Leezy's Movie Reviews

#393/#110 The Dark Knight Rises

8 years have passed since the events of the Dark Knight and Gotham has moved forward, now stronger than ever. Using Harvey Dent as a shining example, the police have eliminated organised crime within the city and there has been no need of the Batman (Christian Bale). When cat burglar Selina Kyle (Anne Hathaway) breaks into Wayne Manor however, Bruce Wayne’s interest is peeked and when the mercenary Bane (Tom Hardy) appears in Gotham, so to is the Batman’s. This raises the question though: Is Bruce Wayne still capable of being the Batman anymore or will this be Gotham’s final reckoning?

I should firstly say that I enjoyed this movie and that it’s definitely a good capping point to the Nolan-verse Batman franchise. That said, I think The Dark Knight, Batman Begins, Inception and the Avengers are all better, more enjoyable movies.

Everything I’ve said before that was good with this film’s predecessors is still present here. Its got some great action, interesting set pieces, a complex and well thought out plot (all be it a little convoluted this time), a good score and great cinematography. This time around however, it also has a lot of exposition dumps required to keep the audience up to speed, a lot of long period where nothing seems to happen as a result of these long talking scenes and the whole endeavour feels overly long and nowhere near as tightly self contained as the others in the trilogy. The Dark Knight and Inception are both long films with complex subject matter and dialogue heavy scenes but they both held my attention more and felt like they were building to something: DKR doesn’t quite achieve this.

Cast-wise, all the returning figures are still great in their roles (Gary Oldman and Michael Caine giving particularly poignant performances) and the newer additions are the highlight of this instalment. Joseph Gordon-Levitt as Officer Blake provides a good everyman, giving a top notch performance and holding the audience’s attention. Additionally, I had no doubts that Tom Hardy could pull off the physicality of Bane, given his performance in Bronson, but I was a little concerned his performance would be marred by half his face being covered for the entire film.  His eyes, voice and actions however managed to show he was every bit the calculating bruiser. The voice did take a little getting used to but you adjust easily enough before the end of the movie. The jewel of the film however, was Hathaway as Selina Kyle. The subtle changes, the sexuality, the playfulness with Batman, the fluid morality and her ease with manipulation were ever bit the Catwoman we’ve come to know and love from the comics, shows and games. Easily the best on screen Catwoman to date. The only weak link in the entire cast I felt, was Marion Cotillard as Miranda Tate. She felt largely superfluous and more of a plot point than a real character until the very end of the movie. Rather than it being Cotillard’s fault though, I’m beginning to think the Nolan boys just aren’t that good at writing female characters.

I’ve seen this film twice now, and it definitely got better the second time around, but there is just some ineffable quality missing which prevents it from elevating to the level the previous films set. I like it, I will buy it on DVD and I will happily watch it as part of a great trilogy of films but I do not love it as I was hoping to. 4/5

#293/#10 Midnight in Paris

Engaged couple Gil (Owen Wilson) and Inez (Rachel McAdams) are staying in Paris as Gil attempts to write a real work of literature after a long career of writing fluff screenplays for Hollywood. Gil would be content to stay in Paris but Inez wants to live in the States. One night, after some wine, Gil wanders the streets at midnight only to be whisked back in time to the 1920’s to mingle with such literary influences as F. Scott Fitzgerald (Tom Hiddleston) and Ernest Hemingway (Corey Stoll) as well as meeting the lovely Adrianna (Marion Cotillard). Increasingly drawn to the past, can Gil ever be truly happy again when he returns to the present?

I’ve been thinking about this one a lot over the last couple of days and not necessarily for good reasons. I’ve been trying to understand why I just don’t get Woody Allen’s style of film making and I think I’ve come to a conclusion. It’s because I’m not a creative person; I’m just not. It’s not a good or bad thing, it’s just the way I’ve always been and it means I do not get the ways of those who are. This is not to say I can’t appreciate the artistic merits of other. On the contrary, I’m as moved as any by literature, films, television, plays, musicals, songs, etc if it resonates with me but it does mean that I don’t seem to be able to fathom the mentality of those who created them. They’re entirely too ’Oh woe is me, I’m so full of emotions that someone needs to pay attention to me or I can’t go on’ and overall whishy-washy that makes me think ‘Aye alright, want to try pulling up your big girl pants and getting on with it’.

So when I watch a film about people trying to find themselves or striving towards being in the now to better their art, as this one does, I am incapable of putting myself in that person’s mindset in order to enjoy the movie. I respect those who do work from that mindset and greatly enjoy their finished endeavour (most of the time) but I personally just don’t work that way.

All that was a long way of saying I don’t care for this film. I think pretty much every character, although well acted, comes off as, at worst, assholes and at best, that person at a friend’s party you specifically try to avoid. Nicely shot film as well but, again, the 5 solid minutes of Parisian landmark shots at the beginning of the film was very artsy and had me hitting the fast forward button at about 2 minutes in.

A little less reviewy than normal but I did always say this was my thoughts and feeling on a film rather than a clear cut review. I’m glad I watched it for the fact that it lead me to this moment of clarity about myself but in it’s own right this is not a film for me. 1/5

#10 Nine(why do I feel like I’m counting down?)

Guido (Daniel Day-Lewis) is a famous Italian movie director on the verge of making his next big movie in 10 days time. The only problem is he hasn’t written a word of it and inspiration is not coming. We follow his journey as he recalls various women from his past and present that have inspired him before.

I don’t have the same problem with this as I did the last review. I know exactly how I feel about this one: bored as Hell. This movie is so dull, which is a double whammy when you remember this is a musical (by default usually big and entertaining).

Now the film is not without some merit. Marion Cotillard and Penelope Cruz both perform well in their roles, Fergie’s song (Be Italian) is kinda catchy and the remaining cast are all ok in their roles but there’s just no life to the story and that’s the kiss of death for me I’m afraid. If it doesn’t have endearing characters or a good narrative then you’ve lost this viewer. 

A couple other things annoyed/amused me in this film. Day-Lewis’ accent, while going for Italian, sounds more akin to someone doing a Dracula impression. I felt like i was being sung to by the Count from Sesame Street and that made me laugh.

Also the number in which Judi Dench is singing to an up tempo French song sounds remarkably like “A Guy Like You” from Disney’s Hunchback of Notre Dame. Again laughter ensued.

As a lover of musicals I did not love this 0/5