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Saturday, 8 December 2012

Careful what you wish for…


…in this case you might get it but also ask for a refund. Yes, oh yes...I haz returned!! Like the original Dr. Who time for me has no meaning whatsoever. So, let us begin with what promises to be the first of many posts (if I don't get lost in an endless marathon of DIII/HL2/and-or WOW).

This post is about movies, on in particular but with another one crammed in there for good measure.


I saw TDKR last night [update: when I started writing this entry, it was September, I was in Greece and my life was far more complicated than now] and actually saw the last projection of the film; the multiplex will stop screening it today. It took me a while but I finally managed to see it before it disappears from cinemas and goes in the BRD queue.
Having waited for this for almost a year, following the news up to its release and witnessing the build-up for this film I got memory flashes from another similar build-up for a highly anticipated film, SW:Ep.1. Alas, the similarities don’t stop there.

I will try to present the TDKR review as a comparison between this movie and SW:Ep.1. If the comparison doesn’t add up, or you believe that it’s wrong/out of place/biased etc. feel free to bitch about it in the comments. This is my answer to your comments:



Both movies started their advertising build-up almost 1 year before release. Both movies were presented as the “movie-to-end-all-movies”, the biggest thing since, well...anything. Both movies faced technical challenges during or after production – Bane’s mumbled voice for TDKR was a major flaw in the initial trailer screening, SW:Ep.1 had to cope with it’s insane amount of VFX shots and digital camera shooting, forcing distributors to screen the movie only in few cinemas that actually had the technology to process the film, i.e IMAX.
Both movies were part of a trilogy, one being the final part and the other the opening act – to a coming disaster, but who could expect that. The fact that TDKR is the final instalment in a trilogy is obvious throughout the entire movie, mostly through the acting of its main characters – Bale, Cain and Oldman are playing as if they are so fed up with their characters that they can’t wait to get this over with and do something else. Hopefully, they will do something else and will forget about the embarrassment of this final act in TDK. Similar to SW:Ep. 1 Natalie Portman played as if she was on some sort of muscle paralyzer, throughout the whole film she had only one expression and that was: “What the hell is going on here? Who am I, what am I doing here?”
Having read the TDK comic series from Frank Miller, I was expecting something more for the movie adaptation, at least some involvement of Superman in there, some sort of mentioning of the “Judge Dredd” type of justice Batman decides to deliver in Gotham. I guess that Nolan found this too heavy for the audience and went on a different approach, fine, have it your way – TDK was one of the best films I’ve seen, but it had very little to do with the graphic novel. This approach was also adopted from Lucas on SW:Ep. 1. Instead of showing the birth of the most powerful and iconic villain in movie history as a dark and twisted process, he decided to make it a roller coaster ride in CGI Disneyland. The result was appalling to all SW fans, who wanted to see young Vader destroy entire cities with just a flick of his finger. Lucas tried to salvage Vader’s bad-ass image in Ep. II+III, albeit with so much over-the-top-and-out-of-place nonsense, that he made it even worse, culminating in the death of Padme FOR NO APPARENT FREAGIN REASON!!!


Going back to TDKR, the script was full of holes, gaps and absurd ad-hoc decisions (Why in the world would Bruce disavow Alfred just for one comment, even if that comment was so out of place! He’s the closest person he has to family and family is the drive behind the whole Batman character! That, and revenge of course). The problems with tracking the bomb are ridiculous, the convenient timer is laughable, no auto-pilot on a Bat-wing is just the icing to the cake of childish script errors. The overall feeling one gets from the script is of haste, of not putting the proper amount of will to make it better, more believable, tighter. To the script writer’s defence, this was not the worst script I have seen this year, the honour for that complete and utter train wreck goes to “Prometheus” – to which hopefully I will come back to in the future, if I can be bothered.

The few things I liked in TDKR were Christian Bale’s not-over-the-top acting, Anne Hathaway’s ass, Tom Hardy’s ultra-cool voice as Bane, the return of stunt based V FX and not so much CGI, Anne Hathaway’s ass on the Bat-bike, the Bat-wing. For a movie that concludes a great trilogy, it feels like a rip-off, so many inconsistencies in it, I truly believe that Nolan just wanted to go on to the next project.
I’ll leave you with this upcoming trailer of my Trek dose (MEDICINEEEEEE!!!!)









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