"Rebellions are built on Hope" Rogue One Review

Rogue One

3.5/5

Directed By: Gareth Edwards

Rated: PG- 13

           Since the year 1977, The Star Wars franchise has been breaking new ground on the fields of special effects, sound mixing and editing, and production design, and now with their first of many anthology films, they are breaking new ground again. Aside from their upcoming and eagerly awaited eighth episode, Rogue One is the first of new additions to the seven Star Wars movies audiences have come to know and enjoy. Rogue One is a story of a planetary threat's shadow, an empire resolute on bending the galaxy to their will, and a sinister leader discontent with anything less than total rule through fear. It is a story of a young woman torn away from her only family, a ragtag team of fighters apart of a newborn rebellion, and the single most important mission this team would ever execute.
           What separates this story from the other entries in the Star Wars galaxy, is Rogue One's steadfast main team of characters. Jyn Erso (Felicity Jones) is our able bodied heroine on this impossible mission. She is a daring and dynamic character, who, I am glad to say, is a great addition to the growing cast of Star Wars characters. Leading her on this mission is the alliance member Cassian (Diego Luna), a conflicted and cunning man. More than just the team's captain, Cassian is a sharpshooting pilot and an important mentor to Jyn. Their co- pilot is K-S20 (Alan Tudyk), an imperial droid who, since his reprogramming, has gotten into the habit of speaking whatever is on his circuits. These three are later accompanied by four other crew members, each with their own personalized fighting style and individual motivation to fight. When these seven members come together, the audience benefits. From their entertaining back and forth banter, comical witticisms, and admirable cooperative fighting style, this team is unforgettable. When they enter the heat of battle, there's no stopping them, and they will fight to the bitter end.
           Their mission brings them to distant planets, close to the grasps of death, and into the heart of the Empire. The story's vitality is shown through it's impressive action scenes, most of them featuring well crafted visual effects, precisely choreographed close quarters combat sequences, and heart stopping moments of suspense. Sadly though, this story is a slow burner, and it regrettably takes about 45 minutes for the movie's spark to ignite its fuse. The pacing in the opening half of the film is sluggish and at some points overbearingly gritty. There is a copious amount of tedious scenes, and it's easy to pick out which ones are unnecessary. It distracts from the story, and removes audiences from the cinematic wonder the film is trying to have.
           Once these scenes are over with, the rest of the film is fully engaging. Rogue One features one of the greatest climaxes I have witnessed in theatres (not just Star Wars climaxes, but film climaxes in general). It's gripping, action packed, and intense. The special effects are incredible, the action is fast paced, and it plays out on three different interacting stages. This film's crisis is worth the price of admission, for any Star Wars fan, however those who are new to Star Wars would do better watching this film when it comes out on home release.
           I am pleased to say, Rogue One is a good movie and a worthy start to the new Star Wars anthology films. The best aspect of these new anthology films is their potential for possibility. These new movies can introduce us to new characters, reintroduce us to some of the franchises' most familiar faces, and explore further into the galaxy far far away that audiences have come to know and love. I look forward to these new films, and I have to wonder where are we going next.

Verdict: Rogue One is a good film with an impressive cast of various characters, a good amount of action, and a well done climax that is sure to leave audiences satisfied and ready for seconds.

"Yesterday, a Wizard entered New York with a Case" Fantastic Beasts Review

Fantastic Beasts and Where to Find Them

5/5

Directed By: David Yates

Written By: J.K. Rowling
Rated: PG-13

           In the roaring 20's another day begins on the busy streets of New York City. A man walks to his job at a canning factory, members of the Magical Congress of the United States (MACUSA) file wand permits, an elderly woman makes her way to the steps of a bank where she will hand out leaflets, a sister waits at home and makes clothes to pass the time, a little girl recites a nursery rhyme, a boy sits alone in the darkness of his room, and a gentleman in a blue coat arrives from across the sea with only a wand and a case, a case full of fantastic beasts.
           David Yates' Fantastic Beasts and Where to Find Them (Fantastic Beasts) is a marvelous tale of estranged wizards, brave witches, a brilliant no-maj (non-magical), a wicked family, dark and terrible presences, and a numerous multitude of remarkable creatures, who have unfortunately escaped. In its essence, the film is a simplistic story about a team searching New York for these escaped creatures. More than this, though, the film dives into elements of oppressing magic, a need for understanding the unknown, the archetypal good pursuing knowledge, and the inherit evil attending chaos.
           The first standout ingredient of Fantastic Beasts is its marvelous characters. The main protagonist is the quirky magical zoologist and lead chaser of creatures Newt Scamander (Eddie Redmayne). Accompanying him is the inquisitively sharp MACUSA magical police officer Tina Goldstein (Katherine Waterson). Joining them is the no-maj with impeccable comedic timing and an extraordinary heart, Jacob Kowalski (Dan Folger), and Tina Goldstein's delightfully splendid sister, Queenie Goldstein (Alison Sudol). In addition to the film's outstanding main cast is a whole city of memorable characters, such as the impressive President of the MACUSA, Seraphina Picquery (Carmen Ejogo), the cunning director of magical security, Percival Graves (Colin Farrell), and the tentative and aloof son, Credence Barebone (Ezra Miller). To say the least, all of the characters in Fantastic Beasts are uniquely genuine, and part of the joy of watching their adventure is seeing for yourself what they are capable of and where they go within this world.

           The world these characters inhabit is brought to life through the film's cinematic design. Each location is filled with detail and every object feels as if it has its own story and purpose. Every shot is engaging and often impossible to look away from. The camera movements are clearly done with care and precision, so as to bring audiences closer into the streets of 1920's New York City. The special effects and computer generated beasts are astonishing. The magic is tangible and the creatures could almost come home with you. All of these visual elements never distract from the unfurling adventure. They enhance the film by adding intensity to great battles, tenderness to soft whispers, or amazement to the next mystical creature sighting.

           Perfectly complimenting the visual aspects are Fantastic Beats' noteworthy orchestrations. The accompanying  music adds a new facet to this alluring motion picture. It is used to parallel the action on screen, and also to bring out new and indescribable feelings deeper within the story. The music also found unique ways to counteract what was happening onscreen making viewers perceive a moment with a visual and emotional perspective. I listen to the soundtrack often, for it reminds me of my splendid time at the theatre and how much I long to revisit this world.

           What makes this world so inviting by bringing these characters visual effects and musical compositions synergistically together is the story. This screenplay separates and elevates Fantastic Beasts above other films. This screenplay is an original work by J.K. Rowling (author of the Harry Potter novels), and she has outdone herself. The dialogue runs the gamut of style and tone. It is fast paced witty and hilarious, engrossing enchanting and aw inspiring, or methodical revealing and crepuscular. Like the visual design, it always enhances and never distracts. Rowling's tale always felt free and wild, as if she could take her audience anywhere. Everything Rowling yearned to show her audience was present, because unlike her Harry Potter series Fantastic Beasts is not an adaptation. There is nothing missing from it, which gives the narrative a fundament of completeness. This is the whole work, and everything in is delved into with adventurous spirit and thrilling intrigue.

           While Fantastic Beasts is an original narrative, it takes place within J.K. Rowling's familiar and wonderful world of witchcraft and wizardry. Fantastic Beasts is in a sense a prequel to the Harry Potter series, however it does not rely on the success of that franchise. The film never uses emotions drawn from the Harry Potter franchise to construct the audiences' opinion of Fantastic Beasts. There was no deliberate use of nostalgia, and all harkens back to the first eight films were not without purpose and importance in this film. Audiences do not have to see any of the first eight films in order to appreciate this new and fantastic motion picture. This is a fresh start, and I implore you to hop on board.

           There is an uncountable number of gifts Fantastic Beasts has. Perhaps the greatest gift it offers is it is a treat for everyone. In our modern culture there are ever so few films with the ability to attract viewers of all ages and keep their focuses maintained. I am delighted saying Fantastic Beasts is a film for all ages and for the ages. The youngest of children will be dazzled by the playful nature of the film's characters and creatures. Youths will be entertained by the magnitude of this new and explorable world and the darker places lurking within it. Parents can rest assured their family will have a splendid time with this picture, while they too are hooked on the dynamic drama provided in this piece. Everyone will find something magical within Fantastic Beasts they will want to relive, and there will always be something new to discover with each viewing experience.

Verdict: Fantastic Beasts and Where to Find Them is an engaging adventure with a riveting screenplay by J.K. Rowling herself, marvelous characters, remarkable creatures, and breath taking visuals, making for one unforgettable experience not to be missed.

"Forget Everything you Think you Know" Doctor Strange Review

Doctor Strange

3.5/5

Directed By: Scott Derrickson

Rated: PG-13

There is more to this life than anyone can possibly imagine. What is seen in this physical world is only a fraction of what exist. In our daily lives, there is a battle raging, a battle between a greater will power and endless darkness. It is a never ending assault on us to stop pursuing a life of humility and take from this world what we believe we deserve. Every second of our lives, there is an inward struggle. It is only magnified by what exist outside, not just outside of our bodies, but outside our understanding. What can we not explain? What will we never be able to explain? Few films have dared to explore this realm, and none of them are as engaging and mesmerizing as Marvel Studios' Doctor Strange.

Doctor Strange is the story of a man, a physician, with status, wealth and talent far beyond everyone else. He is a suffering man who hoards his bountiful gifts for himself; excessively lavishing himself with luxuries, placing himself on a pedestal above his neighbors, and refusing to treat patients in fear of losing his portrait of perfection. All this is taken from him in an instant. One fateful car wreck takes away all of his perceived gifts. Without his hands to operate and his wealth to keep him blissful, he is nothing but the man he already is. Searching the world for answers and miracles, he finds a group of prudent wizards following one enlightened leader. Through his time with these enchanters, he learns powers beyond his imagination, sees dangers no man can face alone, and hears the call to rise up and become a hero.

The special effects in Doctor Strange are second to none. The psychedelic promises from the trailers are all true, and they are not disappointing. Worlds collide with each other, matter bends in on itself, skyscrapers and streets merge, and unmatched shadows flood the screen. These effects never try to deliberately wow the audience, rather they employ themselves only when necessary. There are moments when buildings are flipping in on themselves and it takes the audience's breath away, but there are other times when a simple hand reaching through a portal is all that is needed. Doctor Strange is a great balance of mesmerizing kaleidoscopic cinematic scene-scapes, and the simple graces of a man floating up out of darkness.

Beyond the special effects, and unique story elements, Doctor Strange offers tremendous performances from its entire cast. Benedict Cumberbatch is perfect casting as Dr. Stephen Strange. Without his skill and commitment for his craft, this latest installment in the Marvel Cinematic Universe could have been just another origin story worth nothing more than simply passing the time. Thankfully, Benedict Cumberbatch plays the leading role of Dr. Stephen Strange, with charisma, charm, and an unattractive arrogance. More than any other character in the Marvel Cinematic Universe, Stephen Strange is dynamic. He not only rises up through gaining magical powers, but also through letting go of his ego. His development is engrossing, and worth watching.

Though the film has much to offer, there lies a great problem in Doctor Strange. Unfortunately it is a systemic one. The editing and pacing for the film is atrocious. Jump cuts do not seemed planned. The camera moves from room to room, without first establishing in which room the action originated. Characters wildly trade blows with each other, but the audience is left guessing for themselves who is winning and if they truly have the upper hand. This makes the fight scenes overbearing and difficult to pay attention to, but it is not enough to make the film unwatchable. Personally, I think most audiences will not even see this as a problem.

Marvel Studios Doctor Strange is a reminder to ourselves that there is more to life than we can possibly imagine. Stephen Strange is an excellent reminder of this. Even if all our work is lost, our efforts are in vain, and we sink lower than we could ever rise, there is always something more. There is something worth striving for greater than ourselves. For the power to flow out of your own body, fight the forces of evil with unrelenting passion, and bend time to your will is nothing compared to the true strength which comes through self sacrifice.

Verdict: Doctor Strange is a mystifying experience, with unforgettable special effects, excellent characters and a strong message on the temptations of pride and the heroics of humility.

"I Want You to Pray" Magnificent 7 Review

        The Magnificent Seven

3.5/5

Directed By: Antoine Fuqua

Rated: PG-13

              Way out west in Hollywood California, there was one film genre takin’ the land by the reigns. It was the only style of film that could be both a mighty fine shindig and a blood spittin’ brawl. The only type of film where heroes and villains never seemed too far from each other. Right around the dusty trail would come another, and another until Hollywood flooded themselves with these golden movin’ pictures. The good old 1960’s was the age of the western.

In our uptown modern society we don’t see head or tail of these fellers nowadays, but here comes a new day with the risin’ sun, and it’s blazin’ glory comes forth Antoine Fuqua’s The Magnificent Seven. It is by no means an original story, seein’ as it is a remake of John Sturges’ picture by the same the title, and his picture was based heavily on Akira Kurosawa’s “Seven Samurai.” What makes this new one so original is its new style of high stakes directin’, its colorful cast of characters, and its brilliant score composed in part by the late James Horner.

Antoine Fuqua is not known for makin’ westerns. I believe this to be his first. Based on his line of work, he’s always prided himself on how well he can capture intense modern day action. This is seen is some of his pictures, such as “Training Day,” “Olympus has Fallen,” “Shooter,” and “The Equalizer.” A common element in all these films is Antoine’s desire to go close in on action scenes, and before the action starts it’s mostly close ups of the characters themselves. Interestin’ enough, this style of directin’ makes for a quite the surefire shootout. It’s rivetin’ seein’ the sweat drip down a man’s brown before he stains his hands with gun powder and crimson. In this way Fuqua brings his viewers right into the minds of every one of his characters, so you practically know what they gonna do before you hear the pop pop pop of their glorious shootout. Good sign for a film if it can get you excited for any action scene, especially if its viewers only just saw one about five minutes ago.

The characters in this film are a wild bunch, but dadgummit they’re good. Denzel Washington is our lone pistol wielder for hire standin’ out in front of everyone else. He’s got a voice that can stop a fight and an attitude that says don’t mess with me. Chris Pratt is a likeable slicker with sharp whitt, keen eyes, and a purdy wink for all the gals. Anytime he’s on screen all eyes are on him. Aside from his role as Peter Quill in that there space film “Guardians of the Galaxy,” this may be his best performance yet. These two stars is accompanied by Ethan Hawke, Byung hun-Lee, Manuel Gracia-Ruffalo, Martin Sensmeier, and Vincent D'Onofrio. Every single one of them plays well off the other, but they are characters. They are exaggerated personas, and to some viewers that may be a little off-puttin’. But let me put your mind at ease brother, because these personas are wild, fast, cunning, sharp, soulful, fierce, and funny as hell.

The last stand-out part of this here moving picture is its magnificent score. It never strays from the moment. It never tries to impress. It heightens what is on screen, and it gives each character a deeper personality. It’s a raw sound. It penetrates the soul. The strings bring out the blue hues of the sky. The drums rip up the Earth below. The cry of a woman or the whistle in the breeze reminds us of our humanity and mortality. Quite the sight for your ears.
             The Magnificent Seven is a hoedown worth attendin’ and comin’ back to every so often, but you gotta know what you came for before you go and shell out your hard earned wages on this here picture. Ask yourself what you are comin’ for. Have you come for wide skies and barren soil? Have you come for the warmth of a woman's heart and the fire of a man’s spirit? Have you come for drinkin’ and good times before the moon sets and darkness prowls? Have you come for the justice that can only be delivered with the click of a trigger, the fall of a hammer, and the release of seven pounds of pressure?  Have you come to bathe in the sunlight of glory before it sets on your soul one last time? Then, my friend, you are in the right place.

The Verdict: The Magnificent Seven is a good movie that brings quite a cast of characters together to fight in a good ol' wild west shootout, but with the cinematic aspects of a modern action film.

"This is the captain, brace for Impact" Sully Review

Sully

 Directed by: Clint Eastwood

Rated: PG-13

            On January 15th 2009, 100 seconds after leaving LaGuardia airport, U.S. Airways Flight 1549 lost both its engines at a lower altitude than any jet in history. 208 seconds later it made a forced water landing on the Hudson River. 155 people were rescued from the frigid waters. There were no causalities. If not for Captain ‘Sully’ Sullenberger, everyone on board may have died, but could Sully have also saved the jet? Further investigation revealed it might have been possible to land safely back at LaGuardia. Now what does the world think of Sully? What does Sully think of himself? Was it an act of ignorance or heroism?

            Clint Eastwood’s latest biopic depicts these events in a genuine light. Instead of dramatizing or heightening the action, Sully maintains deep focus on its realism and humanity. It is because of this, Sully never feels like a movie. It is a true experience deserving of anyone’s attention, and it’s worth seeing in theatres. From takeoff to splash down, Sully continuously uncovers and opens up the genuine “Miracle on the Hudson”.

            A prominent element in this film is the quality of its actors. Tom Hanks brings heart and life to any film he’s in, and his portrayal of Captain 'Sully' Sullenberger handily deserves a place next to his best roles, such as Chuck Noland, James B. Donovan, and Forrest Gump. An interesting detail in this film is the subtly of Hanks’ interactions with the various characters. He is friendlier with some more than others, but he treats everyone with equally high respect. It is the mark of a great actor when they have the ability to bring out the best in everyone in the scene. On top of this the entire cast portrays their characters with the same honesty that people portray themselves.

            In a film such as Sully it’s easy to glorify the special effects, to focus on the crash itself, bank on the actors doing a spectacular job, and get away with making an average movie. Instead of centering around the incident, Sully makes the daring and admirable choice of keeping its story’s focus on the people It’s about the airport tower team, the crew of the NY Waterway’s “Thomas Jefferson” , and the Red Cross members. All of these people’s lives are illustrated through a screenplay that blends realism and perfectly timed humor, with its epicenter being Captain 'Sully' Sullenberger.

            Sully's visual scope is engrossing. Every frame continuously drew my eyes to the screen. Even the simplistic meetings between Sully and the investigation board are shot with precision and fluidity.  Though audiences already know the ending, the filmmaking and passion behind the scene work keeps them waiting on bated breath. Since it was shot on IMAX cameras, the wider aspect ratio invites viewers into the experience of the landing, and thus magnifies the impact of being able to say “all 155 passengers survived.”

            Although Sully has several aspects working in its favor, there is one setback. It is told in an uncommon nonlinear fashion with past events playing out as memories. These memories are triggered by stimuli, and they can last anywhere from five to twenty minutes. Though the return from memories to present can feel sudden and jarring, it does not take away from the overall feel of the movie, rather it gives Sully a unique aesthetic separating it from other biopics.

            Beyond its spectacular performances, stand out cinematography, and impeccable direction, Sully is truthful. I have listened to the CVR recordings from the cockpit of Flight 1549, and they are verbatim to the dialogue in this film. The main reason Sully is founded in the reality of the events, is because Captain Sullenberger himself was heavily involved in the making of the film. He wrote the autobiography the screenplay is based on, and he was a consultant with Tom Hanks and Clint Eastwood. When a biopic is written about someone who is still alive and they want to be directly involved in the making of the film, the results are worth cherishing. In an interview with CBS This Morning Sullenberger stated “What I really wanted this film to have was a real undercurrent of the importance of our common humanity, and I think it’s there.”

Verdict: Sully features tremendous performances, an impactful screenplay complemented by Clint Eastwood’s brilliant vision, and it's founded in reality and our common humanity.

"What if I forget you?" Finding Dory Review

Finding Dory
2.5/5
Directed By: Andrew Stanton,
Angus MacLane
Rated PG

            In 2003 Pixar released a little movie about one lost fish in the big sea, Finding Nemo. Thirteen years later, they return once again to the deep blue to tell another fish tale. Our protagonist will face monsters, peril, and crowded highways. The sad part is she won't remember a thing. 
            Finding Dory is a story of heart, full of emotional moments and some great laughs too. It's about the importance of family, and how far someone will go to learn where they came from. Regrettably though, this story's progression is often interrupted by Dory's next ridiculous escapade. Throughout the movie, Dory keeps finding herself in more trouble and danger which seems like it would raise the stakes of her adventure. These scenes of increasing danger continuously distract from the main story, instead of building up the action. The constant stopping and going in this movie's narrative makes watching it a chore.
            Visually, Finding Dory is gorgeous. Every color pops out on screen, and colors are carefully chosen giving each moment it's own look and feel. The scenery is full of vitality, due to the lively crowds of both people and fish inhabiting it. Every fish in a school has their own individual look separating them from everyone else. They not only look great by animation standards, but also by Pixar's standards. Clearly the animators put extra care into the details of every character design.
           The characters themselves are another story. Dory, the once free spirited blue tang, has become a run of the mill leading buffoon. Her memory loss isn’t as endearing as before, and it repeatedly lands her in increasing danger. She does manage to save herself every time, but it gets to a point where the only reason she’s still alive is blind luck. It’s hard to root for her, when I kept thinking, “What are you doing? Don’t go there! You’ll die!” Accompanying her is an Octopus named Hank. He tags along with her for his own purposes. She has what he wants, and he can get her what she wants. Curiously enough, Hank does get Dory what she wants, but then Dory takes Hank away from what he wants. She justifies it, but it still seems rather rude, coming from the former tenderhearted character. 

            There are also plenty of other new characters in this movie, too many. They all enter the story as welcomed newcomers with their own quirks and personal problems. As the movie progresses, it’s obvious they’re only in this film to save Dory from her own brought on danger. For every mess Dory gets herself in, there's a new character waiting in the wings to help her out. It’s a tiresome and predictable cycle, which has yielded a plethora of forgetful fish.

            Finding Dory is okay. It’s definitely not Pixar’s best work. It's a decent story with some laughs and heartbreak, but it's not one worth remembering.

Verdict: Finding Dory is a decent movie with a strong emotional center, and stunning visuals, but only a few laughs, and many forgetful characters. 

"One Bad Day" Batman: The Killing Joke Review

Batman: The Killing Joke
1.5/5
Directed by Sam Liu

Rated: R 

There are many mediums through which someone can tell a story. One of the most gripping mediums are graphic novels, and no other series has a library of compelling stories as Batman. My personal favorite Batman stories are “A Death in the Family”, “Knight Fall”, “Under the Hood”, and the controversial and shocking “The Killing Joke”, written by Alan Moore and illustrated by Brian Bolland. Published in 1988, this 42 page one shot rapidly rose on the New York Times' Best Seller list, and is heralded by fans across the globe as the greatest Joker story ever told.

            It's understandable why DC would make it into a movie, and the stars aligned for them. Bruce Timm, head animator of the show, was the producer. The voice actors from the animated series reprise their roles. Mark Hamill came out of Joker retirement just to make this movie. It seemed the universe lined up perfectly to make this the greatest Batman movie.

            For the most part, the universe was right. This film is an accurate and somewhat faithful interpretation of Moore and Bolland’s work. There are moments when the screenplay is verbatim to Moore's script, and a number of frames are reminiscent of Bolland's artwork. 

           This is not true of the entire film. Artistic liberties were taken, as is the case with most adapted films. These liberties, however, do not improve, or build upon the original story. What they do is downgrade it.

            One of these major changes is the inclusion of a prologue centered around Batgirl. Being one of the most pivotal characters in “The Killing Joke”, DC added a prologue to make her a strong-willed feminine protagonist. However, it completely backfires, and makes her a victim of her own foolish choices. In a story revolving around “life and all its random injustice”, it’s detrimental if any act of cruelty appears as poetic justice.

            When the main story finally begins, it speeds along to its ending. Even the characters rush themselves. Instead of methodical discretion, they deliver lines with overemphasized franticness. This action packed and hysteric pacing ruins the script's sinister intent. "The Killing Joke" is a slow haunting tale, filling readers with fear of what inevitably awaits on the next page. It’s not a big loud blockbuster, grabbing audience's by the ears and dragging them along at break neck speed.

            Accompanying this movie’s poor storytelling is lackluster hand drawn animation. It's simplistic, lending no passion or terror to its characters. Concerning the Joker, his appearance in previous movies is psychotic, volatile, and demented. His appearance in this is plain, unenthusiastic, and benign. It belittles the dramatic contrast between his dark and cruel mind and the human he once was.

            The mundane animation is blaring and obvious due to the average cinematography. It treats the first time Joker laughs, an integral moment, with idle callousness. The color is drained, and the Joker’s body vanishes into the background. Instead of showing the Joker from several different angles, it simply zooms in on him. This is the bare minimum of what DC can do. It’s shameful how little effort is shown in this film, especially when compared with Bolland's realism and grit.

            Batman: The Killing Joke depreciates what made the comic great. The new content is unfulfilling. The frantic pacing rips through the story's greatest moments. The animation is bland. Worse of all, it could’ve been better. "The Killing Joke" is an iconic and timeless tale readers come back to again and again. This movie is a commonplace and forgetful adaptation I have no desire to watch again.

Verdict: Batman: the Killing Joke is an uninspired paint by numbers retelling of a great Batman story, and it’s sad how it could have easily been a memorable and palpable adaptation.  

"This is probably not how you Thought the Story would Start.”

Thoughts on Batman: the Killing Joke's Prologue

SPOILERS

I was writing my review of Batman: The Killing Joke, and I realized I had a good amount of personal thoughts on this film’s prologue. I decided to post them separately.

“The Killing Joke” is a short 42 page graphic novel, so it makes sense why producer Bruce Timm would want to add on to the story. Instead of filling out the main story of the comic, he added a whole new story in the form of a prologue. Well, this prologue is boring...and weird. 

From the get go this movie let me know it will not be like the comics. Batgirl opens up the whole film saying “I realize this is probably not how you thought the story would start.” You’re darn tootin’! I thought I would begin a story about Batman and the Joker with either one of them, but the reason why the filmmakers added this new prologue is to showcase Batgirl as a strong willed and capable female protagonist. They did this by pinning Batgirl against her new archenemy, Paris Franz. Yes. That is his real name. No. He’s not in the comics.

Paris Franz goads Batgirl on by cat calling her, and basically getting inside her head. After the third night of Paris' schmoozing, Batman suspects Batgirl might be unfit for this case. Batgirl however ignores her mentor’s words, and ends up getting cornered in Paris’ trap. Batman saves her, and then firmly tells her she is off the case. Batgirl yells at Batman for keeping a leash on her, proceeds to furiously beat him up, kisses him, and then they have sex. WHAT!!!

Where did this come from? This scene doesn't move the plot along in anyway! It makes no sense why it's in this Batman movie! First off, this “possible relationship” between Batman and Batgirl is never hinted at in the comics. It was only subtly referenced one time in “Batman Beyond”. Second, Batman and Batgirl’s actual relationship has always been similar to a father and a daughter. The only place I would even suspect they are lovers is in fan fiction. Third, this scene doesn't show Batgirl as a strong feminine protagonist. It shows her as a weak female who uses her body to get what she wants. Fourth, this has nothing to do with the Joker. It’s his movie. His name is practically in the title. Why isn’t he the Paris Franz guy? Why couldn’t he have been the one to goad on Batgirl? At least then this scene would have had some validity being in this movie, but no. Batman and Batgirl “get it on” in a licensed DC animated movie, and I was stupid enough to watch this garbage.

So after that happens, Batgirl’s ignored by Batman, eventually kicks the crap out of Paris Franz, and then quits being Batgirl, because she needs some time off to clear her head. Then the movie just goes to Batman’s perspective, as if the first 28 minutes didn't matter, and nothing could be truer.
            This prologue doesn't build up anything that happens in this movie's main story. It takes away from the main story, by making what happens to Batgirl seem more like poetic justice than random cruelty. This dramatically changes the message this palpable story could have told. The only reason this prologue is here is to make Batgirl look like a strong female protagonist, and that drastically backfires.

Batman the Killing Joke's prologue is entirely unwarranted, absolutely boring, morally degrading, detracts from the main story, and has added a new awful dimension to Batgirl's character.

"Would that it t'were so Simple." Hail, Caesar Review

Hail, Caesar
2/5 Stars

Written and Directed by: Joel and Ethan Coen

Rated: PG-13

Hollywood. 1950 AD. Capitol Pictures is shooting four new movies, and their most expensive epic to date, Hail, Caesar. The Biblical epic’s main star, Baird Whitlock (Clooney), has been kidnapped, and only one man has enough ransom money to save him, Eddie Mannix (Brolin) head executive of Capitol Pictures. He's going to have to save his new epic, keep his fellow comrades in line, and overcome all of the daily challenges of being a Hollywood executive.

I've been looking forward to this film all year. Because the Coen brothers wrote and directed one of my favorite movies, O' Brother where art Thou, a 1930's period piece, I was excited when I heard the Coen brothers were making a 1950's period piece . I'm happy to say my first impression of Hail, Caesar is it’s a stupendous movie that excels in many aspects. Unfortunately halfway through it became a decent movie by bogging itself down in these same aspects.

First off Hail, Caesar boast of having an extensive all star cast, featuring George Clooney, Alden Ehrenreich, Ralph Fiennes, Scarlet Johansson, Channing Tatum, and Jonah Hill. The biggest problem with having so many big stars in one film is each of them only has one good scene. The next time they appear they’re practically cameos. The film also wants to follow as many of their stories as possible, and it loses sight of who its main protagonist is. Instead of picking a protagonist it adopts three of them.

Another aspect that was bogged down is the look and feel of this film. It is so jilted it removed me from my viewing experience. While the cinematography gives Hail, Caesar its own personality, after an hour of watching the same off-putting shots with the same orange hue in all of them I no longer suspended my disbelief. What’s more the cinematography used in the 1950’s movies is the same as the rest of the film, so none of the movies in Hail, Caesar look like 1950’s motion pictures. This takes the film away from being a period piece, and turns it into a caricature of what the Coen brothers wish the 1950’s looked like.

Even the screenplay suffers in Hail, Caesar. At the beginning of the film it hooks the audience in with the simple concept of illustrating the day in the life of a big Hollywood executive in the 1950’s. By the end of the film it’s following half a dozen characters and becomes a philosophical noir thriller, two romantic comedies, and a cold war spy film. On top of that, the ending feels disconnected from the rest of the story and it left a bad aftertaste in my mouth. I will probably never watch this film again.

Verdict: The Coen brother’s Hail, Caesar is a lack luster film that suffers from having too many characters, an overabundance of off-putting shots, a screenplay with an identity crisis, and a tacked on ending message that spoils the rest of the film.