Eight years on, a new terrorist leader, Bane, overwhelms Gotham’s finest, and the Dark Knight resurfaces to protect a city that has branded him an enemy.
“The Dark Knight Rises”
9 out of 10
Warning: I apologize if some of my review sounds a little vague but my aim is to keep it spoiler free.
I really had my doubts about 45 minutes into this one that it was going to be anywhere as good as the previous two in the Christopher Nolan Batman Trilogy. It opens with a spectacular introduction to Bane’s character and then meanders and lulls for almost an hour before it picks up again. To the film’s credit, all of that exposition explains what has happened to Bruce Wayne since the events of the Dark Knight and sets up the ending, which I wouldn’t dare give away here. But, there’s almost zero action whatsoever and the plot isn’t really progressed as it is updated. However, once you see Batman show up, the film absolutely soars and at the end of the day comes out as the second strongest in the recent Batman series (Dark Knight is in a word…perfect). The performances are all spot on. Christian Bale is still the best Batman ever and has a lot more dramatic weight to his character this time around. Michael Cane is still the perfect Alfred, Anne Hathaway shines as Catwoman, and Tom Hardy’s Bane is far more interesting than the comic book version of the character ever was.
As great as the performances are, it’s still the writing and directing of Christopher Nolan that has elevated this trilogy to more than summer blockbuster fare. There’s a brain behind all of the gadgets and comic book bravado. One of the key choices that Nolan made in the writing process is to have the motivations of the villains not be to destroy Gotham City but to have Gotham City’s own citizens destroy themselves. In all 3 films, those opposing Batman were anarchists that wanted to put the guns in the hands of the people and then watch them shoot each other.
I’d hate to give away more and ruin the plethora of surprises that await you at end to this groundbreaking comic book trilogy. I’ll just say this is by far the “biggest” film of them all. Gotham has never taken a pounding like it does in this film and Bane truly turns Batman into an underdog. And the ending is the perfect cap to those who have patiently awaited the final installment. It’s great to wait several years for a film and NOT be disappointed.
At first I wasn’t too keen on Clark being some kind of fisherman / drifter type. But it may work. And the breaking the sound barrier part is cool, I guess, but it’s been done before, even by Singer. I did like both VO’s though. What do you all think, gang? Which is the better VO? Sound off!
Clouseau: Well… that just goes to prove what I have said all along.
Dreyfus: What you’ve said, Clouseau, qualifies you as the greatest prophet since Custer said he was going to surround all those Indians!
Victor –
8 out of 10
Blake Edwards and Peter Sellers. Those two names alone conjure up images and thoughts of hilarity, slapstick, comedic timing and incredible sight gags. ASITD is the second entry in the “Pink Panther” films about the ever bungling and confused Inspector Jacques Clouseau, played with impeccable wit, timing and grand physicality by the late Peter Sellers. I choose to do this review for 2 reasons. 1 – I just came across it on netflix and watched it. 2 – I feel that those who have never seen a Pink Panther movie should at least read about one and see if they could muster a larf or two. Sellers and Edwards are worth the time and you won’t be disappointed.
There are a few welcome changes here in this entry. one being that Herbert Lom is introduced in this film as Peter Seller’s foil, Commissioner Dreyfus. Lom is just hilarious in the role as he gets further and further bothered and agitated by Clouseau’s ineptness. We are treated to Kato as well! Also, Sellers really lays the french accent on very thick here and as a result he cements, forever, his Inspector in comedic history.
The outrageously sexy female co-star, Elke Sommer plays Maria Gambrelli. Maria, a parlor maid is wrongly accused of offing her lover. Or did she really do it? Enter Clouseau to try and go to any length to prove her innocence. Even when most of the time it always points to Mara. The real antagonists are usually one step ahead of Clouseau who even manages to stake out bedrooms and even a nudist colony to get to the bottom of the case. The bad guys commit more murders to keep the blame on Maria as well. One victim being named “Dudu” haha I find that hilarious. Ahem. Anyway it’s a huge plot device, I know, for a simple slapstick comedy. But we get to see Sellers give it his all in a fantastic performance that is not yet dated, thank God.
I for one am glad that William Peter Blatty and Edwards decided to have Clouseau in this. It’s way too funny to have NOT had him in it. We once again get the famous music by Mancini even though there is no Pink Panther opening. Sellers and Edwards continued the gravy train of Clouseau’s adventures for 4 more movies with varying degrees of success. In this film Sellers is the main focus and it is not a film filled with subtle gags and references. It is an all out sight gag of a film that shines and heralds nicely from the 1960’s. Highly recommended! Enjoy. Oh and watching Sellers play pool is amazingly funny.
Everyone at The Movie Bros and Vic’s Movie Den would like to express our condolences to those who were shot and killed at the recent shooting in Colorado at a showing of “The Dark Knight” Our thoughts and prayers go out to the victims, families and friends of those who were attacked. We pray that something this horrible will NEVER happen again.
From – GMA.com
“Twelve people were killed and 59 were injured in Aurora, Colo., during a sold-out midnight premier of the new Batman movie “The Dark Knight Rises” when 24-year-old James Holmes unloaded four weapons’ full of ammunition into the unsuspecting crowd.
The number of casualties makes the incident the largest mass shooting in U.S. history.
Holmes, a graduate student at a nearby college with a clean arrest record, entered the movie auditorium wearing a ballistics helmet, bullet-proof vest, bullet-proof leggings, gas mask and gloves. He detonated multiple smoke bombs, and then began firing at viewers in the sold-out auditorium, police said today.
Bullets from the spree tore through the theater and into adjoining theaters, where at least one other person was struck and injured. Ten members of “The Dark Knight Rises” audience were killed in theater, while two others died later at area hospitals. Numerous patrons were in critical condition at six local hospitals, the Aurora police said this afternoon.
Holmes was apprehended within minutes of the 12:39 a.m. shooting at his car behind the theater, where police found him in full riot gear and carrying three weapons, including a AR-15 assault rifle, which can hold upwards of 100 rounds, a Remington 12 gauge shot gun, and a .40 Glock handgun. A fourth handgun was found in the vehicle. Agents from the federal bureau of Alcohol, Tobacco, and Firearms are tracing the weapons.
According to police sources, Holmes told the officers arresting him that he was “The Joker,” referring to the villain in the second installment of the Batman movie trilogy, “The Dark Knight.” He also warned police that he had booby-trapped his apartment, leading officers to evacuate the Aurora apartment building.
Police Chief Dan Oates said today that police and bomb squads have found a large number of explosive devices and trip wires at Holmes’ apartment and have not yet decided how to proceed without setting off explosions.”
This one won’t be easy and there is a list of film scores for Honorable Mention. I have tried my best to include scores that have changed the way horror films are perceived and scores that have set the bar very high. I may be leaving some important scores off but I do respect many composers for even trying to participate in scoring a Horror film. A genre that today still struggles to be important and relevant. They are not in any particular order either. Thanks.
NO. 5
Ennio Morricone –
“The Thing” (1982)
Carpenter takes a break from composing for his first big budget studio film. Though the outcome of having Italian Composer Ennio Morricone do this eerie and string infused masterpiece didn’t save the film at the box office, it still went way above and beyond in the music department. Many tracks were never used in the final cut, (my fav is “Sterilization” which is used in a deleted scene) and at times when the score is heard on it’s own we wish it were. The tracks “Beastiality”, “Eternity” and “Despair” are very creepy, low toned pianic nightmares that paint a very unique picture on Carpenter’s sci / horror canvas. “Humanity” Part 1 is a slow burn that has a great mid-section where we are introduced to a serene bit of sanity then it all goes into Carpenter’s two note world. “Humanity” Part 2 is a one-two punch of musical genius. Highly Recommended score. Here is a tid- bit below. Enjoy.
NO. 4
Jerry Goldsmith
“The Omen” (1976)
Where do I begin on this marvelous piece of musical terror? A score that is just as iconic and renowned as the film that it belongs to? Goldsmith (Star Trek The Motion Picture, Dr Kildare and TV’s The Twilight Zone) was hired by Richard (Superman The Movie) to do a very religious type of film that can inspire a feel for the holy and at the same time invoke terror and a fear of the very evil that surrounds us. Even in the form of an unholy child. Goldsmith won the only Oscar (a damn shame) of his career for the very terrifying “Ave Satani”. Goldsmith evokes such fear and evil when utilizing Latin Chant and Choral arrangements. His peaceful tracks that play during the more serene and happy moments in the Thorn’s life are hugely contrasted by horrifying tracks like “The Fall” and “Beheaded” Also, Ave Satani refers to the anti-christ as a force to be worshipped and hailed. It is a score I listen to occasionally but afterwards I feel like I must say the Lord’s Prayer or a few Hail Mary’s.
No. 4
John Carpenter
“Halloween” (1978)
One of the greatest reasons for the immense popularity, significance and status that “Halloween” has achieved is the brilliant minimalist score by Composer John Carpenter. Carpenter, having no classic training in music (besides having a father who was a renowned musician) dropped this bombshell of a soundtrack on us after studio execs told him the movie wasn’t just that scary. He then put his hands to keyboard and banged out a killer 10/8 or complex 5/4 meter that resulted in creeping us all out and solidifying Carpenter’s film as a brilliant piece of art. The 2000 Anniversary CD is a stunning release with over 10 new tracks of music from the hallowed score. Very Recommended.
No. 3
Bernard Herrmann
“Psycho”
Hitchcock pulled no punches with this film and he had garnered a rep by the early 60’s as being a very in control and masterful artist that used all of the cinematic tools in his movie toolbox to accomplish greatness. Music was one of them. I just learned that Hitch insisted on Herrmann for this film and he had trouble reconciling a fee since the film had a substantially lower budget. I, for one am so glad it all worked out because Psycho remains at the top of the horror film score heap. It is a brazenly scary, sexy and eerie score the permeates every scene and nuance of the film. The lower budget brought out a unique musical piece from Herrmann with more dynamic tones from an absolutely powerful string orchestra. The title track alone sets tone, tension and dread. Strings drive the piece forward and despite a jazzy tone (which Hitch wanted) the score, as is, remains a solid entry by Herrmann in Hitch’s filmograpghy.
No. 2
Harry Manfredini
“Friday The 13th”
(Thanks Brian Volke for making me see the light on this one)
Man, this score is all over the place. And in a very good way. Strings, bass, low trumpet and even some very funky sound effects (ki ki ki ma ma ma. not ch ch ch ha ha ha) that creeps us right the fuck out. Sean S. Cunningham was seeking to provide a lofty score for his horror film and even wanted a chorus to provide such a score. Well, as it turns out budget always plays a part and when he finally got Manfredini involved it was a match made in heaven. According to the director they did not want to “manipulate the audience” with the music and in some scenes throughout the film where there are surely some scary parts there is no music to be had. Then when something does or is about to happen Manfredini cuts the cue and lets the audience relax a bit. Also brilliant is how the killer is never seen until the end but the composer does a brilliant job of setting up the scenes (without the killer being seen at all) using his cues with such horrific finesse. A fantastic score that is very relevant today. Enjoy.
No. 1
John Williams
“Jaws”
Yep, my favorite film of ALL time. I truly feel that this movie, in very true regard, can be considered a horror film. Williams single-handedly created the scariest 2 note musical theme to accompany a movie. We never see the shark for a very long time but we FEEL it by listening to William’s brilliant music. A classic alternating E and F motif (Or F and F sharp) that has become synonymous with any kind of deep, dark impending danger. The music is the heartbeat of the film (or the shark as many have proposed). Spielberg once said that “Jaws would never have been as successful as it is without John’s music.” I agree. It went on to win an Academy Award and Williams went on to score another very capable and strong piece for “Jaws 2” The score, according to Williams “Grinds away at you, like a relentless shark would.” and the great tuba playing credit goes to the talented Tommy Johnson. Oh and who can forget the great opening to “Airplane” Not me. In the year 2000 the score had 2 versions released by Decca / Universal.
HONORABLE MENTION –
Yes, this should have probably been a Top 10 list. But it didn’t work out that way…Here are some other great scores for mention here.
Silence of the Lambs – Howard Shore
Dawn of the Dead – Goblin (Yes, Brian, I agree. Pure classic cheese)
The Exorcist – Various Artists
The Shining – Wendy Carlos and Various Artists
The Ring – Hans Zimmer
Candyman – Phillip Glass
Prince of Darkness – John Carpenter
Horror of Dracula – James Bernard
Rosemary’s Baby – Krzysztof Komeda
28 Days Later – John Murphy
I know I have missed some, gang. So, please sound off!
As the result of a childhood wish, John Bennett’s teddy bear, Ted, came to life and has been by John’s side ever since – a friendship that’s tested when Lori, John’s girlfriend of four years, wants more from their relationship.
“Ted”
Rating: 6 out of 10
The premise of this film is actually quite good. What would happen if your Christmas wish came true and your teddy bear came to life and was your best friend? Now, what would happen after you grew up and you couldn’t get the bear to move out of your apartment? It’s a funny and refreshing idea from the mind of Seth MacFarlane who is most well known for being the creator of the Fox show Family Guy. I’ll be completely honest. I absolutely hate Family Guy. I’ll admit that humor is a very subjective thing and one person’s treasure can be what I might roll my eyes at. That show is a collection of stupid fucking jokes that have no relevance to anything. Thankfully, Ted does not suffer from that problem. The plot is very easy to follow and the performances, particularly by Wahlberg and Kunis, are very good. They both communicate convincingly with the bear and after a while he almost becomes real. The problem with that is that it eliminates the entire hook of the premise.
If the viewer grows so comfortable with a teddy bear as a main character that he fits into every day life, why make him a teddy bear at all? That was the main problem I had with the film. The idea is that the living teddy becomes such old news from the 1980’s that no one even gives a shit that he’s alive. That kind of eliminates a lot of the jokes. Teddy goes out to dinner, parties, has “sex”, does cocaine, and hosts parties and people don’t even react to him. He’s just another guy. It seemed like a terrible waste of a really good premise.
On the positive side, the first hour has some really funny moments. I did find myself laughing loud and often and it was a lot of fun. The second half goes the emotional route and lost me a bit but it’s still a comedy I can moderately recommend if you’re willing to lower your expectations a bit.
When scientific explorers unearth an artifact that points to the origins of humankind, they’re pulled into the unexpected adventure of a lifetime. But if they falter, the very future of their species is at stake.
“Prometheus”
Rating: 7 out of 10
This is another film that falls into the “questions are better than the answers” variety. The setup is terrific. A group of scientists, after a a 2 year hyper sleep, awaken to a world that they were drawn to because of ancient cave paintings that specifically detailed a solar system that they had no way of seeing or documenting. Once there, they realize that they have not only found a new world but alien life as well. It then asks several terrific questions: How did the early humans know they were there? Is this the world where humans were created? If we were not created by God, who did the work? Once we finally meet alien life, what will they have to say?
If all you had read was the questions that the movie posed, you would bet that this was going to be a very special film but it isn’t. It’s a hackneyed script that sets up for an amazing climax that simply doesn’t deliver. That doesn’t mean that it isn’t an interesting ride. Ridley Scott’s world is densely populated with terrific eye candy. The art direction, set pieces, and special effects are first rate. The performances are average except for Michael Fassbender who once again elevates the material by delivering an artificial life form that truly feels artificial.
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I would hate to give away any spoilers because there’s so much interest in this film but plausibility comes into questions several times. I won’t point out specifics but let’s just say that quite a few story decisions were highly erratic and questionable, even for a science fiction film. Characters make decisions that go against their previous behaviors, the world seems to behave in a way that contradicts scientific principles, and the ending goes against the continuity it is trying to match up with the original Alien film. That said, it is never boring and for fans of highly visual science fiction movies, it’s a treat. I just wish that the screenwriters had better answers for their own questions…
The Movie Brothers 