Tag Archives: Batman

Film

Suicide Squad Review

Leave a comment

Run time: 123 mins       Certificate: 12A
Director: David Ayer
Cast: Will Smith, Jared Leto, Margot Robbie.
Release Date: August 5, 2016.

Suicide Plod

Many were pinning their hopes on Suicide Squad to prove the DC cinematic universes worth after the less than stellar Batman V Superman, and it had a lot going for it. Tackling a group of lesser bad guys with both writing and directing credits meant that David Ayer could let loose and have fun with the concept, something the trailers seemed to be confirming with their devil may care vibe. The end result however is a confusingly edited slog; hints of what once may have been a far better film sometimes shine through but in its gutted state Suicide Squad is an astoundingly tepid affair. For all its touting of ‘worst heroes ever’ the Suicide Squad are in fact just like any other group of uninspiring heroes, and its a fact that works against the very concept of the film from the moment they’re forced together. Say what you want about BvS, but at least it had ambition.

Despite the overall result its clear David Ayer is a good match for the Squad. His grittier repertoire of films makes him right at home when dealing with the criminal elements of the film, in particular the handful of Joker scenes we’re treated to that play heavily on the characters hard to swallow yet provocative gangster angle. Its an area he’s clearly at home in as its as ‘real’ as the film gets, albeit with a maniacal clown at the forefront, and he manages to keep the realism raw without ever losing the comic book vibrancy of the characters. This storyline is only part of what makes up the film though, and is an element that is largely ignored in its second half in favour of a far duller supernatural crisis.

Smiths charisma keeps much of the film going.
Smiths charisma keeps much of the film going.

Once the team is assembled proceedings should have shifted up a gear after its numerous introductory flashbacks (how these couldn’t be spaced out throughout the film is beyond me) but rather it slips into neutral, happily coasting on uninspired battles with mindless mobs and smatterings of forced character development in between. The worst act our supposed bad guys commit is some looting, beyond that they all get on relatively well and fall in line when the day needs saving for no reason other than they have little else to do. Some of the editing only exacerbates the by the books script, with one example in particular having a member of the squad decide to leave in one scene and magically reappear in the next with no reason for returning whatsoever. The final cut seems to be set on dropping the more interesting sub stories in favour of paving the way for the uninspired finale, a trend DC needs to grow out of if wants to present more accomplished stand alone films, let alone coherent ones.

Not all is lost however, as many of the individual elements that make up the disappointing whole are very well done. Kate Hawley’s costume design deserves special mention as each of the characters get ups are bespoke but fitting of the grittier universe they inhabit. Roman Vasyanov also brings his claustrophobic flare from End of Watch in his cinematography here, shooting the more intense scenes deftly whilst also managing to present wider shots fitting of some iconic comic panels when needed. The haphazard soundtrack is both hit and miss in its unashamed attempt to coin in on Guardians of the Galaxy mix tape approach, with some scenes working well and others like Harley Quinns elevator ride set to K7’s ‘Come Baby Come’ coming across as gratingly forced.

Love him or hate him, the Jokers role was disappointing.
Love him or hate him, the Jokers role was disappointing.

The cast do impress across the board even if they often find themselves working against the script. Will Smith’s Deadshot is frankly what you’d expect from a Will Smith role as he brings his endearing charm and comedic delivery to each and every one of his scenes and hopefully cements himself for a future appearance in the DC line up. Margot Robbie’s Harley Quinn is every bit as dastardly yet appealing as hoped, even though the film often struggles to justify her role in the team. Viola Davis again nails the character of Amanda Waller despite the films numerous attempts to undermine her no no-nonsense appeal, her cold calculative demeanor often being questioned by some of her dumb founded decisions. The other stand out is easily Jay Hernandez’s Diablo who brings a tangible sensitivity to the repentant mass murderer throughout without ever losing the characters edge, his pivotal scene of back story being one of the few that genuinely hit their mark.

The rest of the ensemble cast all fill out their roles well, with Jai Courtney’s Boomerang being surprisingly likeable, its just a shame that they’re given too few a moments to make their own. Adewale Akinnuoye-Agbaje’s Killer Croc for instance barely says a word, and not in a good way à la Groot or Chewbacca either. Ben Affleck returns as the caped crusader for all too briefer time, but he again commands the role both in and out of the suit. Last but far from least in terms of anticipation had to be Jared Leto’s new take on the Joker, and frankly given his relatively small screen time its still hard to judge. As polarising as his appearance may be, it did seem as if he was trying something new in each of his scenes complete with costume changes, and for every eye rolling laugh through a tattoo there was a visually striking dive into Ace chemicals. Leto certainly won’t win anyone over with his performance, but he may certainly make an impression down the line given more of a chance.

Verdict

The Suicide Squad had it all; a fitting director, a stellar cast and a unique concept. While it may have been understandable if it failed to accomplish all it set out to do like its grander predecessor what’s even more disappointing is that it never even tries. Instead our group of bad guys save the world from a cookie cutter threat whilst not acting all that differently from an average bunch of super heroes, and even then the result is muddled after editing. In playing it safe Suicide Squad loses the very essence of what could have made it great, here’s hoping its individual achievements survive to see a better film.

Hits

+ Great all round cast, particularly Smith, Robbie and Davis
+ Ayers right at home in the Jokers gangster centric scenes

Misses

– Being bad guys they aren’t all that bad
– Lacks momentum or any sense of urgency
– Heavy handed editing is nonsensical in places
– Bland villain and plot drags down the Squad
– Not all of the cast are given time to impress

Overall Rating 2starsMiss

Film

Batman v Superman: Dawn of Justice Review

Leave a comment

Run time: 151 mins       Certificate: 12A
Director: Zack Snyder
Cast: Ben Affleck, Henry Cavill, Jesse Eisenberg.
Release Date: March 25, 2016.

Zero Lex Appeal

With an enormous marketing campaign having dominated the internet for months before its release it was clear from the off set DC were firmly putting all their eggs in one basket in the form of Batman v Superman, and therein lies its greatest problem. BvS is a cumbersome film; one loaded with so much, often superfluous, material that it struggles to tell its basic story at every turn. Even without its shoehorned extras its hard not to envision the film as a decent Superman story and a damn near brilliant Batman outing both made worse by being forced together to form a messy ensemble piece.

Frankly the films greatest shortcoming is its plot. Despite setting the titular characters up with relatively understandable motivations the script constantly goes out of its way to derail this neat premise with needless flourishes that result in more than a few plot holes along the way. The film opens (after having rehashed Batman’s origin in case anyone forgot) with a stunning sequence that sees Bruce Wayne speeding through the streets of Metropolis to the aid of his staff trapped amidst the chaotic battle we saw at the climax of Man of Steel. Its tense, ties into Snyder’s previous entry seamlessly and establishes a reason for Batman’s distrust of Superman right off the bat. Moreover its enough to establish how humanity see Superman (through the eyes of Bruce). But Snyder then skips to Africa for yet another, albeit smaller in scale, case of Supermans actions being open to debate. Its just one of many instances of a scene that simply didn’t need to be, and it only further complicates the tangled plot. Jessie Eisenberg’s Alexander Luthor (son of Lex) factors into much of this confusion, his psychotic billionaires schemes tangling the plot to nonsensical levels without a hint of any solid motivation.

Not to mention the fact that the film throws dream sequence after dream sequence at the viewer to little effect. Some of these are amazing, Batman’s foray into a post apocalyptic future is likely to make any comic fan giddy, but being that these sequences have zero impact on the events at hand you can’t help but wonder why they weren’t cut let alone filmed in the first place. The greatest offender however lies in how we’re lazily treated to cameos of other future Justice League members in what is perhaps the worst case of desperate universe building that has ever been put to film.

There's more than a few biblical undertones to proceedings.
There’s more than a few biblical undertones to proceedings.

There is a lot to appreciate about BvS however. The main event does impress when our heroes clash despite being only a part of what the overall film is concerned with. As if the Dark Knight Returns had been made real, Batman uses contraptions a plenty in a bout that plays out as if it had leapt from the pages of the comic. Refreshingly its conclusion is quite original to the film and lands its emotional punch, capping what is arguably DC’s most authentic live action work before the cookie cutter finale rears its head. The Doomsday rumble that follows (a moment regrettably given away in its trailers) is all good fun despite how rushed it feels, and once Gal Gadot’s Wonder Woman joins the fray it almost all feels worth it. Superman gets to finally be heroic, Batmans gruff banter feels right at home and Wonder Woman is a well choreographed fighting machine. Despite the troubling first two acts the film suddenly just works.

Visually each and every scene is arresting. While the dark colour scheme is perhaps too reminiscent of Watchmen at points there’s no argument as to how well crafted each frame is by cinematographer Larry Fong. Every other moment is a trailer shot oozing with wonderfully realised art direction and costume design worthy of praise. Despite his indulgences Snyder also brings a dramatic flare with his direction that makes sure the dialogue pops even when Terrio and Goyer’s script underwhelms. Even when our heroes act out of character and argue with little motivation Snyder makes sure the proceedings are at least engrossing. Hans Zimmer and Junkie XL’s score is perhaps the most surprising misstep, with some of its more dramatic themes and an introduction of an electric guitar in a later piece nearly drowning out the spectacle of the scenes themselves with their heavy handedness.

Batman’s dreams are incredible but never amount to anything.

Much like the rest of the film some of the cast struggle. Ben Affleck’s Batman is quite possibly the best committed to screen, bringing a suaveness to Bruce and a raw brutality to the Bat that makes you fear the bone breaking vigilante as much as the criminals do. Henry Cavill dons the cape effortlessly once more, and despite being given little emotional range to work with sells the world weary take on the character convincingly. Eisenberg’s Luthor however drags the villains side down, his Joker like quips and twitches serving to annoy rather than menace whilst undermining his characters apparent intelligence, a shame considering he’s given what feels like the most dialogue of all. Gal Gadot’s Wonder Woman entertains thoroughly, though she’s given little time to make an impression, and leaves the viewer wanting more.

Supporting players such as Laurence Fishburne’s blunt Perry White and Jeremy Irons’ wry Alfred elevate their scenes with spot on delivery of their lines, making even some of their cornier quips hit their mark. Amy Adam’s Lois however is woefully under served. Despite turning in a decent performance she’s never given a chance to be anything more than a plot device constantly in need of saving (multiple times) by Superman. Like Lex Luthor, her character is brought down by the scripts need for her to fill a role by any means necessary.

Verdict

BvS is a missed opportunity, an event that had so much potential brought down by uneven pacing and a script so intent on setting up throw downs that it throws its characters motivations aside. Despite itself though the heroes impress, with Affleck’s Batman grabbing the audiences attention every time there’s crime to be fought in Gotham or super humans to keep up with. For comic fans who’ve been waiting to see the likes of Miller’s Batman jump out of the pages then BvS is arguably a must see, otherwise it may be best to wait for all the spectacle to be framed in a coherent plot that pays attention to serving the characters as much as it does the action.

Hits

+ Affleck’s Batman.
+ Visually stunning
+ Snyder delivers some brutal and varied action
+ The trinity delivers

Misses

– Nonsensical plotting at points
– Underwhelming script slows the pace
– Character motivations thrown aside
– Eisenberg’s Lex isn’t compelling
– Intrusive cameos and foreshadowing.
– Lois Lane relegated to a hopeless plot device

Overall Rating

3starsMiss

Film

Birdman Review

Leave a comment

Run time: 119 mins       Certificate: 15
Director: Alejandro G. Iñárritu
Cast: Michael Keaton, Edward Norton, Emma Stone.
Release Date: January 1, 2015.

Keaton Returns

Birdman hooks you in from the beginning. A meditating Michael Keaton levitates above the ground as the ominous voice of Birdman reflects on his failures. From this moment onwards you’ll be glued to the screen, caught inside Riggan’s (Keaton) struggle between launching his own Broadway show and maintaining both his family and his own sanity. All whilst his past blockbuster role of the superhero Birdman entices him back to the easy pay check and global fame it once gave him. Its an excellent character study that grabs hold and never lets go until the end, an unrelenting ride through Riggan’s personal life and inner psyche. Exceptional performances and cerebrally tuned direction lend this surreal trip a numbing sense of reality; in other words you’ve never seen anything quite like Birdman.

The whole affair is best watched in one go without interruption, and even if you’re bursting for an intermission you’ll likely endeavour to stay seated to the end. Emmanuel Lubezki presents the entire film as a singular absorbing experience where the camera weaves naturally towards the next scene without a cut as if the entire film were one long take. One particular take that see’s Keaton awkwardly stride half naked through crowded streets is a definite highlight. Tricks are naturally employed to give this effect between scenes, but even having each individual scene progress with minimal cutting emphasises the ‘day in the life of’ perspective put forth here even with the focus on time and characters shifting throughout. The result lends a tangible intimacy that comes with every shot, a backstage argument proving just as involved as a defining speech on stage before an audience.

Keaton and Stone as the dysfunctional father and daughter duo.
Keaton and Stone as the dysfunctional father and daughter duo.

Likewise Antonio Sanchez’s minimal soundtrack bolsters this seamless approach, slow burning drum solos between scenes building the momentum before fading out as a characters dialogue carries its rhythm onwards. Every moment devotes itself to exploring these flawed characters and you’re right there with them; a long shot of silence that stares down an empty hall for 20 seconds or so will have you holding your breath for what dramatic beat will storm into that empty space next. Its at this moment that you’ll realise Birdman doesn’t only deserve your attention, but demands it.

It may sound like an awfully serious affair, but Birdman greatest appeal lies in just how funny it can be. Keaton and Norton’s chemistry on screen leads to some hilarious confrontations, their tenuous relationship that flips from admiration to rivalry entertaining all the more because of its sincerity. Likewise the arguments between Riggan and his Birdman persona, complete with a growling superhero voice, are moments so darkly funny because of the genuine chords they strike away at.

Iñárritu’s direction leaves no stone unturned. Superhero blockbusters are disassembled to their base components, both ridiculed and praised for being what they are. An enraged Keaton onslaughts Lindsay Duncan’s reviewer for misusing her position when at the same time he unknowingly evaluates his self same issues. Its in its raw exploration of these aspects of show business that the comedy is found; without an agenda Birdman simply presents these standpoints for what they are, knowingly laughing at itself just as much as it does its targets. The ending above all encapsulates what Birdman analyses, the desire to be talked about, and once the credits begin to roll you’ll most certainly talk about it.

Norton's Mike is the perfect foil for Riggan.
Norton’s Mike is the perfect foil for Riggan.

Keaton is at the top of his game as Riggan, dominating the screen with his gratifyingly delivered rants and proving depressively fragile when confiding in co-stars Emma Stone and Amy Ryan. A film such as this could easily come off as aloof, especially with a lead like Riggan, but its Keaton’s unfettered magnetism that keeps the sentiments behind the madhouse genuine. There is another star of this show in Edward Norton however, playing a role seemingly written for him effortlessly. His smug stage actor drives much of the backstage tension whilst remaining comically charming; a perfect opposite for Keatons weathered star. Emma Stone mirrors her father’s solitude well as the recovering addict, playing a well worn role with enough substance as to never be in danger of becoming a cliché.

Smaller roles all have their moments as well. The aforementioned Lindsay Duncan’s subdued bitterness plays off of Keaton and Norton perfectly in her few scenes. Zach Galifianakis and Amy Ryan are brilliant anchors in Riggan’s life, again leaving a lasting impression without the need for lengthy appearances. Andrea Riseborough and Naomi Watts are cast well, their respective romantic sub plots rounding out the circus that is the backstage drama in what limited time their given. With a prolific cast that play off of each other so flawlessly the one issue with Birdman is all the more glaring, as its disappointing to see that the majority of their threads are left hanging come the conclusion of Riggan’s.

Verdict

An altogether original descent into one man’s endeavour to do something with his life, Birdman is as every bit euphoric as it is darkly telling. Keaton turns in the performance of a lifetime, both mentally and physically, while a supporting cast headed by an on form Norton ice the cake and then some. All this wrapped in a hypnotic long take style and intertwining drum solos synonymous with the beats of the characters it plays in. A rare example of the medium that is as much an experience as it is a film, its time you sat down and found out what it means to be Birdman.

Hits

+Keaton’s Birdman is sublime
+Norton heads up a fantastic supporting cast
+Iñárritu’s subtle dissection of the film industry
+Lubezki’s long take cinematography is like nothing else
+Laughs are as organic as the rest of the experience

Misses

–Character threads are left hanging

Overall Rating

5starsCritical Hit