Carrie Fisher’s Legacy Will Never Be Forgotten. 

The Amazing Spider-Man Review

    It's been ten years since Sam Raimi unleashed his vision of the Marvel Comics superhero Spider-Man onto global audiences.   With dry wit, tight action, impressive structure, and soulful acting, Sam Raimi's Spider-Man trilogy became the definition of the comic-book superhero film series for the 21st cetury, with Spider-Man 2 being the golden standard alongside Superman: The Movie for what the genre can and should be.     The series' importance carried through even after the release of Christopher Nolan's masterful and game-changing Batman tale, The Dark Knight.  While Nolan focused on rooting superhero mythology into an image of the current state of the world, Raimi followed the path of the genre as a means of escape, showing that both approaches can exist with equal success.      The third Spider-Man film failed to catch a fire among audiences, meaning that a new story from a new perspective was wanted.  Enter Marc Webb, director of (500) Days of Summer, to take the reins of Spider-Man and tell his own story of the hero from the beginning with The Amazing Spider-Man.     The trajectory of the beginning hits all of the basic notes of the origin story in the previous series' first film.   Peter Parker is a geeky New York high school student who doesn't fit in.  He lives with his Uncle Ben and Aunt May, inadvertently wanders near a secret project that leads to a radioactive spider biting him and giving him superpowers.  At first, he struggles to get comfortable with his abilities, but a personal tragedy brings him perspective and a raison d'etre, and a threat to New York City shows him the man he needs to be.     With there being only ten years separating the previous series' first film with this one, it could have been either lazy or boring to cover a lot of the similar ground.  Then why does it feel different?     1.) We are shown who Peter's parents are and, to a degree, why they left them in Ben and May's care.  This has a profound effect on Peter, showing why he is so intelligent, has a chip on his shoulders, and almost prefers not to fit in with his classmates.     2.) The love interest is Gwen Stacy, a geeky fellow student who works as an intern at Oscorp, the place where Peter's father's colleague, Dr. Curt Connors does research, and the place where Peter eventually gets his powers.     3.) The webbing he shoots is man-made, not an organic effect from the bite.  This emphasizes his intelligence and well as provides a sense of danger in a couple scenes.     4.) Spider-Man is seen as a vigilante more than a hero.  The police, led by Captain Stacy, want to lock him up as a criminal due to his outside-the-law crime-fighting activities.     5.) The criminal who caused Peter's personal tragedy isn't caught.  This gives Peter a sense of failure that he carries throughout his endeavors, knowing that what happened to him could easily happen to someone else.     These changes, as well as other stylistic choices, all keep the film fresh and engrossing, allowing the audience to see it as its own entity without reminding them of the previous origin story.  The comic-book universe has several storylines for one character that play out, some in parallel with each other, and this is something that could be difficult to accept on film. Credit must be given to everyone working on the film for trusting the audience to give the film its own chance.     The script, written by James Vanderbilt, Alvin Sargent, and Harry Potter alum Steve Kloves, is tight, having a constant sense of propulsion while allowing the audience to delve deep enough into the characters to want to join in on the ride.  It tries to balance the grittiness and reality of Nolan's Batman series with the dry wit and fun of Raimi's Spider-Man series, and, for the most part, works well.     The main actors shine thoroughly.  Andrew Garfield has immense talent, as his work in The Social Network and Never Let Me Go shows, but it is still a surprise how natural a fit he is as Peter Parker/Spider-Man.  He gives Peter the arrogance, heart, humor, doubt, and strength that fits perfectly for this film.  Garfield understood how to interpret Peter in this universe, and his interpretation is wonderful.     Emma Stone comes off as strong, snarky, tender, and sexy as Gwen Stacy.  Gwen's personality could take any man on, but she lets her guard down with Peter, and the tender moments with Peter are a sight to behold.  Her chemistry with Garfield is natural and flawless.  Even if the rest of the film was terrible, every scene with Stone and Garfield together would still make it worth watching.     Rhys Ifans as Dr. Connors is a conflicted man struggling with keeping a secret from Peter about his parents' whereabouts and with a formula that gives him his arm back but at the cost of becoming The Lizard.  Ifans' filmography shows his range, and he maintains the humanity of Connors when the script sometimes forces him into the Lizard's psyche completely.     The supporting roles work as well as they need to, but some are better than others.  Martin Sheen takes his role in Wall Street and focuses more on how he manages home life, making Uncle Ben the father figure we love and respect.  Sally Field isn't given enough time with Garfield to develop the connection they need, but her Aunt May is still welcoming.  C. Thomas Howell is a great embodiment of how the world sees Spider-Man.  Irrfan Khan plays a one-note character, but as one of Dr. Connors' bosses, he has plenty of menace.     However, of the supporting roles, Dennis Leary is the standout as Captain Stacy, Gwen's father.  His acting chops were honed on his show Rescue Me, and he takes the abrasiveness and New York pride of Tommy Gavin and files it down to a more sensitive, fatherly base.  He feels threatened by Spider-Man as the superhero is doing the job that the police are supposed to do.  This tension carries through the dinner with his family and Peter as a guest, and when he sees Spider-Man's true identity, he understands that while he may not agree with the concept of Spider-Man, he knows that the hero is an asset to the city and not a hindrance.  Leary is superb as the moral center of the film.     Director Marc Webb started out with music videos and short films before his impressive feature debut, (500) Days of Summer.  That film showed how comfortable he is with a good script and great actors, and that carries through here.  The best moments are the smaller ones, not only the scenes between Peter and Gwen but also when Spider-Man rescues a child from a threatened vehicle, when Ben and Peter are together, when Peter begins to get comfortable with the new powers, when Spider-Man is in full smart-ass mode, and when Spider-Man goes to the sewer to pursue the Lizard.  Webb understands the power of a delicate touch, and when he applies that touch, the film reaches the greatness of Spider-Man 2.     However, there are enough flaws that keep it from reaching those levels consistently.     First, the construct of the villain doesn't work as well as it should.  The design of the Lizard is too artificial, and when the Lizard starts talking about how he wants to create perfect beings, it's jarring because of how Dr. Connors was never wanting that to begin with.  The Lizard is an interesting villain in the comics, but he doesn't fit with the grittiness of the film.     The post-credit scene is also disconcerting because it introduces an unnamed figure and randomly expands the Parker's parents storyline and Oscorp into the sequel.  It takes away from the film holding up as its own entity, but at least it allows for future films to give this one some additional meaning.     The music by James Horner is faceless.  While Danny Elfman's work in the previous series didn't have a strong theme, it fit the film better than this score does this film.  Horner knows how to up the drama, but nothing from the music is memorable.     The Amazing Spider-Man is not the greatest Spider-Man film ever made, but it matches the first film in the previous series in quality, and the trajectory of the story along with the acting and directing makes me excited to see where this series goes next, and that is most important. Movie Rating: 8/10 The action is good, the drama even better.  The villain isn't a good fit, but this film doesn't skimp on excitement. Film Rating: 8/10 The sense of loss, doubt, responsibility, and love carries the film effortlessly, and the scenes with Gwen and Peter together are perfectly done. Comic-Book Superhero Film Rating: 8/10 It tries to balance Nolan's grittiness with Raimi's sense of fun, and while it doesn't work completely, it's a great example of how good the genre can be. Spider-Man Film Rating: 8.5/10 It may not be as fun as Raimi's series, but it has more heart and as much depth, and it's as good as the first film in that series.

The endeavor continues...

As of last night, I've begun writing my critique of Star Wars. It'll be some time before it's ready, but be prepared for amazing news...

My Week With Marilyn Review

Marilyn Monroe is and will always be an enigma.  A movie star by all accounts, Monroe had an ineffable quality that hypnotized men and women alike.  She was the definition of bombshell, but what set her apart from beauties of that ilk in the past, present, and future was that she had the ability as an actor to carry a movie on her shoulders and make it look effortless.

However, that talent was marred by personal issues that eventually led to her death in 1962.  She was plagued by a lack of self-confidence and the struggle to maintain her public image while never fully dealing with her private image.  These issues are well-documented in books, articles, and movies.  Simon Curtis' My Week With Marilyn presents a portion of these issues from another angle with varying results.

Based off of the non-fiction books The Prince, The Showgirl, and Me and My Week with Marilyn, the story is told from the point of view of Colin Clark, the third assistant director of The Prince and the Showgirl the adaptation of the play The Sleeping Prince.  Sir Laurence Olivier brings in Monroe to play the titular Showgirl, and while he gets the performance he wants, he struggles with her emotional and professional baggage, namely her new marriage to playwright Arthur Miller, her acting coach Paula Strasberg, and her knack for taking multiple takes to get the scenes right.  Clark, working through his infatuation with Monroe, strikes up a romance with her, witnessing her lows and her highs in front of and behind the camera.

This film is an acting haven, and the meat of the film lies with all of the actors bringing their A-game.

Michelle Williams becomes Marilyn Monroe.  The mannerisms, the emotional struggle, the effortless shifting between her private and public persona, all of it captured with skill.  All of the facial expressions are uncannily Monroe, and Williams makes sure never to come off as a cheap imitation.  That ineffable quality of Monroe is perfectly emulated, giving us Michelle Williams' best performance to date and maintains her standing as one of the finest actresses of her generation.

Kenneth Branagh fully commits to being Sir Laurence Olivier.  Branagh was the most obvious choice for Olivier - both are Shakespeare experts in theater and film, and both lay claim to the finest Shakespeare adaptations of Henry V and, arguably, Hamlet.  He presents the quiet desperation of an aging British stage actor coming to terms with the youthfulness of the American Method.  His lack of understanding counteracts with his fascination with one take that captures Monroe's perfection versus the many takes to get there.  With that resolve, Kenneth Branagh gives one of his best performances in a long time, and makes me eager to see him age with grace on screen and off.

As the audience's window to the story, Eddie Redmayne does a fine job as Colin Clark.  Clark is largely two-dimensional, and because he is a window for the audience, all that matters to us with him is that we see what he sees, but he allows us to feel his infatuation in all of its glory from conception to heartbreak, and Redmayne carries the film well.  It may not be the showiest acting, but Eddie Redmayne holds his own amongst acting giants.

The supporting rolls make impacts as well.  Dame Judi Dench is as wonderful as always as Dame Sybil Thorndike, a stalwart of British acting amazed by Monroe's magic.  Julia Ormond briefly shines as Vivian Leigh, showing the admiration and jealousy as an actress seeing her former glory passed onto Monroe.  Dougray Scott, unrecognizable as Arthur Miller, presents a husband who was captivated by his wife's public image while unable to deal with her personal strife.  Dominic Cooper, as one of Marilyn's entourage and a man who had been in a similar situation as Clark, personifies Clark's conscience and better judgment with ease.  Emma Watson, maturing gracefully from her stint in the Harry Potter series, is ever impressive in the small role of Clark's initial interest.

This kind of acting pedigree could have made any film great if there was a strong backbone to support it.  However, director Simon Curtis never balances his work with the actors with a firm grasp on the technical aspects of the film.

The nature of the story is basic - man falls for woman, woman eventually falls for man, man and woman have a jolly time together, man and woman eventually part ways.  There are a lot of more interesting details that pepper the story or could pepper it - British stagecraft versus American Method, Vivian Leigh and her eventual mental decline, Sir Laurence Olivier and his aging perspective - but those details are so briefly handled that they come off as missed opportunities.  In fact, those avenues are more interesting than the actual trajectory of the film.  The framework provided by screenwriter Adrian Hodges isn't enough to keep the audience's interest.

What's more frustrating is that the editing was sloppy, making what should have been a simple approach messy.  The flow of the film isn't consistent as it wants to move briskly with a story that has no choice but to take its time.  Scenes involving body doubles are obvious, bordering on unintentionally funny.  Equally heinous are the cuts within a scene between a close-up and a general shot that don't match.

The more subtle but still important error made by this film is that it tells a specific story with a general theme about Marilyn that everyone knows already - her public persona was in conflict with her private life.  No new insight is gained.  If the audience knows the general idea before seeing the film, what purpose does the film serve for the audience?

It's a fundamental question that Simon Curtis doesn't answer.  The purpose it serves for everyone else involved is to showcase talents either developed or developing.  The unfortunate thing about *My Week With Marilyn* is that it is unnecessary, not functioning fully as art or entertainment.  However, as a showcase for the actors and how the director works with the actors, it is a minor but unmistakable triumph. Movie Rating: 5/10 It's the basic story of a romantic fling between an ordinary man and a complicated woman.  Moments of humor and drama, but nothing special story-wise. Film Rating: 7/10 The acting across the board is the sole reason to see this film.  It's a master class in how to emulate well-known figures without becoming caricatures. Biopic Rating: 5/10 Michelle Williams is a wonderful Marilyn Monroe.  However, the story doesn't shed light on anything new about Monroe.

The Hunger Games: Catching Fire Film Review

An act.  A simple, defiant act from one person.  The intent was to call one man's bluff.  The result is the beginning of something far larger than one could have imagined, something that could change the world but leave a path of devastation in the process.  Can that person live with himself/herself knowing what the consequences of his/her decision will be?  Can he/she become the hero the larger picture desperately wants him/her to be? This idea is explored in the film The Hunger Games: Catching Fire, Francis Lawrence's adaptation of the second book in Suzanne Collins' massively popular The Hunger Games trilogy, and while it does suffer from "middle film syndrome," the stronger story, excellent acting, and thematic focus make it an improvement over the very good first film. In the 74th Hunger Games, Panem's District 12 tributes Katniss Everdeen and Peeta Mellark challenged the gamemakers and the Capitol by threatening to kill themselves and yield no winner.  The authorities acquiesced and let both live.  However, this act of defiance, coupled with Katniss' compassion toward a tribute from District 11, planted the seeds of insurrection that has been met with equally violent suppression.  President Snow, ruler of Panem, makes a deal with Katniss - sell the idea that her defiance was an act of love for Peeta and aid in quelling the burgeoning rebellious atmosphere or see her and Peeta's loved ones die. Katniss, loyal to her family above all, decides to continue the charade of love, but as the victory lap across the other Districts commences, she witnesses the oppressive state in action, and the charade collapses.  Snow decides that for the 75th Hunger Games, the third Quarter Quell, tributes that survived the previous Games are the only eligible tributes. putting Katniss and Peeta back into the Games.  However, this time isn't just about survival --- revolution is in the air, and Katniss has to decide if she can bring things back to the status quo or if she can become symbol of the revolution that is desired of her. The first film only hinted at the thematic elements that come into play throughout the entire story.  In Catching Fire, the exploration of violence and revolution and the personal cost of each comes to the forefront. Katniss, Peeta, and their mentor, Haymitch Abernathy, all are dealing with Post Traumatic Stress Disorder.  Katniss is explicitly suffering from nightmares and emotional triggers, Peeta is struggling to move forward with his life, and Haymitch is severely self-medicating with alcohol.  Haymitch reiterates to Katniss several times that there are no winners of The Hunger Games, just survivors, and there is no end to the involvement in the Games as now they must be mentors to other tributes from District 12, reliving the horrors the Games gave them.  Compound that with having to keep up the show that Katniss put on involving falling for Peeta, and Katniss sees how the Games have eternally forced her to live a lie, crushing whatever spirit she has left. The first half of the film compares and contrasts this with the unrest and oppression of the Districts and the mindless disconnect of the Capitol.  The second half becomes more plot-driven as the 75th Hunger Games gets underway, causing the film to have a split personality, but the thematic focus is constant, and the brutality of the story's universe is felt with major impact. The screenplay drafted by Simon Beaufoy and rewritten by Michael Arndt (credited as Michael deBruyn) does a great job highlighting the thematic points without making them obvious, and the editing work by Alan Edward Bell as well as the cinematography by Jo Willems fix the incoherence of the action sequences in the first film, making a solid story worth watching.  James Newton Howard's film score accentuates the tonal shifts of the film without becoming overbearing. The strong acting that was the main reason to watch the first film is also much improved. Jennifer Lawrence has been nothing but a high-quality actress since her breakthrough in Winter's Bone, and her winning a well-deserved Oscar for Silver Linings Playbook has not caused her to settle.  The weariness and loss of innocence in Katniss' eyes and her struggles with PTSD draw the audience into the story more than before.  Her chemistry with everyone is natural, and her physicality balances her emotional frailty.  Jennifer Lawrence is still the number one reason why this film series has been successful.  Her talent seems limitless, and with how incredible she is at playing a wide range of roles, she may be this generation's Meryl Streep. Josh Hutcherson improves significantly in this film, not only holding his own against Jennifer Lawrence but also giving the film a counterbalance to Katniss.  While Katniss is struggling with nightmares, Peeta is simply stuck in neutral.  He knows he shouldn't have won the Hunger Games, and he's aware that Katniss' affections were a ruse, but his existence is a lonely one, and his only wish is to form some connection to the one person who is the reason he is still alive.  Josh Hutcherson stil exudes the same charm as before, but he now gives Peeta more gravitas, more baggage, more of what we wanted him to be in the first film - someone about whom the audience truly cares. Woody Harrelson evolves the darkly comic relief of Haymitch Abernathy in the first film to something more tragic --- a man who is eternally haunted by "winning" a Hunger Game.  He is who Katniss could become.  His alcoholism and sardonic demeanor is still played for laughs from time to time, but Haymitch now imbues that humor with melancholy and provide a reason for Haymitch to be the smart-ass that he is.  Woody Harrelson is just fantastic. Elizabeth Banks takes Effie Trinket, the symbol of Capitol disconnect, and gives her humanity, showing that her fashion and eloquence has become a facade for her compassion.  Lenny Kravitz continues to emanate charm, charisma, and style as Cinna.  Stanley Tucci and Doug Jones provide the necessary jovial counterpoint to the seriousness of the film as the co-hosts of the Hunger Games proceedings.  Donald Sutherland takes President Snow from the imposing father figure in the first film to the great manipulator in this film, and his calm demeanor accentuates the danger of his threats. The newcomers all hold their own against the series' veterans.  Jena Malone is exciting as tribute Johanna Mason, portraying pure id with her deliberate undressing in the presence of Katniss, Peeta, and Haymitch, her unfiltered voice, and her unhinged actions and reactions throughout the Quarter Quell  Jeffrey Wright and Amanda Plummer get to play superego as eccentric, intelligent tributes Beetee and Wiress, respectively, who carefully plan out how to utilize the environment to their advantage, and both shine in their roles.  Sam Claflin is wonderful as tribute Finnick Odair, the ego who helps Katniss and Peeta stay alive while understanding the long-term goal and reminding Katniss of "who the real enemy is."  Philip Seymour Hoffman is in reliably top form as new head Gamemaker Plutarch Heavensbee, and although his appearance is brief, his presence is felt, and it will be a pleasure to he him more in the next installment. The film does suffer a case of "middle film syndrome," mostly due to the nature of the story and how the first book was adapted.   The first film barely hinted at the burgeoning revolution, only showing one riot --- in District 11, and through its focus on the people of the Capitol as the primary viewership, a group that is isolated from the oppression.  The oppression was present, but the unrest was more of an afterthought --- the people of each District had found ways to live within the confines of Panem.  It makes transitioning to the second film jarring as now the oppression and unrest are felt in every frame.  This film succeeds in reintroducing everything and everyone without excessive exposition.  If one was to start watching the series with this entry, he/she would be able to follow the story pretty well with few questions. The ending leaves a bit to be desired emotionally and hangs the story at an ellipses than a defined period.  Many second films, or at least a film prior to the end, hang at an ellipses without completing its own arc --- the implied sole purpose is to set up the next film.  Even great and successful films such as The Lord of the Rings: The Two Towers couldn't circumvent this.  The Empire Strikes Back had a plot-related ellipses, but that film had a complete emotional arc that was independent yet integral to the entire series.  With Catching Fire, by being more literal in its adaptation, the ending introduces new ideas and plot points just to set up the next film, and it makes the film feel incomplete. However, it could be recommended to start with this entry due to it being a different director.  Gary Ross did a successful job with the first film, but Francis Lawrence fleshes out the universe with impressive details and allows the actors to drive the story forward.  Aside from the exposition heavy ending, Francis Lawrence succeeds greatly at the "show, don't tell" approach. The best moment in the film, and the scene that is the one to beat in the entire series, is a brief but powerful sequence involving the announcement that the Quarter Quell will draw its tributes from only the surviving victors of every Game.  It starts with the emotional devastation of Katniss' family, followed by an angry and distressed Haymitch screaming and throwing an empty bottle at the screen, then a stunned and frightened Peeta having the gravity of the announcement push him into his chair, ending with Katniss, emotionally destroyed, running into the woods, gasping for air while screaming in dismay.  This reads like it's melodrama, but the way the director lets the actors play this moment, it's the most human, most emotionally devastating moment in the entire film.  The hope that Katniss accidentally instilled in the Districts after winning the last Game has left these three people in that moment, and it ultimately sets everything in motion for the rest of the story. This moment gives hope that Francis Lawrence will make the next films in the series better and better.  His touch has upped the ante of the series, and while it may be nothing more than the middle film of the series, The Hunger Games: Catching Fire is a great adaptation, a very good film with powerful moments, and a sign that the series is in good hands.

Movie Rating: 8.5/10 A tense and thought-provoking first half gives way to a thrilling second half that don't gel together ideally but are wonderfully executed halves.

Film Rating: 8.5/10 The themes of violence from the first film evolve into revolution and reluctant heroism; even an open-ended conclusion doesn't diminish from overall

Hunger Games Film Rating: 9/10 The efficiency of the first film is traded for a fuller experience, one that is emotionally rewarding and viscerally entertaining.

Star Wars: Episode III - Revenge of the Sith Review

    It was the most unexpected of situations.  George Lucas returned to the Star Wars universe by telling the backstory of the famed villain Darth Vader, born Anakin Skywalker, as a new trilogy.  The first film of this new series, Star Wars: Episode I - The Phantom Menace, had an unprecedented wave of hype surrounding it.  After its release, it was as if someone let the air out of the room.  While a significant financial success, the overall result was a tarnishing to the saga loved worldwide.  Its follow-up, Star Wars: Episode II - Attack of the Clones, tarnished the saga further.  What should have been a triumphant moment for American cinema became a textbook example of screwing with mythology.  Suddenly, everyone was wondering how the man who built a story that has become ingrained in many cultures could be the same man who made Episode I and Episode II.      As the inevitable conclusion to the trilogy approached, the anticipation was more muted.  Audiences wanted to see the next installment but not in the way Lucas intended - people expected the film to pale in comparison to the Original Trilogy, so now they were wondering if it was going to be the trainwreck in mediocrity its two predecessors were.     On May 19, 2005, Star Wars: Episode III - Revenge of the Sith was released, and while the audiences were right in expecting it to pale to the Original Trilogy, they were surprised that the film was good - in some moments, very good.     Set three years after the end of Episode II, Episode III begins with the final battle of the Clone Wars - the Battle of Coruscant.  Supreme Chancellor Palpatine, the leader of the Galactic Republic, has been kidnapped by the Trade Federation, now under military leadership by General Grevious and Count Dooku.  Jedi Master Obi-Wan Kenobi and Jedi Knight Anakin Skywalker are sent to rescue Palpatine in the midst of the massive space battle.  After the rescue, Anakin is given the honor of being a part of the Jedi Council but without the title of Master.  Furthering his seeds of discontent, he has recurring nightmares that his wife, Padme Amidala, will die in childbirth, pushing him to find power over the Force that the Jedi perceivably lack.  As Kenobi, Anakin's mentor and friend, is sent after Grevious alone, Anakin begins his descent to the Dark Side of the Force, eventually becoming Darth Vader and turning on the people he once considered allies.     Episode III paralells Return of the Jedi less in its structure and more in its nature - it has dual personality of being light-hearted and fun in some moments and dark and heavy in others.  Its duality is both a strength and a weakness, but the overall result is much better than its predecessors.     The acting is more natural than in Episode I and Episode II.  There are still moments of stiff line-reading, but they are not as prevalent as before.  Ewan McGregor continues to be a highlight, fully emulating what made Sir Alec Guinness iconic as Obi-Wan Kenobi while adding enough of his own vigor to make a mark fully on the character.  Natalie Portman finally gives Padme Amidala the personality she needed all this time, and while she still could have done a bit more with her, she at least seems like she's enjoying being in a Star Wars film.  Hayden Christensen still has no chemistry with Portman - just see the apartment balcony scene toward the end of the first act, the worst scene in the film, as an example.  However, he bounces off McGregor very well, showing the tight bond master and apprentice have and how tragic the breaking of the bond is after the turn to the Dark Side.  Christensen may never be physically imposing as Vader was in the Original Trilogy, but he knows how to be deadly and threatening when it counts.     The best role in the film, though, goes to Ian McDiarmid as Palpatine, the once and future Emperor.  He is what the prequels lacked - a thoroughly engaging and imposing villain.  He hams it up once his nature is exposed, but he allows Palpatine to be felt even when he is not on screen.  Ian McDiarmid breathes life into the prequels, showing what they could have been.     Everything in the film is more inspired.  The music by John Williams is alive again, mixing themes and motifs from all of the films to emphasize the emotional journey.  The cinematography by David Tattersall is more fluid, showcasing the action in all of its glory.  The technology has finally caught up with the vision, allowing the visual effects to shine in obvious ways such as the opening battle but also in subtle ways, namely the details in the wonderfully constructed features of the computer-generated Yoda.     Of the whole prequel trilogy storyline, Anakin's downfall and rebirth as Darth Vader is the most interesting and exciting plot point due to its nature.  There's no more meandering around to get to this point in the story.  We've had two films of build-up, most of it unnecessary.  This is when all of the action happens.  This is when all of the tragedy strikes.  This is when the audience cares.  This alone would make it a better film than Episode I and Episode II.     What makes it much better, and what is the biggest surprise, is that George Lucas fully flexes his screenwriting and directing muscles.     First is the surprising focus prevalent throughout the film.  The focus begins at the introduction with Anakin and Obi-Wan flying into the Battle of Coruscant.  Once their ships appear on-screen, the camera follows them into the battle, showing the scope of the battle without focusing on other random individuals for too long.  This focus also allows us to see how brotherly Obi-Wan and Anakin have become.  The audience has a connection.  Their banter becomes hokey, sometimes too hokey, but we are having fun with them.      In fact, about the first half of the film is mostly fun with a little foreboding menace.  About the second half is all menace.  Both halves work very well on their own, with one half not taking itself too seriously and allowing us to enjoy the ride while the other half becoming the depths of the Dark Side it needs to be and allowing us to feel for these characters.     Emphasizing the dark foreboding is Lucas borrowing the cross-cutting technique his close friend Francis Ford Coppola mastered.  Palpatine's formation of the Galactic Empire is cross-cut with Anakin's assassination of the leaders of the Trade Federation.  The birth of Luke and Leia is cross-cut with the birth of Darth Vader.  Both are done well, and both show the director Lucas was and still can be.     However, while the overall results are good to very good, its the details that hold the film back from greatness.     The lightsaber duels are well executed, but some moments devolve into pure visual splendor instead of maintaining emotional resonance.  This happens early on in the Anakin/Obi-Wan duel and is prevalent in the Palpatine/Yoda duel.  The music saves the latter duel, and the former has several intense moments that help keep it grounded overall.     The duality of the film becomes a struggle in the second act.  Everything involving Obi-Wan is fun and exciting, while everything involving Anakin is increasingly dark.  At times, the feeling is schizophrenic, throwing the audience in too many emotional directions to make sense.     The moment of Anakin's turn to the Dark Side could never reach the legend fans made it to be, but the moment becomes almost unintentionally funny due to stiff line-readings and poorly placed sound effects.  This is the most important moment in the entire saga to date, yet it doesn't resonate the way it should.  If the third act wasn't as strong as it is, this scene could have ruined the entire film.     The scene involving the birth of the Darth Vader we all know is well done until the end.  In a moment now immortalized as "FrankenVader," Lucas decided to pay homage to Frankenstein at the worst possible moment, ruining another resonating moment with something unintentionally funny, capping it off with a misguided scream from Vader.     Lucas also tries too hard to bridge the Original Trilogy and the prequels together with this film, either relying heavily on fan service without really getting into a better understanding of things or only providing half-explanations due to bridging the films being more important than making the ideas work on their own.     The maximum enjoyment factor in Episode III is found when watching with context provided from the Original Trilogy, but unlike Episode I and Episode II, there's a story worth telling within its runtime, and it tells it well.  It doesn't reach the quality of the Original Trilogy, but Star Wars: Episode III - Revenge of the Sith is everything audiences wanted the entire prequel trilogy to be - good sci-fi fantasy. Blu-Ray Observations With technology catching up to how Lucas wanted to present his films, the Blu-Ray for Episode III is near-reference quality.  The visuals are balanced very well, and the colors are vivid.  Because of the digital nature of the production, the sterility of the computer-generated atmospheres Lucas inadvertently created come in full force, emphasizing how far away the film is visually from the Original Trilogy.  The audio, again, is superb, this time represented by how the hum and clashes of the lightsabers are crisp, clear, and impactful.  Overall, a great presentation. Movie Rating: 7.5/10 One-half light-hearted action and one-half journey into darkness, the two halves don't gel perfectly together but result in an exciting story. Film Rating: 7/10 What should be the key moments don't resonate, but the music emphasizes the heart of the matter, and what surrounds those missed opportunities carries surprising depth and craft. Star Wars Film Rating: 7/10 This is the prequel audiences wanted the other two to be.  It's not on par with the Original Trilogy, but unlike the other two prequels, this one is worth seeing at least once. Blu-Ray Rating: 8.5/10 Finally, the technology catches up with Lucas' vision, and the Blu-Ray presents it in full splendor.  However, it also shows how flawed that vision was with how sterile some of the environments are.

Farewell, 20s...Hello 30s!!!

My Workout For Sunday January 12

I earned 877 points for my workout on Fitocracy!

Cycling (stationary) +70 pts

0:10:00 || 2.7 mi || 7 % (+70 pts)

Dips - Triceps Version +8 pts

12 reps || assisted || 130 lb (+2 pts)

8 reps || assisted || 115 lb (+2 pts)

7 reps || assisted || 115 lb (+2 pts)

6 reps || assisted || 115 lb (+2 pts)

Chin-Up +8 pts

12 reps || assisted || 145 lb (+2 pts)

8 reps || assisted || 130 lb (+2 pts)

6 reps || assisted || 130 lb (+2 pts)

5 reps || assisted || 130 lb (+2 pts)

Bent Over Two-Dumbbell Row +169 pts

20 lb x 12 reps (+41 pts)

25 lb x 12 reps (+42 pts)

30 lb x 10 reps (+43 pts)

30 lb x 10 reps (+43 pts)

Dumbbell Bench Press +199 pts

30 lb x 12 reps (+49 pts)

35 lb x 12 reps (+52 pts)

35 lb x 9 reps (+50 pts)

35 lb x 7 reps (+48 pts)

Barbell Squat +185 pts

45 lb x 12 reps (+43 pts)

55 lb x 12 reps (+46 pts)

65 lb x 10 reps (+48 pts)

65 lb x 10 reps (+48 pts)

Romanian Deadlift +149 pts

45 lb x 12 reps (+34 pts)

55 lb x 12 reps (+36 pts)

65 lb x 12 reps (+39 pts)

75 lb x 10 reps (+40 pts)

Stretching +2 pts

0:10:00 (+2 pts)

Upright Barbell Row +87 pts

45 lb x 12 reps (+21 pts)

45 lb x 12 reps (+21 pts)

55 lb x 12 reps (+23 pts)

55 lb x 10 reps (+22 pts)

Think you can beat me, or want to comment?

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My Menace: a Star Wars: Episode I Review

In honor of the Blu-Ray releases of the Star Wars saga, I am reviewing each film in the series from Episode I to Episode VI. 

In 1999 George Lucas threw his hat back in the ring and released a brand new Star Wars film set before the hallowed Original Trilogy. The idea was a dream come true for die-hard fans that were born too late to enjoy the Original Trilogy on the silver screen. Now, they would have that experience, one that they would talk about for years to come. Even the casual fans anticipated this moment. In the months coming up to the release of Star Wars Episode I: The Phantom Menace, it was hard to find anyone that wasn't a fan. The fever had spread, and everyone wanted to get caught up in it.

On May 19, 1999, The Phantom Menace was released. What should have been a triumphant moment in cinema became a wash of disappointment and frustration. Some of the responses of the time were a bit too harsh, but the general consensus was that this wasn't the Star Wars film that was expected. Although a visual and aural marvel to behold, The Phantom Menace made too many cinematic missteps to be memorable, and the time between its initial release and its Blu-Ray debut has not been kind to it either.

Jedi Master Qui-Gon Jinn and his apprentice Obi-Wan Kenobi become caught in a web of political turmoil between the Trade Federation and the Galactic Republic-controlled planet of Naboo. After witnessing signs of invasion, the two Jedis, after literally running into a native called Jar Jar Binks, race to save the planet's monarch, Queen Amidala, and her aides. Upon escaping, the group make an emergency landing on the desert planet of Tatooine to make repairs. There they meet a young slave named Anakin Skywalker who has a certain peculiarity the Jedis pick up from him – an unrivaled strength in the Force. From here, the group strive to find some way to stop the Trade Federation's occupation of Naboo, first through politics by going to the center of the Republic – the planet of Coruscant – and then by insurrection on Naboo.

The Phantom Menace has everything you'd expect from a sci-fi action movie – an independent damsel in distress, battle-hardened warriors, unique creatures, a boy destined for greatness, gun fights, starship battles, and swordfighting. In fact, it tries to parallel the original Star Wars in its story and structure. However, the results are a mess.

Lucas decides right away that the film is to be child-friendly. A lot of the humor plays more to the childlike sensibilities, especially with Anakin Skywalker being a nine-year-old and with the Gungans and Jar Jar Binks devolving into racial stereotypes. However, the plot plays more like a Star Trek episode filled with politics and exposition, things that don't keep a child's attention. Add to that action sequences that try too hard to be child-friendly, and throw in a classic over-choreographed lightsaber duel that ends too graphically for a child, and what's on the screen is a hodgepodge of things that aim to please everyone but only please Lucas himself. This inconsistency in tone is the umbrella of all of the faults of the film.

The cinematography by David Tattersall is very basic, never playing with lighting and randomly using zoom-in and zoom-out to no effect. Not once does the camera capture the souls of the characters, with the closest moments being anytime Queen Amidala is in full make-up and costuming as her emotions must be conveyed with her eyes. Colors are used to establish settings but remain an afterthought of the design. The music by legendary film composer John Williams has flashes of brilliance, particularly during the lightsaber duel at the end, but ends up being basic as well.

From its release onward, the acting and performances in The Phantom Menace were legendary in their wooden nature. This is even more surprising considering the caliber of some of the actors. Liam Neeson portrayed one of screen's greatest heroes in Steven Spielberg's masterpiece Schindler's List, Natalie Portman had a shocking debut as a young girl falling for a hitman in Léon and eventually winning an Academy Award in the future for Black Swan, and Ewan MacGregor stunned worldwide audiences as a on-and-off heroin addict in the cult black comedy Trainspotting. Yet all three were diminished to standard line-reading with only Neeson rising above the din. Jake Lloyd was given the unenviable task of portraying the childhood beginnings of arguably cinema's most memorable villain, but he was too young to fully portray Darth Vader's beginnings.

However, the actors are only partly to blame. The most significant flaws of the film, and what would probably be considered the stem of the aforementioned umbrella, is the script and direction. George Lucas wrote the script himself, trying desperately to plant the seeds and begin the connections to the Original Trilogy. However, he neglects to tell a good story, filling all of the gaps with superfluous details. Too many times are actors describing what's going on before their eyes while the audience clearly sees it, something all screenwriters are taught to avoid. Worse, many humorous moments linger to emphasize that a specific moment is supposed to be humorous, another rookie mistake. The actors never elevate the material due to Lucas never making them elevate the material. What makes this more sad is that there are moments in the story worth exploring such as Qui-Gon's defiance of the Jedi Council, Obi-Wan's conflict between his expectations from the Council and his devotion to his master, and Anakin's separation from his mother planting the seeds of his eventual turn.

The visual effects circa 1999 are fantastic for its time but represent a period when computers had not reached the level of processing needed to make Lucas' vision a success. Many of the characters and settings are computer generated, and while the Gungans' expressions are wonderfully done, everything comes off as too clean and too artificial especially when juxtaposed with live actors. This is especially true during the final battles – space, ground, and lightsaber – of the film. The space and ground battles are largely animated and lifeless, and one location of the lightsaber duel is too sterile and obvious to be real. However, the podracing sequence on Tatooine is a technical marvel, an update to the chariot race of Ben-Hur that is thrilling when taken on its own. This sequence alone is the apex of visual and aural editing and mixing of the film, the one time when all of the elements join and become what Lucas envisioned.

But that's the problem – it's only a moment. In fact, the film is a series of moments that happen solely because Lucas wrote them to happen instead of feeling necessary. The Trade Federation is introduced as the antagonist because the film needed an antagonist. Darth Maul has a double-bladed lightsaber because Lucas feels that will fill the Vader-sized hole. All of the Galactic Senate scenes occur to establish why Senator Palpatine becomes the Emperor. Anakin wins the podrace because it's the only reason he leaves Tatooine. Nothing in the film ever feels earned. Sure, the podrace is wonderful, and the final lightsaber duel is a feast for the eyes, but there never is a reason for their existence except to fill the spaces in the runtime.

During the time that has passed between the initial release and it's Blu-Ray debut, films such as the canon of Pixar, The Lord of the Rings trilogy, The Dark Knight, and the Harry Potter series have defined what people expect with their entertainment – great storytelling, great action, great characters, and a sense of real danger. Star Wars Episode I: The Phantom Menace partially succeeds at action but fails at everything else, and while it may not be a piece of cinematic travesty, it can be considered nothing more than a disappointment, especially compared to the Original Trilogy of Star Wars it desperately tries to match.

Blu-Ray Observations

Of all the films in the set, The Phantom Menace is the worst-looking one. This is due to the film being shot on film and then being post-processed digitally in its earlier days. None of the colors pop, and the image looks too smoothed and equaled out. It does fix the edge enhancement issues apparent in the DVD, but the overall look is too dull to make any impact. Worse, the effects look dated. The best example of this is the entire Battle of Naboo sequence. Granted, all of the shield effects still amaze, but the characters look too artificial compared to the rest of what's on the screen. The audio is as amazing as it was in the theater, but the new Blu-Ray transfer emphasizes all of the flaws and few of the strengths that The Phantom Menace had.

Movie Rating: 4/10 Moments of excitement are surrounded by scenes of pure exposition and sterile effects. It feels like you're being pushed rather than pulled into the movie, and that is not a good feeling.

Film Rating: 3/10 It's a textbook example of what not to do to reinforce a mythology, but there are a couple underdeveloped items that could have been interesting.

Star Wars Film Rating: 3/10 It almost sunk the entire series into self-parody, and beyond the introduction of Qui-Gon Jinn and the art of lightsaber dueling, it should be a forgotten chapter in the series.

Blu-Ray Rating: 4/10 The audio is fantastic.  The video, due to how it was processed, is the worst-looking one of the box set.  Even the original Star Wars looks pristine compared to it.

This is how "Numb" was during the Achtung Baby sessions.  An industrial rock hymn.  While the song it would eventually become is a staggering success, "Down All The Days" shows how many directions U2 were willing to go with their core.  And a beautiful approach this song would have been.

The Dark Knight Rises Review

    The final film of a trilogy is the most difficult one to pull off.  Everyone involved feels like they have to increase the scope of the story, but the trick is to maintain the spirit of the series without giving into excess.  Some trilogies, like Byran Singer's X-Men series and Sam Raimi's Spider-Man series, have a third film that almost everyone would like to forget ever existed.  Some third films, like Sergio Leone's The Good, The Bad, and The Ugly and Pixar's Toy Story 3, stand as masterworks in their own right and help transcend their representative series.  And then there are third films like Return of the Jedi and The Godfather Part III that are excellent in moments and forgettable in others.     Christopher Nolan started a new Batman trilogy with Batman Begins, one of the finest origin stories told in the comic-book superhero genre, and then continued with The Dark Knight, a film that expanded beyound genre limits and became not only a classic crime drama about anarchy and heroism but also one of the best films of its decade.     With The Dark Knight Rises, Nolan concludes his fantastic series with a third film that may not be entirely of the same level of its predecessor but is a prime example of how to complete a series in style and quality.     It's been eight years since the reign of terror by The Joker and the death of District Attorney and "white knight" Harvey Dent.  Batman has taken the blame for his death and other deaths at the hands of Dent, causing Batman to become an outcast but paving the way for a more peaceful Gotham City.  Commissioner Jim Gordon, knowing the truth about the night Dent died, keeps the lie up to keep the peace in the city.  One of the few people that believe in Batman's innocence is idealist cop John Blake, a man who is taken under Gordon's wing.  Bruce Wayne has retired Batman and become the Howard Hughes of Gotham City, much to the concern of his butler Alfred and his armorer Lucius Fox.      However, two threats arrive to destabilize the city and necessitate the return of Batman.  The main threat is Bane, a masked brute who, forged by a foreign prison and saved by The League of Shadows, plans to take control of Gotham City, leave it in mob rule, and let it rot from the inside out.  The other is a cat burglar named Selina Kyle who acts as a "Robin Hood" for her self-interest, taking advantage of any and every situation, such as stealing a valuable pearl necklace from Wayne Manor during a fundraiser, kidnapping a congressman for leverage on a deal with shady businessmen, and working with and against Batman at the turn of a dime.     This is a lot of information to take in, which leads to the film's main flaw - it takes an hour or so for the film to truly start, and that hour is filled with too many false starts and exposition to get pulled into it.  The story, developed by Chris Nolan and David S. Goyer, and the script, written by Chris Nolan and his brother Jonathan, is ambitious in scope and content, and the meandering is an unavoidable consequence.  Unlike Chris Nolan's previous film, Inception, the meandering doesn't mean that the film is too long - just that the structure needed to be refined.      Case in point - the first meeting between John Blake and Bruce Wayne.  Blake implores Wayne to bring back Batman for the sake of an injured Gordon.  During this discussion, Blake goes into exposition about his past, how he first met Batman and Bruce Wayne, and hints that he knows Batman's identity.  It's a well-acted scene that doesn't move because of its necessity to relay as much information as possible to the audience.  It's a necessary scene that needs rearranging to improve the flow.     The overall thread of the idealist John Blake is wonderfully done.  Joseph Gordon-Levitt shines as the orphan turned cop who sees the world in an optimistic light in spite of the world devolving around him.  He exudes a determination and strength as Gotham's last light.  He starts out wanting to be the white knight but slowly realizes that even the whitest knight has a touch of grey.  He represents the struggle of, as Gordon put it, structures becoming shackles, and Joseph Gordon-Levitt carries that burden superbly.     Gary Oldman, as the other important part of this thread, does an amazing job as Commissioner Gordon.  Gordon started out as that idealist cop, became affected by how the world came down around him, was given a spark of hope by the arrival of Batman, and eventually became the "grey knight," the man who did was was necessary to preserve the peace, even if sacrificing the truth destroyed his marriage and faith in humanity.  He has been long recognized as one of the finest character actors of his generation, and Gary Oldman shows more and more why he deserves the accolades he has still yet to receive.     The thread involving Selina Kyle is the self-contained thread, not requiring any knowledge of the prior films, and it is the best thread of the bunch.  Anne Hathaway steals every scene she is in, vamping it up and having as much fun as possible as the expert thief who does what is necessary and is working toward getting a clean slate.  Selina Kyle is known in the comic-book world as Catwoman, but she is never called that moniker in this film, and the role and the film is all the better for it.  She's smart, sexy, strong, and soulful, and Anne Hathaway does the role justice and almost steals the film with it.     The antagonist thread of the film, all involving Bane and references to the League of Shadows, is the weakest part of the film, but it does have its moments.  Bane's introduction, an in-flight infiltration and escape, is a spectacular set piece that feels inert, not providing the ignition the film needs.  Even Bane's stock exchange takeover seems too small an explosion for the film's lift-off.  It isn't until the city takeover when the audience is pulled into the action, with Bane's menacing visage and stature commandeering the screen with purpose.  His fights with Batman are tense, brutal, and exhilarating.  His backstory, although underdeveloped, provides just enough brushstrokes to give Bane some color.     Tom Hardy, bulking up for the role, fully involves himself as Bane.  His physicality is something of a first in the series - Batman has always been the dominating physical presence, but Bane easily takes control in this film.  His speech, somewhat muffled by the mask, is hard to understand at times, and is inconsistent in the accent - for a brief moment, Hardy inadvertently performs a Sean Connery impersonation.  Nevertheless, Bane is an intimidating figure, and Tom Hardy is more than up to the task to portray Bane as the menace he is meant to be.     The protagonist thread, the one dovetailing not only the threads within the film but the entire series, is wholly fulfilling if structured oddly at the beginning of the film.  Having Bruce Wayne be a recluse, then become Batman again, then be forced to stop, and then become Batman again, at least in the way the film does it, is tonally awkward, but it gives all of the actors the moments they deserve.  The theme of this thread - what it takes for a dark knight to save himself from the darkness - is expressed expertly, and the conclusion is almost perfect.     Morgan Freeman, having a more diminished role this time around, still provides levity to these serious proceedings as Lucius Fox, and his repartee with Bruce Wayne is still electrifying.  Marion Cotillard, as potential Bruce Wayne love interest and Wayne Enterprises board member Miranda Tate, doesn't have the greatest chemistry with Bruce Wayne, but she has a tenderness that balances her calculating nature, and although Miranda Tate is not developed enough, Marion Cotillard is a captivating presence.     Michael Caine, as Batman's and Bruce Wayne's batman Alfred, is the legend he is known to be.  As the heart of the series, Alfred is the sole reason the Wayne name still gives hope, still remains viable.  His role is given several monologues, and while some of them come off as unnecessary, Caine's delivery is nothing short of extraordinary.  He is more than a servant to Bruce Wayne and Batman - he is the last father figure he has.  The final moments of the film with Alfred are the most moving of the entire series, and it is all due to subtle care that Michael Caine has taken to develop Alfred.     It takes a bold and daring actor to give a comic-book superhero some gravitas, and throughout all three films, Christian Bale has evolved as Bruce Wayne and Batman, with his work in this film being the finest in the series.  From the first film on, Bruce Wayne has been a shell of his former self, and his dedication to being Batman is as much out of a desire to do good as it is out of a need to give himself purpose.  Bale grounds and centers the film with a man who cannot let go of his anger, seeing himself as the man Gotham needs him to be while eventually realizing the man Alfred and the deceased Wayne family would have wanted him to be.  Throughout the struggles he faces, he finds solace in a woman who is looking for the clean slate he so desperately needs.  Christian Bale brings the series-long arc full circle, becoming the actor everyone will identify with Bruce Wayne and Batman above all others, and giving the film world one of the finest performances in the genre.     Cinematographer Wally Pfister paints the screen with Oscar-caliber imagery.  The opening shot of Bane's introduction in an open field is something straight out of an epic film.  The browns of the pit the bore Bane, the whites and greys of a Gotham under siege, the blacks and blues of the city at night and the Batcave, and the varying colors of Wayne Manor all leave an indelible mark.  He won an Oscar for his work on Inception, but Wally Pfister tops himself with the work done in this film.     Composer Hans Zimmer comes back alone this time, effectively using the themes developed with James Newton-Howard in the previous two films, and creating a couple of new ideas that work to varying degrees on their own but are ingrained in the film successfully.  The simple piano-based motif of Selina Kyle is beautiful, capturing the sly yet longing nature of the character, and the percussive chant of Bane's motif stays in the mind and eventually turns from an ominous chant to a motivating positive force, showing how Hans Zimmer can turn preconceived notions on their head.     With the flaws and strengths, it all falls on the shoulders of director Christopher Nolan.  His work with the actors is still surprisingly impressive, his eye for set pieces continues to astonish, and his ambition serves him well for the most part.  However, his ambition causes the series to take a turn from the realism and believeability of The Dark Knight to expected comic-book superhero fare.  Nolan tries to make grand statements about the world at large, but the statements don't cut through like they did in the previous film, especially when trying to make reference to class struggles.     However, what the film lacks in biting commentary is made up by the scope of the story of Batman and the world around him.  The thrills are more blunt than before, but therein lies the charm of this film - it may be the most fun a story as dark as this could be.  The realism is gone, but the craftsmanship is undeniable, and the story, once it gets going, is a true roller-coaster ride.  Christopher Nolan may have changed the trajectory of the series away from what it could have been, but he relishes in the destination he has created, and the joy he had creating this universe is felt in every frame.  He even perfectly caps the series arc of Bruce Wayne with a quote from A Tale of Two Cities - "It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known."      The end result is a conclusion of a series that is crying for a different set-up.  The difficulty in judging this film is in the expectations - had The Dark Knight not existed or at least been a different film, this film could have been the standard-bearer for all comic-book superhero films to follow.  However, The Dark Knight does exist, and paraphrasing the Joker in that film, it changed things forever.  The Dark Knight Rises will always pale in comparison to its predecessor because it lacks transcendence, but it stands as one of the finest films of the genre and a wholly satisfying conclusion to one of the best film trilogies, and that is all for which one could hope. Movie Rating: 9/10 A meandering and start-stop first hour gives way to a thrilling, emotional, and fun conclusion. Film Rating: 8/10 It pales next to The Dark Knight, and its commentary is toothless, but how it concludes the main series arc is excellent. Comic-Book Superhero Film Rating: 9/10 It may not be the deepest, but it is one of the best, and it may be the definition of "serious fun." Batman Film Rating: 8.5/10 On par with Batman Begins, but following The Dark Knight means that it could have been more.