Let me start by saying that The Dark Knight Rises is pretty much what I expected it to be - a spectacular, satisfying conclusion to Christopher Nolan's Batman trilogy. It certainly has its flaws, but it is nonetheless a wonderful piece of filmmaking and storytelling by one of our best working directors. And yet the main question everyone is asking about The Dark Knight Rises seems to be, "Is it better than The Dark Knight?" The short answer is no, it is not.
The Dark Knight is a better film than The Dark Knight Rises for several reasons. For one, its story is more tightly written - everything we see on screen happens for a reason, and the different subplots all intertwine flawlessly. Whereas the final film in Nolan's Batman trilogy simply tries to do too much, forcing in too many characters and subplots that could have been condensed, combined, or left out entirely, and giving the story a rushed, chaotic feel. There is also a constant sense of self-consciousness about the film - the viewer gets the feeling that Nolan and his team carry with them the weight of the acclaim The Dark Knight earned, and are constantly trying to top themselves, rather than tell a new and distinct story which will stand on its own merits.
A perfect example of both of these aspects is the opening scene in which Bane and his thugs hijack a plane in order to kidnap a nuclear physicist. Their plan comes off as unnecessarily (and somewhat absurdly) complex - why did Bane and his men have to be captured, and why did the whole thing have to occur while the plane was in the air? This sequence calls to memory the bank heist scene in The Dark Knight - both are opening action set pieces which introduce the audience to a new villain. However, the bank heist serves its purpose far more successfully. It contains great action while not being overly complex, it moves the plot forward by establishing that The Joker is stealing the mob's money, and most importantly, it tells us a great deal about the villain. While Bane's scene is an introduction to the villain in only the most literal sense that the audience sees him and experiences his actions for the first time, the bank heist demonstrates through this one scene that The Joker is a ruthless, clever loner operating on his own terms and unafraid of pissing off the wrong people. By the end of Bane's plane heist, all we really know is that he is a big scary guy with a weird mask.
However, returning to the question of whether The Dark Knight Rises is better than The Dark Knight, the more complete answer is that these two films are both parts of a greater whole, and though drawing comparisons between the two is inevitable, trying to determine which one is truly "better" is akin to trying to decide which chapter of a book is your favorite. At its core, Nolan's trilogy is really the story of one character - not Batman, but Bruce Wayne. Looking at the trilogy in terms of dramatic structure, Batman Begins serves as the introduction, establishing a back story and setting up the character of Bruce Wayne for further development. The Dark Knight provides the rising action of the story, expanding the characters and raising the stakes while building toward the climax. And The Dark Knight Rises brings the climax and resolution of Bruce Wayne's story. And it is here, as a conclusion of Bruce Wayne's story arc, where The Dark Knight Rises truly excels. The ending of this film also serves as the ending to the trilogy, and The Dark Knight Rises delivers an exceptional finale.
So ultimately, when discussing these films, here's what I am going to say: I consider them all to be excellent movies, both independently and as parts of a whole. Do I have a favorite? Yes. I think The Dark Knight stands above the rest in terms of filmmaking, in terms of story, and in terms of personal preference. But does that mean that I wouldn't call all of these movies great? Of course not. I love the trilogy Christopher Nolan has given us, and I am sure that it will join others such as Star Wars and The Lord of the Rings in being considered one of the greatest film trilogies of all time.
Friday, August 17, 2012
Sunday, July 22, 2012
Thoughts on the First Seven and a Half Minutes of "The Newsroom"
Here’s my problem with
everything Aaron Sorkin has ever done:
It doesn’t feel real. On an
intellectual level, I fucking love it; I eat it up like every other liberal,
college-educated post gen-Xer. But on a
gut level, it doesn’t totally work for me.
When watching anything written by Sorkin, I always have a tiny voice in
the back of my brain screaming “REAL PEOPLE DON’T TALK LIKE THIS!”
Case in
point: The opening scene to the first
episode of “The Newsroom”. Minutes ago,
Jeff Daniels’ world-weary news anchor just snapped and spouted off a “spontaneous”
tirade condemning the idea that The United States of America is the greatest
country in the world. Daniels does a
grand job of making the speech seem passionate and sincere, but the problem is,
this isn’t what people sound like when they’re pissed. When people are pissed, they are blunt and
crazy and they swear a lot. They don’t
spew a rapid-fire list of accurate statistics about the world which provide
solid evidence to back up the point they’re trying to make, no matter how
fucking smart they are. Jeff Daniels can
give the performance of his career, but it doesn’t matter, because no matter
how much humanity he brings to the moment, I am distracted by the fact that
this speech SOUNDS SCRIPTED. By somebody
who is so clever in his writing, he’s forgotten that cleverness is a fleeting,
elusive element in the reality of everyday life which even the luckiest of
intellectuals only attain every once in a while, and even then, only for the
briefest of moments.
A great
writer does not use every character as a mouthpiece for himself. Granted, every character is going to have
some of the writer in him (obviously no one is so ingenious that he can
entirely separate himself from his work and create something entirely unique,
even to himself), but a good writer should attempt to create different
characters, with different strengths and weaknesses. But every single person in anything Aaron
Sorkin writes is so GODDAMN QUIPPY.
Every character, from the jaded 50-something news anchor, to the
ambitious mid-30s producer to the wide-eyed 20-year-old intern is the spitting
image of Aaron Sorkin (so to speak).
Every single character on this show, regardless of their apparent
intelligence, educational background, or life experience, packs more witty
one-liners into one conversation than any reasonably intelligent person in real
life is lucky to come up with in a month.
What the fuck kind of pseudo-intellectual parallel universe are we
living in here? This is not
realism.
On some
wanky liberal-arts major level, I love it.
But on a gut level, it is both exhausting and entirely
unbelievable. Every conversation occurs
so rapidly, in a way that conversations do not occur in real life, because in
real life people actually have to take time to process and come up with a response
to what the other person is saying, not just spit out brilliant lines as soon
as the other actor has finished speaking.
Jesus.
Also, the
music is fucking terrible.
Saturday, March 6, 2010
My Oscar Predictions
After all the writing I've been doing about my own alternative awards for the best in film from 2009, I'm kind of sick of talking about awards, but I still wanted to post my predictions for who will actually win this year's Oscars. So here goes...Best Picture
Nominees: Avatar, The Blind Side, District 9, An Education, The Hurt Locker, Inglourious Basterds, Precious, A Serious Man, Up, Up in the Air
My prediction: The Hurt Locker. Because critics simply loved this movie more than any other this year. It has a whopping 97% Fresh rating on Rottentomatoes.com, which is insane even for a critically loved film. Avatar had too many complaints against it, and James Cameron has won Best Picture before. Precious and District 9 don't have a shot, since they are both from (relative) newcomers. The Blind Side is exactly the kind of movie that caused the Academy to expand the category to ten nominees - a crowd-pleaser to whom they have no intention of actually giving the award. An Education and A Serious Man both received plenty of good reviews, but nobody really thought either was the best of the year. As far as Up goes, animated films just don't win Best Picture, and even though it was pretty much loved by all, Up is not going to be the movie to change that. Inglourious Basterds and Up in the Air are the two films which I would guess have the best shot at snatching the award away from The Hurt Locker, but when it comes down to it, The Hurt Locker was too universally praised to not win.
Best Actor
Nominees: Jeff Bridges (Crazy Heart), George Clooney (Up in the Air), Colin Firth (A Single Man), Morgan Freeman (Invictus), Jeremy Renner (The Hurt Locker)
My Prediction: Jeff Bridges. Because the guy is long overdue. This is his fifth nomination, and he's already won the Golden Globe and Screen Actor's Guild awards for this performance. While Jeremy Renner might have a slight chance, the Academy is much more likely to give the award to a well-respected multiple nominee like Bridges than an actor who's just starting to get people's attention.
Best Actress
Nominees: Sandra Bullock (The Blind Side), Helen Mirren (The Last Station), Carey Mulligan (An Education), Gabourey Sidibe (Precious), Meryl Streep (Julie & Julia)
My Prediction: Sandra Bullock. Because the world is stupid. And the Academy has a tendency to mistake melodramatically speaking in a bad southern accent for acting. Helen Mirren and Meryl Streep are just nominated because they are Helen Mirren and Meryl Streep, and neither of their performances drew much praise beyond that. Maybe, just maybe either Carey Mulligan or (slightly more likely) Gabourey Sidibe will be able to overcome "newcomer status" and win the award, but I doubt it.
Best Supporting Actor
Nominees: Matt Damon (Invictus), Woody Harrelson (The Messenger), Christopher Plummer (The Last Station), Stanley Tucci (The Lovely Bones), Christoph Waltz (Inglourious Basterds)
My Prediction: Christoph Waltz. Because he gave the best performance by an actor in a supporting role this year. And even the Academy is capable of recognizing brilliance when someone walks up and smacks them in the face with it.
Best Supporting Actress
Nominees: Penelope Cruz (Nine), Vera Farmiga (Up in the Air), Maggie Gyllenhaal (Crazy Heart), Anna Kendrick (Up in the Air), Mo'Nique (Precious)
My Prediction: Mo'Nique. Because the Academy loves a good bad guy. Penelope Cruz just won Best Supporting Actress last year, so she's out of the running. Maggie Gyllenhaal's performance hasn't really been getting much attention, and Vera Farmiga's performance in Up in the Air was overshadowed by co-star and fellow nominee Anna Kendrick. So if the award doesn't go to Mo'Nique, it will go to Kendrick.
Best Director
Nominees: Kathryn Bigelow (The Hurt Locker), James Cameron (Avatar), Lee Daniels (Precious), Jason Reitman (Up in the Air), Quentin Tarantino (Inglourious Basterds)
My Prediction: Kathryn Bigelow. Because not only did she direct the most critically praised film of any of the nominees, but she's also a woman, and no woman has ever won Best Director. James Cameron's film was not as well received, and he's won the award before. Lee Daniels is a newcomer, so the nomination is the Academy's nod to him. Jason Reitman and Quentin Tarantino both have very strong filmographies of critically praised films and a directing nomination without a win each, so it is possible that one of them could snag the award, but I'd say that those two are more likely to receive recognition for their films in the writing categories.
Best Original Screenplay
Nominees: The Hurt Locker (Mark Boal), Inglourious Basterds (Quentin Tarantino), The Messenger (Alessandro Camon, Oren Moverman), A Serious Man (The Coen Brothers), Up (Bob Peterson, Pete Docter, Thomas McCarthy)
My Prediction: Inglourious Basterds. Because the closest second is The Hurt Locker, and that film is going to get its recognition elsewhere, in the Best Picture and Best Director categories, but the Academy will want to recognize Tarantino's accomplishment as well, and this is where they can do that.
Best Adapted Screenplay
Nominees: District 9 (Neill Blomkamp, Terri Tatchell), An Education (Nick Hornby), In the Loop (Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche), Precious (Geoffrey Fletcher), Up in the Air (Jason Reitman, Sheldon Turner)
My Prediction: Up in the Air. Because the Academy likes to award clever dialogue, and that's entirely what this movie is about. And like Inglourious Basterds, this is a film that the Academy would like to recognize with an award, and would rather do so here than in the Best Picture or Best Director categories. However, this is the trickiest category to call so far, so I wouldn't be surprised if In the Loop or maybe even An Education snatched the win.
The Woody Awards: Best Picture
BEST PICTUREMy Nominees:
Avatar
Away We Go
The Brothers Bloom
District 9
Inglourious Basterds
Moon
Star Trek
Up
Up in the Air
Where the Wild Things Are
Oscar Nominees:
Avatar
The Blind Side
District 9
An Education
The Hurt Locker
Inglourious Basterds
Precious
A Serious Man
Up
Up in the Air
I had my complaints about Avatar, but ultimately, it worked for me. Watching it was a genuinely thrilling cinematic experience. In Pandora, James Cameron created a world that is lush and beautiful, and frankly it's no wonder that this film broke the world box office record, so enjoyable is the experience of being immersed in it.
Away We Go
Up
Away We GoI loved this movie. It is funny, genuine, relatable, and touching. John Krasinski and Maya Rudolph are both excellent as the lead couple, and the characters they encounter on their search for a new home are smartly written and well acted. This is a very intimate film, which allows the audience to really get to know its characters and experience their world.
Writer/director Rian Johnson's follow-up to Brick is truly unique. It is a comedy, a drama, and a crime caper, yet it is not what I think of when I think of any of those genres. It is a genuinely original and well-made work, filled with interesting, well-crafted characters and driven by a compelling story.
District 9
Watching Star Trek may just be the most fun I had in a movie theater in 2009. This film is everything that a good summer blockbuster should be - funny, exciting, and filled with great characters. J. J. Abrams and his ensemble cast live up to the legacy of Star Trek admirably and make it their own, delivering a compelling new version of the starship Enterprise and its crew.
District 9District 9 is a phenomenal debut by a very promising director. It is the kind of science fiction that I love - a story set in the real world, but with a not unbelievable twist. Writer/director Neill Blomkamp uses the presence of aliens to tell a very interesting character-based story, while at the same time examining what humanity's response to the film's strange visitors says about us.
Moon
MoonLike District 9, Moon is a well-told science fiction story made by a first-time director (in this case, Duncan Jones). Also like District 9, this film is not about flashy special effects or crazy concepts, but is the human story of a well-developed central character. Sam Rockwell's performance is absolutely phenomenal, and the film's eerie mood is very well-crafted.
UpPixar does it again! This time with the story of a sad old man and an enthusiastic little boy who find themselves becoming friends as they go on an adventure together. This movie contains moments that will bring tears to your eyes, but it is also very funny. And there is more emotional depth to Up's story than to most of the movies designed for adults which I've seen this year.
Up in the Air is a fascinating and entertaining character study. Like most of Jason Reitman's films, it is about people. In this case, a guy who doesn't think he needs other people, but who experiences some changes in his thinking when two new women are introduced into his life - a love interest and a (kind of) protege. This movie is a funny, clever, observant story about human beings.
It's kind of miraculous that a movie like this ever came to exist. Instead of a sappy, stupid, dumbed down Hollywood version of a beloved children's book, Spike Jonze delivers a very touching and intelligent examination of childhood and all the joys, fears, and uncertainties that come with being a kid. This movie could have very easily gone wrong, but Jonze lovingly crafted something special, that captures the same sense of childhood wonder which has made the book on which it is based so popular.
THE WINNER: INGLOURIOUS BASTERDS
THE WINNER: INGLOURIOUS BASTERDSI'm sure anyone who's been reading my blog will not be surprised to see this winning Best Picture after winning so many other awards. But what can I say? Inglourious Basterds deserved each and every one of those other awards, and it deserves this one too. I feel like I've already said enough in previous posts about why this movie is so great, so I'll just say this: Inglourious Basterds was the best movie of 2009, and if you haven't seen it yet, you really should.
And that's it for The Woody Awards!
And that's it for The Woody Awards!
The Woody Awards: Best Director
BEST DIRECTORMy Nominees:
J. J. Abrams, Star Trek
Neill Blomkamp, District 9
James Cameron, Avatar
Spike Jonze, Where the Wild Things Are
Quentin Tarantino, Inglourious Basterds
Oscar Nominees:
Kathryn Bigelow, The Hurt Locker
James Cameron, Avatar
Lee Daniels, Precious
Jason Reitman, Up in the Air
Quentin Tarantino, Inglourious Basterds
J. J. Abrams, Star Trek
Star Trek was one of my favorite movies of 2009, and the funny thing is, I wasn't particularly looking forward to it. But J. J. Abrams did something amazing with this movie - he managed to create a film based on a dead franchise (which even in its heyday lacked much mainstream appeal) which felt new and fresh and exciting while at the same time displaying the proper level of respect for the original. Some dedicated Trekkies have complained that the 2009 version is too action-oriented, while the original was more about ideas and concepts. But I think that Abrams did what was necessary with the style to allow viewers in 2009 to experience the same sense of wonder which fans of the original experienced in 1966.
Neill Blomkamp, District 9

Neill Blomkamp is the kind of director which Hollywood needs right now. With his feature film debut, he delivered a movie more exciting, more original, more emotionally affecting, and more beautifully filmed than most films released last year (or in the past five years, for that matter). And he did it with an original concept which he developed himself. Not to mention the film's superb visual effects - Blomkamp took his $30 million budget (Avatar's budget, by comparison, was estimated to be 0ver $300 million) and delivered a very real-looking piece of science fiction.
Avatar may not be perfect, but you have to give James Cameron credit - it is certainly an accomplishment. He originally conceived of the concept for the film in 1994, but had to wait for the technology to develop which was required to make what he envisioned possible. He started production in 2006, and worked for three years to deliver the film we have today. Such a passionate dedication to a project, by a man who had to invent some of the technology he required as he went along, deserves recognition, and regardless of whether you love or hate Avatar, Cameron should be praised for the relentless devotion he displayed in bringing his vision to life.
Spike Jonze, Where the Wild Things Are
Spike Jonze, Where the Wild Things AreWhere the Wild Things Are is a great adaptation, and that is mainly due to the fact that Spike Jonze clearly has a deep and fundamental understanding of the spirit of the original story, yet was totally fearless and unapologetic in making it his own. This film has his signature all over it, but always feels very much like the book on which it is based. From the script to the casting to the music to the overall tone of the movie, Jonze made some very difficult choices, taking a lot of risks, and the end product of those choices is beautiful, revealing that he knew exactly what he was doing all along.
I almost didn't choose Tarantino for this award because I didn't want to get repetitive with Inglourious Basterds winning everything, but then I realized how stupid that was, and how unfair it would be to overlook Tarantino's achievement simply to make things more interesting. Like every other individual winner from Inglourious Basterds, Tarantino earns this award himself. No matter how many movies he makes, you never know what to expect when sitting down to watch Tarantino's newest film. This man is a filmmaking genius. Just look at the tension he builds into every scene, the cleverly drawn characters scattered throughout the story, and the sheer boldness of the film's final act. This film has style AND substance, and it just might be Tarantino's masterpiece.
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