Tag: Gotham City

JOKER – Review

Fall has finally truly arrived (those 90s temps have at last vacated), so it’s really time to get serious and somber at the multiplex. But, to quote a ’08 classic, “Why so serious?”. After all, there’s often time for a comic book-based cold weather flick. Ah, but this one’s very different from the big action epics from a few months ago. First and second, it’s deadly (accent on the first syllable) dramatic in tone and earns it’s “R” rating. Not the first comic-based flick to do so (hey, LOGAN and DEADPOOL), but this centers on a villain (yes, I know Sony/Marvel gave the “title star” treatment to Spidey’s nemesis VENOM a couple of years ago). Let’s be specific, this is “THE” comic book villain, really the greatest comic baddie of all time, maybe just as popular as his arch-rival. I’d say he ranks right up there with the greatest villains of fiction, earning a place alongside Dr. Fu Manchu, Simon Legree, and Prof. Moriarty. Origin story? Well sorta’. This is definitely a showcase for one of cinema’s most intense, unpredictable actors as he slaps on the white pancake makeup and dons the bright flashy duds of the JOKER.

We first meet Arthur Fleck (Joaquin Phoenix) as he checks in with a disinterested social worker at a dingy, flickering-fluorescent lit downtown office. He’s recently discharged from Arkham Asylum, and has to talk with her before he gets his “meds”. Once he’s done, Art is off to work at a “talent” agency that provides clowns for events and businesses. After applying the “war paint”, he’s twirling a “sale” sign outside a retail shop on the dirty “mean streets” of downtown Gotham City. He’s jumped by some thugs who leave him bruised and battered (physically and emotionally). Art gets himself together for the long bus ride to the cramped apartment he shares with his aging fragile mother Penny (Frances Conroy) in a nearly condemned apartment building. After he feeds and bathes her, it’s time for the pre-bedtime ritual of watching the late-night talk show hosted by Art’s idol Murray Franklin (Robert DeNiro). Art fantasizes about meeting Murray and getting his big break as a stand-up comic (Art carries around a ratty notebook full of “joke idea” scribblings and pasted photos). All the while he wonders why life is such a struggle, while the Wayne family, headed by possible Mayoral candidate Thomas (Brett Cullen), lives in the lap of luxury. Art is finally pushed over the edge after a horrific subway encounter, which also pushes him into the arms of single mother neighbor Sophie (Zazie Beetz). That incident proves to be the spark that lights the fuse on the GC powderkeg of “class injustice”. Soon after this Murray somehow gets a tape of Arthur’s inept stand-up “set” at the comedy club Pogos. Will this be his chance at stardom, or will it be the humiliation that finally shatters Arthur’s damaged psyche? Could his new invented persona of “Joker” erase Arthur Fleck for good?

You could almost call this “The JP Show” since the talented, compelling Mr. Phoenix is in nearly every scene, and is equally sympathetic and repellant. Particularly in the early sequences, Artie seems to be the world’s (or at least Gotham City’s) doormat, soaking up all the ugliness on the bottom of humanity’s feet. We’re supportive as he refuses to take out his many frustrations on his adored mother, holding in the humiliation of his assault on the job. His only escape seems to be his dream relationship with Murray, a father figure who is able to see his “special-ness”. Phoenix brings us in on Arthur’s embarrassment over his unexplained sudden bursts of inappropriate hysterics (that raspy “cackle-laugh” is convincingly grating). And then he “pushes” us away when Arthur begins strolling (eventually running like a cartoon mouse escaping a hungry cat) down a very dark, twisted path. He goes from put-upon “everyman” to vain, uncaring “monster”, eschewing all boundaries of social norms. Phoenix uses his body language to show this inner metamorphosis (supposedly dropping over 50 pounds to get a tangled marionette visage). His voice changes from a low growling “word-swallower” to an agitated scream, often looking as though he’s spitting bile and venom. This just adds to the character’s unpredictability, giving extra heft to his quick bursts of violence. Finally, Phoenix adjusts his posture and delivery to drive home the sense that the poor lil’ guy from that first act is buried by tons of hatred and loathing. Add this towards the top of Phoenix’s already impressive roster of film roles.

The first comic book appearance of “Mr. J” in 1940

But Mr. P does get good support from the stellar cast. There’s a tender rapport between him and Conroy. As Penny, she shows us a weary woman quickly sliding into senility. And her eyes tell us of her conflicted relationship with her son. Penny’s caring and very dependent while trying to hide her fear of her “boy”. DeNiro’s having a good time as the “puffed up” veteran TV comic-host (he’s much better here than in the dreadful THE COMEDIAN), trampling over his staff and recalling a now adored classic flick from his heyday. In a twist on THE KING OF COMEDY, Rupert Pupkin has become the smooth Jerry Langford (Jerry Lewis’s greatest acting gig). Ms. Beetz is a most believable love interest, though her role doesn’t really give her a lot to do (she and Artie share a similar “sick” sense of humor). In a change from previous media incarnations, Cullen gives us a Thomas Wayne who’s a well-dressed, over-privileged thug who throws gasoline on the tiny fires set to turn the city into a cinder. This “politico’ can barely contain his contempt for the underclass, even calling them clowns. And it’s great to see the pairing of two terrific character actors, Shea Whigham and Bill Camp, as a cop duo who seem to be just a step or two behind Arthur. I wished for some more time with them (maybe in some deleted scenes in the home video release).

In a big “switcheroo” from his “raunchy” comedy resume, director Todd (THE HANGOVER trilogy) Phillips, who co-wrote the script with Scott Silver, goes dirty and very downbeat to give us this swift spiral into madness. We can almost smell the stench off the Gotham streets, echoing the “fun city” garbage collector strikes of decades past. Most have mentioned the 70s Martin Scorsese vibe (he was attached for a time as producer), feeling as though the film is the “love child” of TAXI DRIVER and the aforementioned THE KING OF COMEDY, but the film digs deeper into the era with nods to MS. 45, DEATH WISH (though the predators look like they just left the Moves club from the recent HUSTLERS), and THE EXORCIST (some lengthy outdoor concrete stairs are a big backdrop), with a dollop of the more recent FIGHT CLUB and A BEAUTIFUL MIND (you’ll make the connection). It’s gritty and dark thanks to the low lit cinematography from Lawrence Sher. And the art department really gives the talent from ONCE UPON A TIME IN …HOLLYWOOD a “run for their money’ in recreating a decades-old city (LA in 69′ for Tarantino to NYC in the early 80s here). Unfortunately, the film’s pacing could be tighter as Phillips lingers a bit too long on Artie’s mirror-gazing and manic movements (that gallop). But he does have a feel for high drama (though the homages can tend to pile up) and gets good work from all the actors involved. The title character’s chain-smoking becomes tiresome (I was recalling Jerry Lewis in THE FAMILY JEWELS), though many might consider a Marlboro-puffing harlequin “edgy”. This is quite a different “clown prince of crime” than we’ve encountered previously and for fans of 70s cinema and Mr. Phoenix, JOKER is a fatalistic film funhouse. And not a winged rodent in sight.

3 Out of 4 Stars

THE DARK KNIGHT RISES – The Review

Whenever a fan-favorite franchise as popular, and with such history is undertaken by Hollywood, the primary question is always “Will it succeed, or will it get butchered?” The Batman property first took theatrical form in the capable, yet recently more volatile hands of Tim Burton, who delivered us two very stylized but still enjoyable versions of the Batman lore. I’ll refrain from commenting on the 3rd and 4th entries into the Batman filmography, which then brings us to the relatively young, but extraordinarily talented — perhaps even genius — vision of director Christopher Nolan. Now seven feature films into the DC Comics based franchise, the question must still remain on the fans’ tongues… “Does it work?”

In short, the answer is an emphatic, ecstatic yes, Yes, YES! Christopher Nolan has for some time now led us to believe this third installment of his Batman interpretation will be his last. Following BATMAN BEGINS and THE DARK KNIGHT, THE DARK KNIGHT RISES serves as a superbly well-rounded grand finale to the trilogy. Co-written with his brother Jonathan Nolan and the writer who really gets around, David S. Goyer, THE DARK KNIGHT RISES is highly effective at utilizing every last second of the 164 minute running time. The film picks up some time after the previous film. Harvey Dent is dead, but his legacy lives on through the Blackgate Prison, housing some 1000 of Gotham’s most dangerous and violent criminals, essentially rendering Gotham City nearly crime free. As we discover what the post-Joker Gotham City has become, we also discover that Batman has seemingly retired as Bruce Wayne is now a reclusive hermit with health problems.

On the surface, one would think Gotham City is turning around and all is safe, but we know better than this, do we not? Commissioner Jim Gordon (Gary Oldman) is the only man in Gotham still uneasy about the fate of his city, as the mayor and the rest of the police force have bought into the new peace, mocking Gordon in his skepticism. However, there is one cop who shares Gordon’s uneasiness and his name is John Blake (Joseph Gordon-Levitt). Gordon’s paranoia is not without reason, as THE DARK KNIGHT RISES is a slow burn mystery as the master plan in progress by this film’s villain gradually develops and unfolds like a fiendishly intricate piece of paper origami with a deadly surprise waiting at the center.

Enter Bane, to whom we are introduced at a very early stage in THE DARK KNIGHT RISES. We witness the transport of a mysterious criminal/terrorist by the CIA, a large man bound and blinded with a black hood loaded onto a plane. From the very beginning, something feels unavoidably tragic about this transaction. This scene spares no time in showcasing Bane (Tom Hardy) as a powerful, strong and intelligent enemy. Bane is a hulking, bald man who wears an ominous mask housing what appears to be a breathing apparatus of some sort. For those who are not familiar with the storyline from the comic books, this plays a significant role in the film, one which I will not spoil. You’re welcome.

Tom Hardy (WARRIOR) truly captures the essence of Bane, the comic book villain that has become known as Batman’s greatest foe, even over his age-old arch-nemesis The Joker. What truly stands out about Hardy, aside from the shear bulk he developed for the role, is that he portrays the character so well with a performance that is solely physical in nature. As Bane must wear the mask at all times, Hardy is unable to use his voice, and is limited with his facial gestures, forcing him to convey every nuance and emotion through his body. It’s quite remarkable to watch, but I feel a second viewing is necessary to truly appreciate this, as the film is so fully engrossing that it’s quite difficult to focus on any one single element during the initial viewing.

Months ago, a talking point hit the Internet about Bane’s voice. The issue revolved around the audience’s ability to easily understand Bane’s dialogue given that Hardy was forced to speak through the mask apparatus the entire film. This was arguably an issue, and in the end, the film does prove to have employed ADR — Automated Dialogue Replacement, or looping — which allows the filmmaker to go back after filming has completed and replace the existing dialogue with that of a different or better quality. This was a smart decision, as many viewers would have likely found themselves distracted by a struggle to hear the character and understand the story. On the other hand, I do have one… let’s call this a curious observation, as it’s not really a complain, but, I found that Bane sounds surprisingly like Sean Connery. There is no evidence that he provided the new dialogue, but it sure sounds similar and I found myself minimally distracted, but curiously entertained by this notion.

There are those who had their doubts about Anne Hathaway being cast in THE DARK KNIGHT RISES, but I was not amongst their ranks. I’ve held an appreciation bordering on respect for her talent for some time, so finding her cast as Selena Kyle — known in the DC Comics Universe as Catwoman — has my interest peaked. As it turns out, Hathaway (LOVE & OTHER DRUGS) delivers a low-key performance with the appropriate sarcastic humor and sharp wit without over-reaching in her role. With the help of a very well written character, Hathaway captures the physicality, sexiness and personality of Selena Kyle with astonishing accuracy, ranking her above Michelle Pfeiffer, in my book.

THE DARK KNIGHT RISES does an exceptional job at staying relatively true to the source material, an area in which I could spend endless and lengthy words, going into great detail elaborating and analyzing, but that wouldn’t do you — the reader — any justice whatsoever. IF you’re a reader of the comic books, little of the story itself will be of much surprise, but the film itself will be a highly rewarding experience to accompany your existing knowledge. For those unfamiliar with the comic books, SEE THE MOVIE FIRST! Why? This film is so well done, and serves as such a solid introduction, it will be best to delve into the comic books after seeing the film to fill in all the details and texture of the monumental Batman story arc.

Director Christopher Nolan continues to prove he is a force to be aware of in Hollywood, rapidly becoming the most powerful filmmaker in Tinsletown. To our great benefit, he has developed a strong, ongoing relationship with cinematographer Wally Pfister and composer Hans Zimmer. Thank God, because this has led to a trilogy of films that look and sound absolutely breathtaking. Batman demands the criminal’s attention, so it’s fitting that this trio of creative artists render the Batman lore as equally demanding of the viewer’s attention. Christian Bale continues to deliver as Bruce Wayne/Batman, still growling at the bad guys, but slightly less so as to water down the excess and becoming less of a distraction.

Viewers prepare yourselves. Get ready to rumble and relish in Batman’s action-packed swan song, or is it? I’ll say no more, but I will merely point out that this film has plenty of surprises, suspense, incredibly choreographed fights between Batman and Bane, and even some bad-ass, long-legged butt-kicking by Anne Hathaway. As usual, there are plenty of cool toys featured in the film, a couple of distinctly hilarious tongue-in-cheek moments, one of which is a humorous epiphany delivered by Batman himself. THE DARK KNIGHT RISES also delivers on the heart strings, featuring one specifically tear-inducing moment between Alfred (Michael Caine) and Bruce Wayne. Marion Cotillard rounds out the cast, playing fellow philanthropist Miranda Tate, along with return performances from Morgan Freeman as Lucius Fox and a cameo appearance from a previously featured villain.

While THE DARK KNIGHT RISES serves as the perfect finale for an incredible three chapter story, it also raises many questions for the audience, especially fans, while not leaving any significant loose ends. If your cinematic experience with THE DARK KNIGHT RISES is anything like mine, you’ll leave the theater energized, excited and fulfilled, while also desperately desiring more from the new master of “the caped crusader.” Personally, I feel privileged to have been exposed to Batman in such light, but also feel like the cinematic legacy of The Dark Knight has only just begun to tap it’s true potential.

Overall Rating: 4.5 out of 5 stars