The Batman (2022)

Here are some things that Matt Reeves seems to really like, based on what he presents to viewers in The Batman. "Something In The Way", by Nirvana, Seven, putting a camera as close to someone as possible so you can be right beside them as they grapple hook up to a roof/BASE jump off a building/crash a car/etc, Seven, Zodiac, and . . . Seven. Oh, and shots of people riding motorbikes. If you took out every moments of someone riding a motorbike here than you might have a film that would clock in at a much more reasonable runtime, instead of the hefty three hours we get.

Here's the story, boiled down to essential elements. Batman (Robert Pattinson) is being given the runaround by Riddler (Paul Dano), a criminal determined to expose the secrets of Gotham City. As he tries to get information from the underworld that essentially rules Gotham, Batman deals with Penguin (Colin Farrell), Carmine Falcone (John Turturro), and is helped in his investigative work by James Gordon (Jeffrey Wright) and Catwoman (Zoë Kravitz). People are placed in deathtraps, forced to admit to their weaknesses and crimes, and a whole master plan is in place, with the Riddler moving pieces around the city, perhaps including the Batman himself.

There's a lot to like here, a lot that is easy to enjoy if you're a fan of Batman (and so many people are). Despite the darkness of the colour scheme, it's often a visually impressive film. The score is decent, although hampered by those that have come before it, and Reeves and Peter Craig have crafted a screenplay that attempts to provide a perfect mix of the cerebral and the visceral. The biggest problem is how often it defers to past movies, be they other Batman movies, Seven/Fight Club/Zodiac, or Taxi Driver (you could say that the entire finale of this film shows a real rain coming along to wash away the scum).

The pacing of the film is helped by the action set-pieces. They're generally of a high standard, although that close-up camera trick spoils a number of moments, and it's good to see consistency in the way Batman uses skill, strength, and confusion to take on groups of henchmen. There’s nothing new here, and it would be nice to have a Batman/Bruce Wayne who isn’t wrestling with his own guilt and self-doubt for a while, but it is given, for the most part, a decent makeover. I didn’t personally like the reinterpretation of the Riddler, nor do I think a tiresomely inevitable cameo bodes well, but it all works within the film that Reeves set out to deliver.

The cast are, by and large, almost perfect. Pattinson has to be a bit too dour as Wayne, although he doesn’t spend a lot of screentime without the mask and cape on, but he really suits the Bat attire, and has a good voice that doesn’t wander too far towards Bale-growl territory. Dano is disappointingly underused, seen largely through phone screens and computer monitors, but his performance is excellent, and he is allowed to believably posit himself as someone much smarter than everyone around him. I have seen people say that Farrell is also underused, but I think his character is crucially involved in a number of moments that help him make an indelible impression. Wright is a perfect choice for Jim Gordon, and Kravitz stands out as the best Catwoman since Michelle Pfeiffer played the role so memorably back in Batman Returns (I like Anne Hathaway, I just don’t think she was as good when asked to portray this particular character in The Dark Knight Rises). Strong, athletic, smart, sexy, and believing she has extra lives to make use of, Catwoman is once again a very believable and viable yin to Batman’s yang (get your mind out of the gutter), and Kravitz is perfect for the role. Turturro makes a great Falcone, the criminal kingpin who controls so much of the city, and the famous Alfred is played this time around by Andy Serkis. As good as he is in the role, Serkis has to play a character who is basically forgotten, aside from a few small scenes, which feels strange in a film with so much runtime to fill.

The good far outweighs the bad, and a lot of that is thanks to the canny casting, but it’s sometimes hard to view this favourably when it constantly indulges in such obvious plundering and cannibalism. The ending feels especially dull, and familiar, considering how it basically turns a great villain into a sad totem for . . . well, just wait and see for yourself what you think of the “grand finale” and big reveals.

This is a good way to reconfigure the character (although it would have been nice to not keep referring to dead parents as a main plot point again), and I was surprised by how much I didn’t care for the runtime as things moved from one impressive sequence to the next, but it still doesn’t quite equal the best of the Bat-flicks. It’s very good though, despite the flaws.

8/10

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Venom: Let There Be Carnage (2021)

Sometimes a movie comes along that really highlights the divide between audiences and out-of-touch movie critics. Venom was one of those movies. It was a mess, particularly during a CGI-filled third act, but it was also a whole lot of fun. Venom: Let There Be Carnage is a sequel that stays very comfortably in that messy fun zone. It's also just as good as the first film, and benefits from not having to set up the central Venom/Eddie Brock dynamic, positing them from the very first scene as a standard "odd couple", good friends who also irritate the hell out of one another.

After talking to the notorious murderer Cletus Kasady (Woody Harrelson), Eddie Brock (Tom Hardy) finds his star back on the rise. He might be moving from loser to less-dismissable loser. The fact that his story actually came from information detected by Venom means that his body-sharing symbiote personality is, to use the technical term, ready to go in a big huff. Venom rarely gets to eat the food that he likes best, he doesn't get credit for his work, and he's fed up of the way Eddie is resolutely not making the most of his life. He might even leave Eddie's body and look out for some other host. That timing wouldn't be very good, because Cletus Kasady has his own symbiote about to reveal itself, a red beast named Carnage. 

Andy Serkis is the director for this instalment, taking over from Ruben Fleischer, and Kelly Marcel is now the lone writer, although Hardy is credited with helping shape the direction of the series. Everyone involved maintains a nice consistency, developing the humour that was quickly set in place in the first film while also increasing the threat level. Not only is Carnage a stronger and more dangerous foe, he has a potential partner who goes by the nickname Shriek (Naomie Harris). Shriek has a power that you might be able to guess from that name, and that may well prove a vital advantage while fighting Venom.

Everyone here knows exactly what they are a part of, a silly film that can bob and weave around moments of seriousness. Hardy is a real hoot, playing an exasperated “partner” who has to admit that he should try harder in a relationship he unwittingly got dragged into. Harrelson plays his deranged killer with a good balance of sadism and wit, and just a hint of a tragic past informing his motivation. Stephen Graham is a cop wondering how Eddie Brock gets his information, and both Harris and Michelle Williams (returning) get to do enough to feel like more than just token females dragged into the plot. Okay, Williams is put in peril at least once, but she is also responsible for forcing her ex, Eddie, to acknowledge his flaws and acknowledge the feelings of others.

The CGI is less murky than it was in the first film, although the finale is still essentially one computerised blob fighting another, the fun factor is ramped up further, and there are some very enjoyable cameos scattered here and there (the most notable being a stinger at the very end). It may retread familiar territory, and some may still bemoan the fact that Venom has had his sharp corners smoothed down, as it were, but this is a film that I can easily recommend to fans of the first. In fact, watch one immediately after the other and you have one near-perfect Venom epic. Without the need to actually go . . . EPIC!

8/10

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Long Shot (2019)

Director Jonathan Levine has worked with Seth Rogen on a couple of other movies (both 50/50 and The Night Before), and the two seem to work well together. So it's no surprise that adding the wonderful Charlize Theron to the mix, and working from a script by Dan Sterling and Liz Hannah that effectively flips The American President around, and adds some obligatory drug gags, makes for a film that, while no classic, is at least amusing and enjoyable throughout.

Rogen plays Fred Flarsky, a journalist with principles, doing his best to stand by his work in a world that is making it harder and harder for individuals to maintain their integrity. In fact, he walks out of his job when the company he works for is taken over by a manipulative media mogul named Parker Wembley (an unrecognisable Andy Serkis). This leads to him being at a party with a friend (Lance, played by O'Shea Jackson Jr) and reuniting with Charlotte (Theron), a woman he last saw when he was a teen, and someone he was in love with even before she turned into her final Theron form. Charlotte is about to throw her hat in the ring as a presidential candidate, and she figures that Fred may actually help her with his writing ability. But more develops between them.

Here's the thing about Long Shot. Much like most other Seth Rogen movies, this will be more or less enjoyable depending on how you can handle Rogen. I tend to enjoy him onscreen but there's no denying that he's very often the same "lovable stoner" character in almost all of his films. You get the occasional statement about drugs helping people be relaxed and happier, you get him laughing his recognisable laugh, and you get him being wide-eyed and incredulous as events unfold around him that leave viewers in the same way. There's more to enjoy here, but it will still depend on whether or not you can put up with Rogen in the lead role.

Although the heart of the film is a romantic comedy, Sterling and Hannah do a good job of mixing in a strong strand about the slippery slope of compromising your beliefs, and the realities of getting results while you're trying to build support for something that may seem fresh and radical to some. The film isn't exactly bogged down by the politics, really just trying to milk the whole scenario for more laughs, but it does enough throughout to ground the laughs, certainly never feeling as ridiculous or unbelievable as it could.

A lot of that is also down to Theron. I don't know about you, but I would vote for her. She's smart, witty, passionate about her chosen main cause, and also Charlize Theron. Rogen being paired up with her seems very unlikely, but it works better than it should because of him finding it as hard to believe as everyone watching the film. Bob Odenkirk is a lot of fun as the current POTUS, who landed his position after years of TV work and now wants to move on to a career in movies, June Diane Raphael and Ravi Patel are both a lot of fun as advisers to Theron's character, and Jackson Jr does just fine as the supportive friend. Another highlight is Alexander Skarsgård, playing a handsome Canadian Prime Minister (or, I guess, just a Canadian Prime Minister, the handsome part comes from him being Alexander Skarsgård) who is always looking to enjoy the company of Theron's character, and their chemistry together seems to often provide a small boost in their approval ratings.

Surprisingly sweet at times, Long Shot is a well-made rom-com that hits all of the expected notes throughout, yet also feels a bit different, thanks to the raunchier and more outlandish moments (Theron being unexpectedly called into an emergency military negotiation is a VERY funny sequence). Levine works well with Rogen, as well as everyone else involved, and this is an amusing diversion, managing to somehow avoid overstaying its welcome, despite clocking in at about two hours. It also has the funniest . . . orgasm fluid . . . gag I have seen since There's Something About Mary.

7/10

You can buy the movie here.
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Netflix And Chill: Flushed Away (2006)

The last film to be co-produced by Aardman Animation and DreamWorks Animation, Flushed Away has a reputation as a bit of a disappointment. That's how it seems anyway, when you consider the relatively poor box office result and the fact that few people mention it nowadays when listing favourite animated films. That's a bit of a shame, because Flushed Away remains a lively and witty adventure comedy, full of great vocal work, wonderful sight gags, and hilarious singing slugs.

Hugh Jackman is the voice of Roddy St. James, a pampered pet rat who enjoys his good life. But that is all thrown into disarray when his owners go on holiday and a sewer rat named Sid (Andy Serkis) finds his way into the house and decides to take it over for himself. In attempting to get rid of Sid, Roddy ends up in the toilet, and then . . . flushed away. Down in the sewer, completely out of his element, Roddy eventually teams up with a rat named Rita (Kate Winslet), the two aiming to return Roddy to his home and foil the deadly scheme of a rat-hating toad (Ian McKellen).

Directed by Sam Fell, who came up with the initial story idea, and David Bowers, Flushed Away works as well as it does thanks to the detailing of the underground city populated by the rats. It's a mini version of London, with plenty of puns and visual nods and gags, and there are plenty of items repurposed for the rodent citizens. It also has a pretty great script, written by a team of writers including the mighty sitcom masters Dick Clement and Ian La Frenais. You get memorable characters and numerous fun exchanges between them, although the weakest element may be the central strand showing the two leads always being pursued by henchmen of The Toad.

The animation throughout is lovely, although fans of Aardman may be slightly put off by the fact that this is computer-animated throughout. That doesn't make any difference to the character design work, or the attention to detail, but it does give it a different look to the typical stop-motion aesthetic that so often adds to the charm of their projects.

Jackman and Winslet do well in the lead roles, the former really ladling on the charming toff act as he is appalled by grime and nastiness around him and the latter being much more ready to get things done without any attempted airs and graces. McKellen makes an amusing villain, helped in his scheme by characters voiced by Bill Nighy, Shane Richie, and Jean Reno, who are all also very enjoyable in their roles. Serkis isn't really involved for many scenes, but he does just fine. And whoever did the sound work on those slugs, who first appear shrieking at the appearance of Roddy before popping up occasionally to show off their singing voices, deserves a big slap on the back. It's a fantastic addition to the movie, even if it is just a bit of nonsense.

I am sure that I will remain in the minority with my love for this movie for some time to come, but I encourage others to at least remember it exists, and maybe give it a rewatch with the knowledge that the sheen of computer animation does nothing to lessen the humour and creativity we've come to expect from Aardman over the years.

8/10

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Black Panther (2018)

Chadwick Boseman returns to play T'Challa (aka Black Panther), after making a great impression in Captain America: Civil War, and even the most casual film fan cannot help but notice that this film has made quite an impact, even when considered alongside the rest of the Marvel filmography. It's been the kind of success story that leads to one hyperbolic review after another, and then the inevitable contrary opinions. It's been called the best Marvel movie ever. It's been singled out as something having huge social and cultural importance. The truth, as always, lies somewhere in between the extremes.

I'm not going to go into every plot beat here. Suffice to say, T'Challa is about to become King of his land, Wakanda, and he also has to consider how he wants to lead. Should Wakanda remain hidden away from the rest of the world, or should all be revealed in an attempt to start helping those less fortunate? There's also a fun villain to be dealt with (Andy Serkis), some extremely badass women (Lupita Nyong'o, Danai Gurira, and Letitia Wright), and someone who may just want to force Wakanda to change, whether the people want to or not (this last figure is played by Michael B. Jordan). All of these players do fantastic work, with Gurira and Jordan being standouts. Boseman is a solid lead, but not half as charismatic as many of those around him, nothing to be ashamed of when the cast also includes the wonderful Angela Bassett, Forest Whitaker, Sterling K. Brown, and David Oyelowo, among others.

First of all, Black Panther is a solid Marvel movie. It's not great though, and it's certainly not the best of the lot, at least not in terms of simple entertainment value and superhero antics. The action beats are, for the most part, a bit understated, and this is a more thoughtful look at how best to use superpowers (be they physical or societal).

Director Ryan Coogler continues his hot streak, also teaming up with Joe Robert Cole to work on the script here, and his decisions transform what could easily have been a generic superhero film, with a different cultural flavour, into something that somehow remains focused throughout on both the superficial fun and also the issues that will encourage dialogue long after the end credits have rolled.

While I have already mentioned the notion of how power can be used, there's more to Black Panther than just that. Perhaps it's almost inevitable, given the natural resources that Wakanda has (it contains a huge amount of vibranium, apparently), that viewers are given comments on colonialism, both subtle and not-so-subtle. There's also the obvious element of representation and equality running throughout the whole thing, themes explored within the film that bleed beyond the edges of every frame and emanate out towards every viewer, for better or worse (in the case of idiots who view it as an antagonistic assault on their fragile egos).

While not the perfect modern classic that some might want it to be, the fact that Black Panther so expertly blends blockbuster beats with a relevance and social conscience for an audience demographic who rarely see representation on this level is well worth celebrating. I think that it IS an important film in the here and now, and I think it has been long overdue. But, most of all, I think that it's a good film. And that, as silly and shallow as it may sound, comes before everything else, and then allows everything else to work as well as it clearly has.

7/10

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The Prestige (2006)

Every great magic trick consists of three parts or acts. The first part is called "The Pledge". The magician shows you something ordinary: a deck of cards, a bird or a man. He shows you this object. Perhaps he asks you to inspect it to see if it is indeed real, unaltered, normal. But of course... it probably isn't. The second act is called "The Turn". The magician takes the ordinary something and makes it do something extraordinary. Now you're looking for the secret... but you won't find it, because of course you're not really looking. You don't really want to know. You want to be fooled. But you wouldn't clap yet. Because making something disappear isn't enough; you have to bring it back. That's why every magic trick has a third act, the hardest part, the part we call "The Prestige".

The Prestige is another sumptuous Christopher Nolan film in a fine line of sumptuous Christopher Nolan films, co-written by himself and his brother Jonathan, based on the novel by Christopher Priest, and arguably more intriguing and intimate than anything else he has directed since he reached the level of success earned by Batman Begins. That's not to say that this is better than any of his other films since then. It's just nice to see him work on something of a smaller scale, something that doesn't need to warp cityscapes or throw you headlong into grand moments seemingly designed to look best in IMAX.

After a stage trick goes horribly wrong, Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale) find themselves growing more obsessed with each other. Each wants to outdo the other, but Borden seems to have the upper hand when he achieves great success with his "transported man" illusion. Angier grows more and more desperate to learn the secret of the trick, unaware of what it will end up costing both men if he continues on his self-destructive path.

The Prestige is very much constructed like a magic trick, and very much in line with the quote above. But while this could have seemed a bit precious and self-congratulatory, with the Nolans spelling out the structure of the film and trying to trick viewers on the way to the finale, it instead comes over as something that has simply been crafted with great attention to detail and an aim to entertain. The twists in the plot are enjoyable enough, but rewatching the film emphasises just how unimportant they are when it comes to the quality of the tale. You can know how a card trick is done, but that doesn't stop you enjoying it being done by a slick showman who also tells you an entertaining story while he's trying to keep everyone else from figuring out his secrets.

Jackman and Bale are both great, although Bale's accent does occasionally veer a little bit towards parody cockney territory, and they both get their share of excellent moments throughout. Michael Caine is also very good, helping both men out at different times in their lives. Piper Perabo, Rebecca Hall, and Scarlett Johansson all play women who are adversely affected by the obsessions of these men. They're not given as much to work with, at all, but all do a good enough job, with Hall giving a surprisingly effective and moving performance that sits up there with the best I have seen from her. David Bowie plays Tesla, which allows him to yet again be effortlessly cool in a much smaller role that absolutely works for him, and both Andy Serkis and the magical Ricky Jay do well with their brief amount of screentime, Jay is a cameo you could easily miss.

The music by David Julyan is very good, the production design and composition of every scene is gorgeous, and the editing allows for lots of nice foreshadowing and reveals on the way to . . . The Prestige.

All too often overlooked nowadays, which is understandable considering the impressive body of work that Nolan has built up, The Prestige is definitely worth a watch/rewatch. It's a film for fans of Nolan, for fans of the cast, for fans of magic, and for fans of great film-making.

8/10

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Dawn Of The Planet Of The Apes (2014)

The continuation of the franchise that was superbly rebooted with Rise Of The Planet Of The Apes, this is that rare thing indeed - a Hollywood movie sequel that stands toe to toe with the preceding movie. It is, no pun intended, a slightly different beast, yet it still mixes the same smarts and eye candy that the film before it had in abundance.

About ten years have passed since the events of Rise, and that decade has seen many humans die out from a nasty virus while the apes have grouped together and developed their societal structure to best keep themselves safe in their brave new world. Caesar (Andy Serkis) is still the leader, which is all well and good until the camp is unwittingly trespassed upon by a group of human survivors on a recon mission from a nearby base. Led by Malcolm (Jason Clarke), the humans are hoping to fix a power system that resides within a large dam. Unfortunately, that large dam resides within the territory of the apes. Malcolm determines to show that humans can be trusted, once he gets over the initial shock of meeting these intelligent apes, and this leads to a fragile truce. Koba (Toby Kebbell) sees the truce as a sign of weakness on the part of Caesar, and hatches his own plan to ensure that apes are kept safe from humans.

Matt Reeves has taken over the directorial duties for this instalment, and he's quick to show that the franchise is in safe hands. An opening sequence, showing the spread of the virus that appeared at the end of the previous movie, gets everyone up to speed before things settle down as we get to see the heirarchy and day to day workings of the ape community. This also allows everyone to adjust to the amount of CGI onscreen, which I have to say feels quite flawless for about 95% of the time. There are wobbly moments here and there, but the computer-generated characters and visuals on display here rank up with the best that I've seen. Reeves complements the CGI work with smooth, and sometimes vertiginous, camerawork, perfect pacing and a nice sense of restraint.

A lot of the good work starts with the script, by Mark Bomback, Rick Jaffa and Amanda Silver, which takes time to show main characters and dynamics, translating a lot of the ape communication that is in the form of sign language (which means, impressively, that this is a mainstream blockbuster that also forces people to read during quite a few scenes). Every step is taken to ensure that there's a touch of realism at the heart of everything.

Serkis and Kebbell may not be visible onscreen in human guise, but it's their work that should be praised above anyone else. The two men give fantastic physical performances that make their lead characters just as real as anyone else onscreen. Clarke does a great job as the good man who may win Caesar's trust, and he's ably supported by Keri Russell and Kodi Smit-Mcphee. Let's not forget the fact that they were probably acting out most of their scenes alongside actors in motion-capture suits, or even just props that allowed them to maintain eyelines, so the full integration of CGI and non-CGI characters here is testament to the hard work from everyone involved. Judy Greer, Nick Thurston and Karin Konoval also get to monkey around, while Gary Oldman is the other notable human performer (and he's as good as ever).

Smart, touching, often tense, this is a real treat. There are one or two mis-steps, including a disposable human character who may as well just have "stubborn ass" tattooed on his forehead, but if the next movie maintains this level of quality then we may just end up with the greatest ape-centric movie trilogy of all time. Not that there's much competition, mind you, but it will still be a great achievement.

8/10

http://www.amazon.com/Dawn-Planet-Apes-Blu-ray-Oldman/dp/B00MH8DU9Q/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1418937298&sr=1-2&keywords=dawn+of+the+planet+of+the+apes

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