April 19, 2014

Tag Archives: Batman

2012 List of Overrated Hollywood Movies!

the Internet has become such a vast land of film criticism that few films completely escape the wrath of critical scrutiny even if the popular consensus happens to lean in the “wrong” direction.
Nonetheless, in the end I enjoy writing about the year in film, so far be it for me to cheat myself out of some arbitrary concern for maintaining the proverbial higher ground. So, in alphabetical order as always, let’s dive right in…
Brave (review/guest essay):
Had this not been Pixar’s first animated feature with a female lead, had this not been marketed within the context that Princess Merida was a kind of sword-wielding/bow-clutching warrior, the the film would have been seen for what it is: a deeply problematic character drama that ignores the icky realities at the center of its tale in order to tell an audience-reassuring mother/daughter story. The film basically tells the same character arc as The Little Mermaid but was declared a feminist milestone because the female lead A) carried a weapon and B) didn’t want to get married. But good intentions cannot get past a story line that treats mother and daughter as equally culpable even when one party is advocating forced marriage. Make no mistake, say what you will about ‘customs of the time’ or ‘arranged marriage versus forced marriage’, the film tells a story of a child who doesn’t want to get married to (and yes, have sex with) a man she doesn’t know and treats it like a minor inconvenience. There is a clear right and wrong here, but the film absolves the father of any responsibility while basically stating that the mother (who again, wants her daughter to have sex against her will) kinda-sorta has a point and that the daughter really needs to have empathy for her dear-old mum.
The Dark Knight Rises (review/spoiler review):
Giving this film a Best Picture nomination because The Dark Knight was snubbed is like nominating Quantum of Solace to avenge Casino Royale’s Oscar snub. Make no mistake, despite some pretty terrific acting by all parties (Anne Hathaway nearly steals the movie while Michael Caine is terrific in his brief screen time), The Dark Knight Rises is truly the Godfather part III of the series. It’s needless third chapter following a rather perfect two-film rise/fall arc. It seems all-but-obvious that Chris Nolan truly didn’t want to come back and was crippled [...]

The sound and music of The Dark Knight Rises

HollywoodNews.com: Visionary Director Christopher Nolan returns for the final chapter of the Batman saga. In this exclusive SoundWorks Collection video we profile the sound and music team including Composer Hans Zimmer and Supervising Sound Editor and Sound Designer Richard King.

To hear more go to soundworkscollection.com
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The Dark Night Rises continues to dominate the Box Office

HollywoodNews.com: In the next couple days you’re going to hear a lot about how the Aurora, Colorado shootings had some kind of negative effect on the box office this weekend. You’re going to hear about how The Dark Knight Rises is some kind of disappointment and that it surely left money on the table due to the aftermath of said mass murder. So without getting too pompous about discrediting such malarky, let’s get something out of the way right now. After ten days, The Dark Knight Rises has earned $289 million. That’s the third-best ten-day total of all-time behind only The Dark Knight ($313 million) and The Avengers ($373 million) and a good $10 million ahead of Harry Potter and the Deathly Hallows part II ($373 million) without the 3D advantage. Yes, the third Batman sequel dropped 60% from last weekend, but it still earned $64 million in weekend two, the sixth-biggest second weekend of all-time (The Dark Knight earned $75 million in weekend two, a 53% drop).
In short, the threequel is playing like a normal insanely anticipated but also heavily front-loaded genre sequel that has its fan-base firmly entrenched without picking up many new viewers this time around. In other words, it’s playing a bit like a Harry Potter/Twilight sequel. The Dark Knight Rises merely isn’t the pure phenomenon that The Dark Knight was, and anyone that told you it would be was probably delusional or lying. The Dark Knight was an event. The Dark Knight Rises is just a heavily-anticipated genre sequel.
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The Dark Knight Rises opens with $160 million

HollywoodNews.com:This was edited from a phone, so pardon any formatting errors. When a heavily-anticipated film debuts alongside a mass murder that takes place during a midnight showing of said film, it’s difficult to know how to analyze the opening weekend figures. I don’t mean morally speaking (all due respect, anyone offended by number crunching after such a tragedy shouldn’t be clicking on a link entitled ‘Weekend Box Office’), I mean practically. Under normal circumstances, the fact that The Dark Knight Rises debuted with $160 million over the weekend would lend itself to the usual analysis, dealing with weekend multipliers, midnight-percentages, comparisons to The Dark Knight and other recent blockbusters, and a guesstimate in regards to final domestic outcome. But it is impossible for now to know what the effect of the shooting had on the film’s short term or long term box office performance, so for the sake of this calculation, we will basically presume that the shooting had little quantifiable effect on the numbers, and frankly looking over the data I’m inclined to believe as much. The film did about as well, give-or-take, as it would have been expected to do. But the numbers, presuming little-to-no effect from Friday morning’s tragedy, means that the third Chris Nolan Batman film was a slightly less anticipated affair than the last go-around, which will likely bode comparatively ill for long-term grosses. Basically, horror of horrors, The Dark Knight Rises might just perform like a normal mega-blockbuster.
To wit, The Dark Knight Rises debuted with $30.4 million in midnight showings (second only to Harry Potter and the Deathly Hallows part II’s $43 million midnight-haul) and ended its first complete Friday with $75 million, good for the third-biggest single day of all time, behind The Avengers ($80 million) and Harry Potter and the Deathly Hallows part II ($91 million). Considering The Dark Knight Rises was in 2D, it surely sold more tickets on Friday than The Avengers and may have sold more than Harry Potter 7.2 (we’ll know for sure in a few days). The film earned 40% of its Friday figure via midnight showings, identical to Harry Potter and the Deathly Hallows part I ($24 million at midnight, $62 million on Friday) and just ahead of all-time worst midnight-percentage opening days Harry Potter 7.2 ($43m/$91m = 45%) and Twilight Saga: Eclipse ($30m/$68m = 44%). [...]

The Dark Knight Rises comments thread…

HollywoodNews.com: So it’s midnight on the West Coast, which means the first midnight showings are just letting out on the East Coast. Okay, you know the drill. Here’s hoping I have more comments here than I did for The Amazing Spider-Man.
Anyway, I’m actually going to be away from my keyboard for a couple days, but I’ll *try* to do a weekend box office write-up on Sunday morning. Until then, it’s officially open season for anyone who saw the third and final Chris Nolan Batman film. You’ve heard my thoughts, now time to share yours, in as much detail as you desire.
To comment about TDN go to MENDELSON’S MEMOS

Oscars: ‘The Dark Knight Rises’ a Best Picture contender

By Sean O’Connell
Hollywoodnews.com: Christopher Nolan’s “The Dark Knight Rises” isn’t even in theaters yet, and already, someone has dropped the “O” word.
Oscars.
“Ladies and gentlemen, we have a contender,” Clayton Davis of The Awards Circuit Tweeted after his “Rises” screening. I doubt it will be the last time that we hear Nolan’s trilogy capper in the same breath as the Academy Awards.
After all, it’s widely believed that Nolan’s last Batman movie, “The Dark Knight” – and its absence in the Best Picture category – led to the changes in the number of potential Best Picture nominees we can have each season. Will “The Dark Knight Rises” capitalize on the new BP regulations and compete for Oscar’s top prize early next year?
To do so, it’s going to have to rise above a series of fellow contenders … some of which are coming right out of Warner Bros.’ pipeline. As was noted in The Hollywood Reporter, Warner has a handful of titles that will come to the table with awards “buzz.”
Perennial Oscar contender Clint Eastwood plays a baseball scout on a trip with his daughter (Amy Adams) in “Trouble With the Curve” (Sept. 28). Ben Affleck’s back in the director’s chair for “Argo” (Oct. 12), a political thriller with a tremendous cast. And then there are two heavy hitters racing to theaters in December: Peter Jackson’s opening chapter to “The Hobbit,” and Baz Luhrmann’s “The Great Gatsby,” with Leonardo DiCaprio, Carey Mulligan and Tobey Maguire.
This weekend, the attention falls on Nolan’s “Knight” as we analyze its Oscar potential. The truth of the matter, though, is that it’s one of several options Warner has as the Oscar season kicks into high(er) gear.

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Batman: The Animated Series theme is a treasure to behold

HollywoodNews.com: Purely for fun, and purely because I was in the mood, I’ve compiled every relevant Batman musical theme since the 1960s. One live-action TV show, three film themes, and four animated series themes. A few things of note. First of all, that audio clip of Shirley Walker walking us through the Batman: The Animated Series theme is a treasure to behold, especially as she passed away several years ago (it’s the last cut on the two-disc Batman: The Animated Series score collection, which yes I do own).
Secondly, and this is what inspired me to compile these in the first place, whatever misgivings you may have about Batman Forever and Batman & Robin, Elliot Goldenthal’s music should not be discounted. His rip-roaring, more overtly comic book-ish theme is still a joy to listen to, successfully combining the lingering darkness from the Burton films with the more traditional Caped Crusader heroics on display in Schumacher’s films (the rest of the jazzy, offbeat music for Batman Forever is pretty terrific too). Thirdly, however powerful and effective the Hans Zimmer/James Newton Howard music may be for the Nolan Batman films, the themes are dreadfully challenging to hum, and I’d be lying if the Batman Begins ‘action theme’ didn’t sound just a bit reminiscent of Jerry Goldsmith’s theme to The Shadow (ironically best evidenced in this trailer for The Saint). Finally, despite the nine themes sampled below (and the fact that she’s seen quite a few episodes of Batman: The Animated Series and Batman: The Brave and the Bold), my daughter considers the 1960s Batman television theme to be the only ‘real’ Batman theme song and gets pissed when I hum anything else.
To be fair, I’m not exactly in a rush to show her Batman Returns or The Dark Knight (although she could probably handle Batman & Robin just fine). Please enjoy and share your thoughts below. What’s your favorite Batman music? Is it still Elfman above all else or has another later theme supplanted it? What music do you hear when you think of Batman?
To read more go to Mendelson’s Memo
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“The Dark Knight Rises” New Photos

HollywoodNews.com: Warner Bros. Pictures’ and Legendary Pictures’ “The Dark Knight Rises” is the epic conclusion to filmmaker Christopher Nolan’s Dark Knight trilogy.
It has been eight years since Batman vanished into the night, turning, in that instant, from hero to fugitive. Assuming the blame for the death of D.A. Harvey Dent, the Dark Knight sacrificed everything for what he and Commissioner Gordon both hoped was the greater good. For a time the lie worked, as criminal activity in Gotham City was crushed under the weight of the anti-crime Dent Act.

But everything will change with the arrival of a cunning cat burglar with a mysterious agenda. Far more dangerous, however, is the emergence of Bane, a masked terrorist whose ruthless plans for Gotham drive Bruce out of his self-imposed exile. But even if he dons the cape and cowl again, Batman may be no match for Bane.
“The Dark Knight Rises” opens in theaters and IMAX® Friday, July 20. This film has been rated PG-13 for intense sequences of violence and action, some sensuality and language.

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Why some comic adaptations failed: Iron Man 2, Punisher: War Zone, Superman Returns, Hulk

HollywoodNews.com: Actor Tom Hiddleston wrote an eloquent essay yesterday for The Guardian basically praising and defending the sub-genre known as the superhero picture. Plenty of disdain for the genre comes from the very notion that it’s big-budget entertainment based on literature that was technically intended for children that gobbles up production dollars and screen space that otherwise might be allotted for more explicitly grown-up fare. But at least some of the alleged weariness of this specific type of film (the superhero comic book adaptation) comes from a feeling that all-too many of them are basically telling the same story. You’ve generally got the standard origin story which (let’s be honest) basically takes Richard Donner’s Superman: The Movie and pours it into a different color bottle (I say that as a big fan of Spider-Man and Captain America). Then you have the sequels, which are quite often merely a case of escalation and/or the hero dealing with self-doubt often while in combat with a ‘bigger/badder’ version of himself (again, thank you Superman II). But over the last twenty years or so, there have been a handful of high-profile comic book films that have attempted to play around with the formula but have artistically failed anyway. As a rebuttal to the idea that ‘all superhero movies are the same’ as well as a reaffirmation of the idea that ‘it’s not what it’s about, but how it’s about it’, let’s take a look at five comic book adaptations that didn’t play it safe, but didn’t come out on top either.
Batman & Robin (1997)
I would argue that it’s a sign of maturity among film pundits and critics when they are finally adult enough to realize that Joel Schumacher’s Batman & Robin is not the worst film ever made. Peel away all the attempted camp, the self-depreciating homoerotic jokes, the terrible lead performance from Arnold Schwarzenegger and you’re left with simply a good story told very poorly. As the fourth film in a franchise, Schumacher and company had a bit more leeway in terms of where they wanted to take their film this time around. And as such, they told a rather thoughtful tale of an adult and sane Bruce Wayne trying to figure out how to be an appropriate head to his surrogate family. No longer wracked with guilt over his parents’ deaths, Wayne [...]

Anne Hathaway opens up about playing Catwoman

HollywoodNews.com: Anne Hathaway will be playing Catwoman in the latest ‘Batman’ film, but the process was a whole lot harder than she expected.
Hathaway opened up about the physical changes she had to make in order to tackle the role, states Hollyscoop. “I had to physically transform,” Hathaway commented, adding that she spent a lot of time at the gym.
The actress reportedly hired a personal trainer to help her get into the right shape for the famous role.
Do you think she’ll be a good Catwoman?
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