category at this year's Oscars probably would have sent Colin Firth home empty handed. No one could have also guessed Bale was capable of being this funny, as he keeps us laughing uncomfortably at his antics at even the film's darkest moments. 

Almost equally unrecognizable and powerful is Melissa Leo as the hot-tempered, delusional matriarch who seems to want to do the best for both her sons but is just too stubborn and narrow-minded to have any kind of a positive affact on either of her sons' lives. What Bale and Leo both do best is make sure neither of these people come off as outright despicable or out to destroy Micky, which is a small miracle considering all the heinous damage they inflict. At times both almost seem to try to be helping, but in the only way they know how. You'd see how someone as loyal as Micky would fall into the trap of not wanting to turn his back on them, even as they unintentionally sabotage his future. Considering Micky's supposed to be 31 years old and 145 pounds, Wahlberg is definitely miscast on paper but he pulls it off anyway if only because it's difficult to picture anyone else playing this role. He's always good at conveying quiet determination, and is more low-key than anyone, which strangely makes him perfect for this. It's most fun to watch Wahlberg when he's hilariously miscast (like in The Happening and The Lovely Bones) because he always manages to overcome it through sheer hard work, which is commendably rare. As Charlene, be prepared for Amy Adams as you've never seen her before. As a tough, angry bitch who refuses to back down to Micky's family (and shouldn't because she's right), she displays a side to her acting talent totally unanticipated. One scene in which her fearless character goes toe-to-toe with all of Micky's repulsive sisters on the front porch is alone worth the price of admission. While it's unusual the lead is completely overshadowed by the rest of the cast, given the nature of the story, it almost seems appropriate here.

Playing half like a hard-hitting docudrama and also a true-life sports story, Russell carefully avoids the pitfalls usually associated with these types of films by focusing with unrelenting honesty on this family feud. The boxing scenes are well choreographed and easy to follow but that probably occupies the least amount of time in this story. Music plays an important role as the action takes place in 1993 and feels like it, many of the rock soundtrack selections (including Led Zeppelin, The Scorpions and Red Hot Chili Peppers) are lifted from other eras, yet are interwoven seamlessly. As is unfortunately the norm these days, none of these songs (some of the best musical choices assembled for a picture this year) are available on the officially released album due to rights issues so enjoy them in the movie while you can. Some may take issue with the ending and that's understandable but I didn't have a problem with it since it's difficult coming up with any alternative that could have worked any better considering this is based on a true story and that's exactly what happened. It doesn't feel like a cop-out. Underdog stories about an athletes overcoming the odds have been done to death, but The Fighter isn't exactly that and deserves credit for putting a fresh spin on something we thought they ran out of fresh spins for.

Oscar Predictions

Let me preface these by saying that I want to be wrong when it comes to the categories of Picture and Actor. With any luck this is just me being overly pessimistic, hoping for the best but planning for the worst. Hopefully I fall to the floor in shock when Tom Hanks or Jack Nicholson or whoever it is this year opens the envelope announcing The Social Network as Best Picture while Fincher, Sorkin, Eisenberg and company storm the stage to collect what's theirs. But as I've previously stated, it's fine if that doesn't occur and for all my complaints about The Academy Awards at least they'll never be The Grammys. Even when the Academy's actual selections are questionable, it's always an intelligent (if sometimes boring) adult-oriented show that at least attempts to nominate and reward quality work. I'd rather they go in this direction and come off as stuffy, pretentious snobs than sell-out and nominate the latest Twilight movie or Justin Beiber's concert film. And consider it a relief the show's producers sensibly reach for ratings with their choices of hosts and presenters, figuring out ways to freshen up the telecast each year, while at least trying to fix what doesn't work. With that in mind...  

Best Picture

"127 Hours"
"Black Swan"

"The Fighter"
"Inception"
"The Kids Are All Right"
"The King's Speech"
"The Social Network"
"Toy Story 3"
"True Grit"
"Winter's Bone"

Analysis: The Social Network is inspiring also. When it ended I couldn't wait to overcome the odds and start my own web site, screw my friends out of millions (no, BILLIONS) of dollars, train to compete in rowing races and awkwardly offend every female I come in contact with. In all seriousness, that's exactly what most voters were thinking when they marked their ballots...for The King's Speech. Of course, the big joke there is that The Social Network was never meant to be inspiring, at least in the way that more conventional drama is. And for the record, I didn't think The King's Speech was really that inspiring at all and I was more moved (not superficially inspired) by The Social Network. But hey, that's just me. Should something crazy happen The Fighter and Black Swan would be next in line, and in that order. Outside of that, no other film stands a chance, especially not The Kids Are All Right and Winter's Bone, and not even Inception or True Grit.  It's a two-horse race, with a Social Network victory still very possible, though unlikely. Expect The King's Speech to be joining Dances With Wolves, Crash, Slumdog Millionaire and The Hurt Locker in the $5 DVD bin shortly. None are bad films, only undeserving of going down in the annals of film history as one of the best. The Social Network is. Plus, it's actually fun to watch. What more could you ask for?

Will Win: How Green Was My Valle...I mean, The King's Speech
Should Win: Give me a break. 
Could Win: Please!  
Snubbed: Nothing really. Everyone will always have a different list of what they felt the ten best films of the year were. All things considered, they did a respectable job not leaving anything out.

Best Director

Darren Aronofsky, "Black Swan"
David Fincher, "The Social Network"
Tom Hooper, "The King's Speech"
David O. Russell, "The Fighter"
Joel and Ethan Coen, "True Grit"

Tom Hooper seems like a nice enough guy, which is why it would be a shame if he had to bare the burden of possibly being one of the most undeserving Best Director Oscar recipients in history. It's bad enough he could beat Fincher, but throw in Aronofsky, Russell and the Coens and it almost makes you glad Chistopher Nolan wasn't nominated just so he doesn't have to experience the embarrassment. But I'm cautiously hopeful that won't happen. The King's Speech was well directed for sure but anyone claiming it couldn't have been directed as well (or much better) by Hooper's competitors, or more than a dozen other random filmmakers, need their head examined and I think the Academy will see that. Fincher has a better chance at winning this than his movie does of winning Best Picture, but unfortunately not by much. I think he'll pull it out though. More than any other recent year, this one presents the greatest chance of there being a split between Picture and Director. If that happens I'll take it since anything would be better than The King's Speech dominating every category all night long. One request: If Fincher loses just please let it be to Aronofsky, the only filmmaker close to being in his league and deserving on the grounds of being able to squeeze such a high quality performance out of Portman.

Will Win: FINCHER
Should Win: FINCHER
Could Win: Tom Hopper
Snubbed: Christopher Nolan (Inception)

Best Actor

Javier Bardem, "Biutiful"
Jeff Bridges, "True Grit"
Jesse Eisenberg, "The Social Network"
Colin Firth, "The King's Speech"
James Franco, "127 Hours"

Analysis: I'm not exactly sure what planet we're on where Colin Firth is being trumpeted as being long "overdue" for an Oscar. Firth could probably get in line with about 50 award-less actors and wouldn't be at the front. He's a superb actor, but it's difficult to envision anyone thinking him not possessing a gold statue is a horrifying injustice that needs to be corrected immediately. But this is the Academy and sometimes there's just no rhyme or reason to what they do. You could say his win is really a make-up for an even better performance he gave last year that was snubbed in A Single Man, which not enough people saw for him to be rewarded. So, Eisenberg never really had a chance here as it was decided in voters' minds Firth would win before his film was even released or they saw his performance. The controversy surrounding how "true-to-life" his unlikable Mark Zuckerberg is won't help either. Plus, Firth brilliantly plays a character with a handicap who overcomes the odds. So go ahead and just hand him the Oscar right now. It's a great performance, but Eisenberg's is better, if not so much for what he does chooses to do, but what he doesn't. He'll lose due entirely to politics, as is often the case with these races. Bardem, Bridges and Franco-- thanks for coming. And given how busy Franco's been lately an Oscar would probably just be an unneeded distraction.

Will Win: Colin Firth
Should Win: Jesse Eisenberg
Could win: Jesse Eisenberg
Snubbed: I don't know. DiCaprio maybe? Clooney? Gosling?  Not exactly a banner year in this category.

Best Actress

Annette Bening, "The Kids Are All Right"
Nicole Kidman, "Rabbit Hole"
Jennifer Lawrence, "Winter's Bone"
Natalie Portman, "Black Swan"
Michelle Williams, "Blue Valentine"

So, let's talk about Portman. In my review of Black Swan I was really hard on her. Probably too hard, especially considering I loved the film and her performance, which lived up to all the hype and then some. My criticism of her as actress does actually come from a positive place. I just feel she never fully delivered on the promise she showed as a child in films like The Professional and Beautiful Girls in the early '90s. I expected a great career that never really materialized and its place came Star Wars prequels and other suspect choices with middle-of-the-road performances, so that's probably much of the basis for my disappointment. That said, me basically saying the movie is about her being a bad actress (she isn't) or comparing this to Sandra Bullock's victory last year (which I actually didn't have a huge problem with anyway) was a bit unfair. This work is clearly more substantial and her career trajectory far less embarrassing. And, believe it or not, no complaints from me that she's starring in movies like No Strings Attached and Thor because I always thought her biggest problem was that she needed to loosen up and try different roles like that. There's no question she deserves this, which is really saying something considering her competitors in this category, especially Lawrence who was incredible. Haven't seen Kidman or Williams yet but just knowing their previous work as actresses it wouldn't surprise me if either (or both) gave a better performance than Natalie. But they have no shot. This should be a lock, but prepare yourself just in case. No matter how ridiculous the character she played was, Bening is the only one here capable of matching Portman in a popularity contest, plus she's "overdue" (there's that word again).


Will Win: Natalie Portman
Should Win: Natalie Portman
Could Win: Annette Bening
Snubbed: Emma Stone (Easy A)

Best Supporting Actor

Christian Bale, "The Fighter"
John Hawkes,"Winter's Bone"
Jeremy Renner, "The Town"
Mark Ruffalo, "The Kids Are All Right"
Geoffrey Rush, "The King's Speech"

Analysis: In a category sometimes prone to upsets we have two frontrunners battling it out. The result of this will likely tell the tale of just how much momentum The King's Speech has because if longtime Academy favorite Geoffrey Rush can upset Bale here it could mean very bad news for The Social Network. It would signal early that the film will sweep clean across the board, possibly even adding Supporting Actress to its awards haul for the night. Just the fact that Rush even got in here with a nod and Andrew Garfield didn't is revealing (and alarming) enough in itself so that endorsement has to be factored in when trying to call a winner. But at least Rush is in the right category this time as opposed to 1996 when he won a Lead Actor Oscar for what was arguably a supporting performance in Shine. Now is probably a good time to mention that I haven't seen The Fighter, but we all know anyway the smart money's on Bale who underwent another astonishing physical transformation, this time dropping an alarming amount of weight to play crack addict/former boxer Dicky Eklund. Having won the Globe and the SAG already it's unlikely (though not impossible) that he'd lose. As great as it would be for Dustin from Eastbound and Down and Lennon from Lost to win an Oscar, I don't see it happening (this year at least) for the awesome John Hawkes, who would probably split my vote with Renner, whose performance is actually better than it's been getting credit for. But their nominations are reward enough, especially considering all the deserving actors left out. Someone who is actually overdue, Mark Ruffalo, finally gets nominated for something, but the role's just too lightweight to make an impact in this race.

Will Win: Christian Bale

Should Win: Having not yet seen Bale's performance, and based on what I've seen, I'd probably say Hawkes. 
Could Win: Geoffrey Rush (and it wouldn't be much of an upset either)
Snubbed: ANDREW GARFIELD- How is he not nominated? (The Social Network), Armie Hammer (The Social Network), Justin Timberlake (The Social Network), Vincent Cassel (Black Swan)

Best Supporting Actress

Amy Adams, "The Fighter"
Helena Bonham Carter, "The King's Speech"
Melissa Leo, "The Fighter"
Hailee Steinfeld, "True Grit"
Jacki Weaver, "Animal Kingdom"

The only category where literally ANYONE can win. It's like this every year, or at least since Marisa Tomei's 1991 win for My Cousin Vinny. For whatever reason this race always seems to be full of drama and excitement, usually commencing in gasps of shock and awe in the auditorium when the winning name is read. This year is no exception as Melissa Leo was thought to have this thing all wrapped up until she went rogue, taking out some controversial Oscar campaign ads for herself. Yes they're kind of silly and the timing wasn't the best but if voters actually hold this against her they need a reality check because their job is to judge the performance on screen. Plus, what choice is she left with when the studio refuses to promote her? There aren't exactly lots of golden opportunities out there for character actresses pushing fifty so if anything she should at least be commended for putting herself out there. If this stunt ends up costing her (and it could), Hailee Steinfeld will be the spoiler, but confusion over why a lead performance is being placed in a supporting category could kill her chances outright. Of the nominees, Leo's co-star Amy Adams is an underdog but many still feel she gave the better performance. That the undeserving Bonham-Carter even made it in (and sadly has a great chance of winning) is a credit to only how ridiculously overpraised The King's Speech is. Jacki Weaver was tremendous as a motherly sociopath in the gripping, underseen Australian crime thriller Animal Kingdom, if only enough voters knew about the performance and the film. But even she still has a very good shot here. This one's wide open.

Will Win: Melissa Leo
Should Win: Pass...until I see all the nominees 
Could Win: Hailee Steinfeld 
Snubbed: Rooney Mara (The Social Network), Marion Cotillard (Inception), Mila Kunis (Black Swan) Greta Gerwig (Greenberg), Olivia Williams (The Ghost Writer), Chloe Grace Moretz (Kick-Ass)


OTHER CATEGORIES (WINNERS IN BOLD)

Best Animated Feature

"How to Train Your Dragon"
"The Illusionist"
"Toy Story 3"

Best Foreign-Language Film


"Biutiful" (Mexico)
"Dogtooth" (Greece)
"In a Better World" (Denmark)
"Incendies" (Canada)
"Outside the Law" (Algeria)

Best Original Screenplay

"Another Year," written by Mike Leigh
"The Fighter," written by Scott Silver, Paul Tamasy and Eric Johnson. Story by Keith Dorrington, Paul Tamasy and Eric Johnson
"Inception," written by Christopher Nolan
"The Kids Are All Right," written by Lisa Cholodenko and Stuart Blumberg
"The King's Speech," screenplay by David Seidler

Best Adapted Screenplay

"127 Hours," screenplay by Danny Boyle and Simon Beaufoy
"The Social Network," screenplay by Aaron Sorkin
"Toy Story 3," screenplay by Michael Arndt. Story by John Lasseter, Andrew Stanton and Lee Unkrich
"True Grit," written for the screen by Joel and Ethan Coen
"Winter's Bone," adapted for the screen by Debra Granik and Anne Rosellini

Best Original Score

"How to Train Your Dragon," John Powell
"Inception," Hans Zimmer
"The King's Speech," Alexandre Desplat
"127 Hours," A.R. Rahman
"The Social Network," Trent Reznor and Atticus Ross

Best Original Song

"Coming Home" from "Country Strong," music and lyrics by Tom Douglas, Troy Verges and Hillary Lindsey
"I See the Light" from "Tangled," music by Alan Menken, lyrics by Glenn Slater
"If I Rise" from "127 Hours," music by A.R. Rahman and lyrics by Dido and Rollo Armstrong
"We Belong Together" from "Toy Story 3," music and lyrics by Randy Newman

Art direction

"Alice in Wonderland," production design: Robert Stromberg; set decoration: Karen O'Hara
"Harry Potter and the Deathly Hallows -- Part 1," production design: Stuart Craig; set decoration: Stephenie McMillan
"Inception" production design: Guy Hendrix Dyas; set decoration: Larry Dias and Doug Mowat
"The King's Speech" production design: Eve Stewart; set decoration: Judy Farr
"True Grit" production design: Jess Gonchor; set decoration: Nancy Haigh

Cinematography

"Black Swan," Matthew Libatique
"Inception," Wally Pfister
"The King's Speech," Danny Cohen
"The Social Network," Jeff Cronenweth
"True Grit," Roger Deakins

Costume design

"Alice in Wonderland," Colleen Atwood
"I Am Love," Antonella Cannarozzi
"The King's Speech," Jenny Beavan
"The Tempest," Sandy Powell
"True Grit" Mary Zophres

Best Documentary (feature)


"Exit Through the Gift Shop," Banksy and Jaimie D'Cruz
"Gasland," Josh Fox and Trish Adlesic
"Inside Job," Charles Ferguson and Audrey Marrs
"Restrepo," Tim Hetherington and Sebastian Junger
"Waste Land," Lucy Walker and Angus Aynsley

Best Documentary (short subject)

"Killing in the Name," nominees to be determined
"Poster Girl," nominees to be determined
"Strangers No More," Karen Goodman and Kirk Simon
"Sun Come Up," Jennifer Redfearn and Tim Metzger
"The Warriors of Qiugang," Ruby Yang and Thomas Lennon

Film editing

"Black Swan," Andrew Weisblum
"The Fighter," Pamela Martin
"The King's Speech," Tariq Anwar
"127 Hours," Jon Harris
"The Social Network," Angus Wall and Kirk Baxter

Makeup

"Barney's Version," Adrien Morot
"The Way Back," Edouard F. Henriques, Gregory Funk and Yolanda Toussieng
"The Wolfman," Rick Baker and Dave Elsey

Best short film (animated)


"Day and Night," Teddy Newton
"The Gruffalo," Jakob Schuh and Max Lang
"Let's Pollute," Geefwee Boedoe
"The Lost Thing," Shaun Tan and Andrew Ruhemann
"Madagascar, carnet de voyage," Bastien Dubois

Best short film (live action)

"The Confession," Tanel Toom
"The Crush," Michael Creagh
"God of Love," Luke Matheny
"Na We We," Ivan Goldschmidt
"Wish 143," Ian Barnes and Samantha Waite

Sound editing

"Inception," Richard King
"Toy Story 3," Tom Myers and Michael Silvers
"Tron: Legacy," Gwendolyn Yates Whittle and Addison Teague
"True Grit," Skip Lievsay and Craig Berkey
"Unstoppable," Mark P. Stoeckinger

Sound mixing

"Inception," Lora Hirschberg, Gary A. Rizzo and Ed Novick
"The King's Speech," Paul Hamblin, Martin Jensen and John Midgley
"Salt," Jeffrey J. Haboush, Greg P. Russell, Scott Millan and William Sarokin
"The Social Network," Ren Klyce, David Parker, Michael Semanick and Mark Weingarten
"True Grit," Skip Lievsay, Craig Berkey, Greg Orloff and Peter F. Kurland

Visual effects

"Alice in Wonderland," Ken Ralston, David Schaub, Carey Villegas and Sean Phillips
"Harry Potter and the Deathly Hallows -- Part 1," Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
"Hereafter," Michael Owens, Bryan Grill, Stephan Trojanski and Joe Farrell
"Inception," Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb
"Iron Man 2," Janek Sirrs, Ben Snow, Ged Wright and Daniel Sudick

A Second Look: The Dark Knight

WARNING! THE FOLLOWING CONTAINS MAJOR PLOT POINTS AND SPOILERS FROM THE DARK KNIGHT

Let’s take a trip back in time to the morning of Friday July 18, 2008 when I arrived at the theater to see The Dark Knight. It just wasn’t my week. Besides being sick, my mind just wasn't into going to the movies. And a film I had been looking forward to for years all of the sudden became a chore for me to go to because I’d been so burnt out by the hype surrounding it. I just wanted to get it out of the way and over with. Fair or not, I said that anything less than the greatest motion picture I’ve ever seen would be considered a huge disappointment. As a result, I was disappointed.

Due to circumstances beyond my control there was only one theater I could see it at and I knew in the back of my mind this venue was bad news. And bad news it was. It was hot, uncomfortable, had poor projection and a few screaming infants thrown for good measure. How much of that contributed to this rather infamous review I’ll never know but I do know that I left the theater that day dejected from a grueling experience. I was definitely more exhausted than enthralled.

That’s not to say I didn’t think The Dark Knight was great. I did, but just didn’t enjoy it nearly as much as everyone else seemed to. I debated whether to even review it because the circumstances surrounding the screening were so awful and I was so rushed that week that there was really no time to let the film sink in. But I did review it, and despite patch areas of massive praise (specifically for Ledger’s performance and the overall ambition of the project) I essentially considered it a letdown, despite awarding it three and a half stars. My problems with the film were as follows:

-I thought Bale’s performance was merely adequate and couldn’t stand his deep, raspy “Batman voice.”
-There was too much story build-up and mob nonsense at the front end of the film.
-The character of Rachel Dawes was once again an underwritten weak link. While I did think Maggie Gylennhaal fared better than Katie Holmes in the role, it was a far narrower victory than I had anticipated.
-The final act (that mostly involved Two-Face) dragged out and could have easily been saved for another installment. Nolan was jamming too much in.
-The movie wasn’t “fun.”

It was time to write this off as yet another case of me seeing a different film than everyone else. It’s happened before (Knocked Up and No Country For Old Men come to mind as obvious examples) but because of my anticipation level this one really stung. If you had told me before I saw it that it would go on to become the second highest grossing film of all-time I wouldn’t have been the least bit surprised, but after that first viewing I would have been. I left the theater certain it wouldn’t do as well as expected because it wasn’t your typical mainstream summer popcorn movie and the casual moviegoing public would find it too dark and inaccessible. When it did not only met expectations financially but far surpassed them I was shocked and then even more depressed because in addition to being disappointed by the film, I was wrong as well. It always sucks to be wrong.

So, for the next week or so I just hung my head in frustration as the rest of the country seemingly joined in a giant Dark Knight celebration. Then something strange happened. Over the next couple of weeks all I wanted to talk about with anyone was the film. I’ve joked that the two things I found most interesting to talk about in 2008 were The Dark Knight and John McCain’s selection of Sarah Palin as his running mate- In that order. I found myself talking about the film with strangers and then talking about far longer with people I know.
Whatever my feelings were on it, flaws and all, I couldn’t stop analyzing what I liked and didn’t, examining all the surprising angles Christopher Nolan approached the material with. The most fun I had was speculating with people which franchises could be “Nolanized.” And the more I talked about it the more I started to realize that my opinion of the film about a month after I saw it was substantially different than when I exited the theater on July 18th. With most movies this year it was “one and done.” I’d see it and when it was over I wouldn’t think about it again. But it never left my mind and even when I was attempting to review other films I just wanted to continue reviewing that one. Don’t believe me, just get a load of this:

“Speaking of The Dark Knight, I don’t think it helped that I saw that film before this. While wildly different in tone and approach, both are based on comic characters and a comparison makes this movie look especially ridiculous, almost as if it’s from a bygone era: pre-July '08.” -From my review of Speed Racer (9/20/08)

“The Dark Knight wasn’t without its flaws also but the big difference is that they were so interesting you could analyze them for years.”
-From my review of Iron Man (10/6/08)

“This isn’t There Will Be Blood or The Dark Knight. There are no benefits to hearing in excruciating detail how it was made.”
-Commenting on the DVD’s overabundance of special features in my review of You Don’t Mess With The Zohan (10/13/08)

“I took some heat for giving (The Dark Knight) “only” three and a half stars and saying it didn’t meet expectations. But no film could have met those incredible expectations and in trying it came closer than it had any right to.”
-From my review of Indiana Jones and the Kingdom of the Crystal Skull (10/20/08)

“Would everyone be praising The Dark Knight as much as they have if it ended with Brandon Routh’s Clark Kent sharing a drink and some laughs with Commissioner Gordon in a bar?” -From my review of The Incredible Hulk (10/4/08)

“It’s also more involving than the two other superhero outings this summer, Iron Man and The Incredible Hulk (The Dark Knight shouldn't be considered a superhero film).”
-From my review of Hellboy 2: The Golden Army (11/18/08)

“This summer, The Dark Knight proved you can have your cake and eat it too, entertaining the masses while still delivering a story of substance.”
-From my review of Hancock (12/1/08)

“This is The Dark Knight of hot and sour soup.”
-Me, after ordering Chinese takeout a couple of weeks ago.

This had cast a shadow so large in my mind that no other film released during the year could escape from under it. I didn’t realize just how large it was until recently. It was clear that the movie had a bigger impact on me than I had originally thought, which is why I couldn’t wait to watch it a second time to see how much my opinion would differ, if at all. It’s interesting to note that I rushed out to purchase the DVD immediately (how lacking it is in special features is a rant for another time). So did everyone else. Except I rarely buy movies and have an unbelievably wimpy collection for someone who constantly writes and talks about films. I basically never buy and just rent because while there are many movies I love, there are very few I have any interest in watching again. You’d be surprised how few films hold up well on second and third viewings. It’s a tough test.

My second viewing of The Dark Knight was a strange experience, and provided the realization that I retained even less of it in the theater than I had thought. As a result, the second viewing turned into another first one and I had to watch it a third time, which kind of became the second, if that makes any sense at all. The one problem I expected to get worse, or at best just simply not improve, was Bale’s performance, but I was surprised to discover how little his Batman voice bothered me the second time around. It was just there and I didn’t think much of it. I will say that I believed Bale created two separate persona here and actually could see how those close to Bruce Wayne wouldn’t have a clue that he’s Batman. Earlier, I had considered his portrayal of Bruce Wayne to be “arrogant” but was taken aback to find myself rooting for him more than I had before.

I still found the plot a little dense and the Rachel character underdeveloped, but the film didn’t drag out like it did for me before. Just the opposite. That third act, which felt tacked on initially flowed much better and the running time flew by. I was transfixed the entire way through. And it was nice to finally hear in all its glory Hans Zimmer and James Newton Howard's score which was drowned out by theater noise the first time around. And yes, it's as effective as everyone's said. When it was over all I wanted to do was watch it again. It’s in that third viewing where I was literally jumping up and down with excitement as I watched. The movie playing back in my mind for the past 5 months collided with what was on the screen and I loved every second of it. A plot structure I had thought was messy actually had three very clear and distinct sections that comprised the narrative and contributed to the overall themes:

1.The introduction of chaos and anarchy into Gotham City in the form of the Joker
2.The moral test for the characters that resulted from it
3. The fallout

And looking back, it’s almost unbelievable that Nolan somehow accomplished this:

-A superhero film played completely straight, stripped down to the point where it could be classified as a hyper-realistic crime epic.
-The presentation of the Joker as an anarchist and terrorist who just doesn’t care.
-Batman’s chronic inability to grasp that idea to the point that Alfred needs to explain it to him.
-Lieutenant/ Commissioner Gordon depicted as a hero at a higher level than Batman.
-The portrayal of Harvey Dent as not only as a really likable guy, but a hero who suffers a Shakespearean-level fall from grace.
-Batman’s identity discovered.
-The first successful attempt at having two major villains in a Batman film by brilliantly having Joker be the engine driving Two-Face.
-Rachel Dawes DEAD.
-Two-Face DEAD.
-Joker survives, and WINS.
- The film closing with Batman a fugitive and Gordon destroying the bat signal.

With all the Oscar talk surrounding the film lately, looking at that list above makes me think the nomination it’s most deserving of just might in the screenplay category. Those are just the big points and it doesn’t even scratch the surface. That’s not to mention all the unforgettable scenes and images that stay with you like the bank robbery, Hong Kong, the interrogation, the pencil trick, the ferry, the climactic rooftop discussion, and of course, “Nurse Joker.” No more needs to be said about Ledger’s performance, but consider something: As powerful as it was it never overwhelmed the film or overshadowed anyone else. There was still plenty of breathing room. That’s a real credit to Nolan’s direction, the editing, and how controlled Ledger’s work remained while inhabiting the most uncontrollable of characters.

When I first saw the film Eckhart’s turn as Harvey Dent really stood out for me but the more viewings I have under my belt the more I appreciate what Gary Oldman did with Lieutenant Gordon. Here’s a character who throughout all the previous Batman installments was nothing but a throwaway figurehead. Here, Nolan re-imagines Gordon and Oldman brings him to life as a hero who must make tough moral decisions to protect the city he loves. He isn’t just a supporting player called upon to just throw up the bat signal on cue. You know this script is firing on all cylinders when by the end we not only care what happens to him, but also his family. Oldman’s subtly brilliant work is all but invisible the first time you watch the film but on repeated viewings it comes into clear focus. He’s the heart and soul.

The funny thing is I still think the film has its problems, has been massively overpraised, but that's not its fault. I’m betting a lot more people than are willing to admit had the same initial reaction to the movie I did and it does help to go into it prepared to not see your typical summer superhero film. Similarly, anyone approaching this with the mindset that it should be the greatest film ever made will be sorely disappointed. Nothing should have to live up to that tag. Instead, it slowly reveals itself as the layers are peeled away, which could explain how it’s done such great business through repeated viewings. The Dark Knight really is the rare film that gets better each time you watch it. On my third, I feel as if I've only begun to scratch the surface.

My biggest complaint that the film wasn’t any fun drew a lot of ire but it seems especially ridiculous and irrelevant now since no movie has given me more enjoyment over the past few months. I just never anticipated that the fun would occur AFTER I saw it, which serves as a reminder that the experience of watching a movie should continue long after it’s over, at least with the really good ones. It’s a little something called "STAYING POWER." I wouldn’t take back my initial review because I think in a crazy way it caused me to appreciate the film more in the long run. But there is still one thing I need to change:

**** (out of ****)

There we go, that’s better.

Random Ridiculous IMDB Thread Topics On The Dark Knight (With My Reactions)

Like a lot of people, I’m still trying to adjust to a movie landscape in which we’ve all finally seen The Dark Knight. It’s over and in the books, despite the fact certain scenes may be replaying over and over again in our heads. It currently holds the record for the highest grossing opening weekend in history and is currently ranked as the #1 film of all-time on the Internet Movie Database. The latter I wrote off as just a bunch of fanboys voting 10’s over and over again but it turns out you do have to have some kind of a voting history for your scores to count in the ranking. The Godfather has held that top spot for the past 10 years so this actually is somewhat of an accomplishment (although I’d still expect that ranking to level off considerably in the next couple of weeks and months).

Usually after I’ve finished watching and reviewing a film I’m ready to move on but I’ve found it isn’t so easy doing that with this one. A lot of people have been asking me whether I plan to watch it again and my answer to that is “No, not right now.” I just can’t risk having another nightmarish theater experience with it so I’ll wait for DVD. Already I’m suspecting I may have come down too hard on it because of my expectations but I’d need a re-watch before making that call. Looking back at some films I’ve given four stars to this does seem better than many of them, but that could just be because it’s so much more ambitious. It’s worth noting that I don’t think you can swing for the fences like this did without having some flaws.

I was also completely shocked at many of the decisions that were made, specifically in the third act. I never in a million years expected things to be left like that. With all the clips that were leaked to the media, they did do a good job covering up the surprises. And I definitely didn’t expect that we’d be talking about two supporting performances in addition to Ledger’s that deserve Oscar consideration. Of course speculation has already begun on a sequel, which right now looks like it’s happening and I may be posting my thoughts on potential casting possibilities with that soon.

In the midst of all this, I noticed the usual ridiculousness and stupidity over at the IMDB has reached even higher levels. Everyone knows how insane the postings can be over there, but I noticed they’ve really topped themselves this past week. Below (in bold) are real titles of IMDB message board postings on The Dark Knight and if these are just the thread topics you could probably imagine what’s contained in the actual post and the debate it’s caused. Now I know why I stick with MySpace. Some of these are pretty funny though. In parenthesis is my reaction.
Ledger’s Death Completely Overshadowed Eckhart’s Great Performance
(I hope not. Eckhart was amazing. This is also the first Batman film to handle multiple villains well)

BALE WORST BATMAN EVER!
(I’m sure George Clooney would be thrilled someone has that opinion)

Bale needs to work on the voice he sounds like the cookie monster
(Sorry, that one’s kind of true)

Unfair giving an Oscar to someone just because they died
(I agree. And that’s an irrelevant point here)

Why Does Everyone Like Bale So Much?
(Probably because he’s a great actor, but of the major players I do think he gave the weakest performance in the film

Katie Was easier on the eyes
(Maybe, but Maggie was easier on the brain)

Anyone here hate people who talk during movies
(Yes! You should have been in my theater)

Catwoman In Nolan’s Bat Universe is like putting Aliens in Indiana Jones
(I disagree. I think everyone wants to see Nolan’s take on Catwoman. Any casting ideas? I've got a few)

Good movie…but get it off of the #1 slot of Top 250
(It is too high, but I can’t view it as a negative that this film has struck such a chord with so many people)


NOLAN”S PENGUIN!
(From what I heard Nolan isn’t interested in exploring this character, but I am slightly curious to see what he could do with it)

So how do movie theaters make money?
(Um…by charging too much?)

I Have An Above Average IQ (125) and trust me, TDK sucks!
(Do I really have to respond to this?)
Ledger’s Joker Made Nicholson’s Look Like A Court Jester
(Agreed)

Forget Comparing Jokers, who was the better Two-Face?
(Give me a break)

This just in: Dark Knight is OVERRATED!!!
(Of course it is. So is just about every other movie. Your point?)

Why is Scarecrow in this?
(I don’t know but I don’t feel his presence helped or hurt the film at all. It was such a non-issue I didn’t even bother mentioning it in my review)

MAGGIE G. IS UGLY!
(watch Secretary, then get back to me)

I want to see Robin in the next Batman movie
(I don’t)

Remember when you were all upset about Heath Ledger as the Joker?
(Yep. I was one of those morons.)

The hardest PG-13 film I've ever witnessed.
(Me too)

Sequel? Let it die with dignity
(I can really see this point)

Rachel Turned Into An Old Ugly Woman in One Year
(No, she actually turned into a believable attorney)

I wonder what Tim Burton Thinks
(Probably that he just got his ass handed to him)

Kevin Spacey Is THE RIDDLER
(There are worse choices, but no thanks. I had enough of him in the dreadful Superman Returns)

Will Bale’s “assault” allegations harm this film?
(No, if anything, it’ll increase interest in it)

So, Our economy is doing OK?
(I thought the same thing when the box office numbers started coming in)

Sorry guys, but this film won’t be nominated for Best Picture
(Sadly, I think that's true)