Batman vs. Superman: Who Won?

It helps going into the theater with low expectations, especially when the concessions worker handing you popcorn has only the phrase “it could have been better” to offer when you realize the next 2 1/2 hours and $8.74 of your life might have been better spent elsewhere.

Perhaps diehard DC Comics fans, or just average moviegoers anticipated Zack Snyder’s latest film to hit theaters. With all of the negative attention surrounding this film (Sad Affleck, that Rotten Tomatoes score, and who could forget DC surrendering its original set theater release date to Civil War?), I couldn’t possibly rev myself up enough to even fake excitement to see this film. I anticipated some mild entertainment at best, but I think what made me really want to see the movie was curiosity.

Curious about how 32-year-old Jesse Eisenberg would fare as Lex Luthor. Or how Wonder Woman would be making her first live appearance in film in the form of Gal Gadot. Or if Amy Adams might actually step up to the plate and give us a performance worthy of the character she’s portraying (spoiler alert: she didn’t).

The best way to judge this Batman vs. Superman is to determine the winners and losers, like the format MSN presents those of the GOP debates. Shall we begin?

Winners

Hans Zimmer

Music Composition may not be the hottest topic discussed among friends, even in major film nerd circles. But Hans Zimmer has established himself as a household name. And while he lent his talents to Christopher Nolan’s batman films that were suits those films, he creates a score for Batman vs. Superman that transcends the film, making some wonder why he would agree to a project so unworthy of his talents.

Wonder Woman / Gal Gadot

In some respects, Ms. Gadot could pose as a loser. It’s not her performance that’s lacking as much as her limited screen time. Batman vs. Superman was in desperate need for a strong female character, and we get way too little of her. She brings the only element of mystery to the screen, and gets placed in scenes only when the script demands her presence.

Joker from The Dark Knight

Jesse Eisenberg didn’t play the typical Lex Luthor many filmgoers aren used to seeing. And that’s OK. Technically, he doesn’t make this list, and it’s not for giving us a bad performance. In many respects, he made the movie slightly more bearable to sit through. Apparently Zack Snyder likes to borrow from preceding Batman films. And while this isn’t a sin committed on screen, it reveals a lack of originality. Presenting the villain as maniacal, interesting, “thinks 10 steps ahead of heroes,” character, what we’re getting is a tiny version of the Joker character in Nolan’s Batman trilogy. The main difference is that in this adaptation, Jesse Eisenberg is playing the only intelligent primary character in the film.

Marvel

Marvel’s reasons for winning are twofold. One, DC Comics lacks a foundation, for all of the Superman and Batman movies made over the past two decades. The people at Marvel thought things through before laying out their foundation, bringing their ideas to screen, and showing moviegoers that superhero movies didn’t have to be boring. They could be funny, interesting, compelling, and completely ridiculous, all at the same time. And in the end, we care about the characters because we’ve gotten to know them after seeing them in multiple successful films, both with critics and viewers. Two, Batman vs. Superman’s lackluster performance at the box office has proven that if it attempted to compete with Captain America: Civil War, well, you already know the end of this sentence.

Iron Man

If there’s something Batman vs. Superman prevailed at, it was borrowing from its predecessors as well as its enemies. And this isn’t a bad move when making a movie. It’s arguably smarter. So how does Iron Man benefit overall? If you compare the dynamics of Tony Stark coming into leadership with Batman vs. Superman’s Bruce Wayne helming the ship of the Justice League, you’ll notice similarities. Earlier adaptations of Iron Man don’t always portray the snarky billionaire as the original leader of the Avengers, but the first Iron Man film and Robert Downy Jr changed all of that. RDJ might be the oldest of the gang, but he fits that leadership model, even if Captain America was the more common leader in both the comics and cartoons of the past. And then you have Ben Affleck playing Grandpa Batman, posing as a leader for the Justice League, a group that doesn’t really play by the same rules Batman does. So for this Superman “sequel,” we get Ben Affleck handed top billing, attempts to recreate the beginning scenes in Batman Begins, and an aged, washed-up version of Batman claiming the leadership position for the next gang of crime-fighting superheroes. Tony Stark 1, Bruce Wayne 0.

Harry Lennix

Because he has to make this list. Any other person who’s a fan of his (he’s rocking on The Blacklist right now) would be happy to see him hit the big screen again.

Batman and Superman’s grandparents

Thank God they both named their daughters “Martha.” Imagine Batman needing an additional reason to not hear out Superman!

Richard Roeper, the film critic

OK, I know what you’re thinking . . . he wrote some awesome review for the film, right? Actually, I wouldn’t know since I haven’t checked it out yet. But if you ever make it the theater before the previews, you get to see those other previews about upcoming TV shows, or interviews with actors. And there’s this neat miniseries to preview on AMC featuring Tom Hiddleston and Hugh Laurie, one of whom plays a character named “Richard Roper.” You can’t pay for that good of marketing, am I right?

Sad Affleck

Because it’s Sad Affleck.

Losers

Ben Affleck

This was a given, right? I’ll save you some reading time and just ask one question: what happened to the guy who gave us Argo?

Lois Lane

What happened to this great female character? I think Amy Adams is a great actress, but she really doesn’t play the strong character Lois Lane was written as. In this film adaptation, we get a weak, helpless woman who resorts to relying on Superman to rescue her every time she makes a thoughtless mistake. Is there a petition to hire Erica Durance? Or maybe just some new writers?

Batman and Superman

Where’s a hero to root for when you have two guys whining over the other making him look bad? Oh right, there’s Grant Gustin from The Flash (tsk, tsk, Zack).

Final Thoughts

There are actually some positive things to say about this film. It really wasn’t all bad. I thought the special effects were great. Visually, it’s a powerful film. And it brings up some very thoughtful ideas about how the world views a higher being, a god, and how it affects their worldview. I wish Batman vs. Superman would have dug deeper into this idea, because we might have gotten a superhero film that was more than subpar.

Who do you declare the winner and loser for Batman vs. Superman? What did you think of the movie?

Top 10 Favorite Movies of 2012

Categorizing my favorite moves in 2012 was so much more difficult for me than it was in 2011. I had obvious, definite picks to close out 2011, and I have found myself nitpicking over which movies ought to make my top 1o favorites list this year. If you remember from last year, I picked up a movie for the tenth spot that performed horribly for critics and audiences alike, but I stuck to it, just as easily as it was for me to say that The Artist and 50/50 were the obvious stand-out movies of 2011 for me.

I haven’t finished seeing all the movies I want to see yet, including Flight and Beasts of the Southern Wild, which I can imagine will most likely alter this list. My assurance comes from being a big fan of Robert Zemeckis films, and I keep hearing great things for Beasts. So there’s a good chance a couple of these movies may be bumped off to make room! Other movies I think could possibly make it onto this list are Amour and Life of Pi, but my hopes aren’t as high for these as they are for the former two films I mentioned.

And a disclaimer before the list: I really enjoyed both The Impossible and Zero Dark Thirty, but they’re both the kind of movie that won’t get repeated viewings from me because of the subject matter. While both feats of their own, I really don’t care to watch either again with how rough and gritty it was. Another honorable mention that didn’t make my list was Lincoln. I enjoyed it immensely, but it’s running time had me looking at my watch a few times. The performances were incredible under Steven Spielberg’s direction, and I’m rooting for John Williams’s score to win the Oscar.

As of now, here are my top ten favorite films of 2012!

10) Seeking a Friend for the End of the World

As of June last year, Seeking a Friend was my favorite film I had seen so far. It was a very different film and it struck a chord with me that no other end-of-the-world flick ever had. Steve Carell shined in his performance, and Lorene Scafaria’s directorial debut was promising. More than anything, I appreciated the music and tone of this film. Scafaria stuck to her ending and I’m happy to add this movie to my top ten list of 2012.

9) Celeste and Jesse Forever

Another film I haven’t seen on anyone else’s favorites or top lists is Celeste and Jesse Forever, which made its first appearance at Sundance. Rashinda Jones both writes and stars in this film that offers an entirely different take on relationships. It’s complicated, but it’s a well-written, thoughtful screenplay that poses questions that are difficult to answer. Any Samberg shows more range than one would expect. I really enjoyed this movie and hope that it gets more exposed!

8) The Hobbit

After reading The Hobbit in January of last year, I grew more excited for the first film of three to be released in December. While there were disappointments, such as extended scenes and added parts that I believe took away from the film, I still really enjoyed it. Where The Hobbit didn’t lack was in the acting. It was great getting to see Sherlock‘s Martin Freeman star as Bilbo, and one of the strongest and best scenes of the film was the riddle scene with Bilbo and Andy Serkis’s Gollum.

7) Skyfall

For not being a huge James Bond fan, I really enjoyed Skyfall. I was hoping for something great after enjoying Casino Royale, and Skyfall does not disappoint at all. Daniel Craig does some of his best work here, and Javier Bardem makes for a great villain. The pacing and script are great and it gives a very satisfying end to the film.

6) Django Unchained

I wasn’t sure whether I’d love or hate Django going in, but it ended up being the former. For clocking in close to three hours, Django didn’t feel nearly as long as films like Lincoln or Zero Dark Thirty, for me. It’s chocked full of Quentin Tarantino humor, and both Christoph Waltz and Leonardo DiCaprio offer great supporting performances.

5) The Avengers

Earlier in 2012, I had seen The Avengers four times in theaters. If you had asked me in 2011 what movie I was planning to see the most in 2012, my answer would certainly not be The Avengers. But I’m completely won over, having seen Captain AmericaThor, and both Iron Man films multiple times before seeing The Avengers. It’s a solid film that delivers on multiple fronts, not only entertaining, but also works as an excellent inclusion of multiple characters to make one grand superhero film fit together.

4) Argo

Early in 2012 I had caught wind of a little movie called Argo to be directed by Ben Affleck. It was one of my most anticipated films of the year, and I consider it one of the best films to come out in 2012. It’s unfortunate that the Academy did not nomimate Affleck for Best Director as he brought to film one of the most interesting and thrilling political stories. I’m rooting for Argo to perform well at the awards!

3) The Dark Knight Rises

I wasn’t expecting to place DKR so high on my list, but in conjuction with everything I’ve seen in 2012, I can’t not put it so high. Even with its many critiques by fanboys and critics alike, Christopher Nolan’s epic end to his Batman trilogy is so good that people really have to fight a bit to be critical about it. While Batman Begins is still probably my favorite of the trilogy, it’s a great problem to have to be able to pick the “worst” of the three when all were solid films. Nolan set a foundation for character films to follow by placing the bar high enough for critics to like and modest enough for audiences to really enjoy.

2) The Perks of Being a Wallflower

When I first saw the trailer for Perks, I was convinced that it would be one of my favorite movies of the year. And while I’m usually wrong and set my expectations too high going in, Stephen Chbosky’s book and now film (which he also directed and wrote the screenplay for) won me over. It’s a coming of age story, but it’s written and acted out so beautifully, that I had a difficult time pinpointing what exactly it was about Perks that made it so likeable for me. The actors actually looked more of the ages they were playing rather than mid- to late-twenties adults playing high schoolers, as they do in most teen-based movies.

1) Silver Linings Playbook

And my top favorite film of the year is Silver Linings Playbook. It’s my favorite film of 2012 because it has the two qualities that attract me most to any film: strong writing and interesting characters. Based off the novel by Matthew Quick, Silver Linings tells the story of a man who is blissfully unaware he has issues. Bradley Cooper gives a stunning and turning performance which will hopefully afford him better roles in the future. Again, Jennifer Lawrence gets nominated for an Oscar, and rightfully so. It’s an interesting and different film, directed by David O. Russell, who’s known to like telling stories of dysfunctional families, his latest film being The Fighter. Even De Niro gives an unforgettable and entertaining performance in this movie. Moving, endearing, and performance strong, Silver Linings Playbook was my favorite movie of the year.

The Comic Book Movie Debate: the Serious, and the Not So Serious

I credit Christopher Nolan for sparking the ever-growing debate circling comic book films: colorful, or dark? campy, or serious? true to form, or realistically-based?

It must have been the release of Batman Begins in 2005, when the world was introduced to a comic book character–Bruce Wayne/Batman–and it wasn’t a pretty look. It was dark. It was a crime film. It was a serious take on a fictional character that had previously been rooted in a show that used “Bam!” and “Pow!” as the sound effects for Batman’s left and right swings.

Few, if any, could not at least admire the beauty and purposefulness of Nolan’s Batman films. Nolan is a student of Kubrick, using intent and style to craft his films. But let’s get down to the debate.

When Avengers was released this past May, it was a smash. Creative and geeky writer-director Joss Whedon was finally put forward to make something mainstream. The Avengers was a huge success at the box office. But the debate isn’t about whether Avengers was financially and critically successful or not. The question is, which comic book films are better–the Nolan approach (as I like to think of it) which uses a more realistic take, bringing a critical eye to a story that is written with far more intent than desire to entertain; or the truer-to-form, source-material based comic book films that honor the comics more so in their character traits and settings, such as Thor and Captain America?

I know people on both sides of the debate. But maybe it’s people’s perspectives, rather than opinions, that ought to be altered today. On one end, as a person who appreciates a good film, you lower the importance of “source material” (which happens to be comic books in this case) because you prioritize the art of the film. It ought to be stylized. It should have all the marks of a good film, from following a good storyline, to reaching beyond mere entertainment. It should influence and inspire while bringing more to the table than just explosions and snarky one-liners. This kind of movie should treat the audience like more than just a bunch of superhero-wannabees; it should reach out to an intelligent audience, one that is capable of drawing its own conclusions. More critics respond to this more “realistic” approach.

From the other side, you have the readers, the comic book geeks, the writers, the superhero nerds (have I stereotyped people in this post enough yet?) who expect these films to live up to the comics they love. The actors should reflect the characters they’re playing. The mood shouldn’t be so stiff and serious as to detract from the true tone of the comic. They should include that lightness and fluff, because that’s how the comics were written! Yes, a good villain is necessary, and plot points should closely reflect that of the comics. The film should reach out to a more universal audience, because that’s what the stories of most comic books are all about–everyone either needs a hero or wants to be a hero at some point, right? It should entertain, because after all, you’re attending a comic book film, not a war film or something “based off a true story.” Comic books serve as a form of escape; shouldn’t you be allowed to turn your mind off for a couple hours, sit back, and relax?

In every attempt to not sound politically correct, I personally try to go by a single rule: the film ought to fit the format. Unfortunately, that rule can be applied multiple ways to comic book films, as we have seen various takes, from the more family-friendly popcorn flick, The Avengers, to Nolan’s darker shades, The Dark Knight Trilogy.

When it comes down to it, I can’t call one style or one method, better or worse than another. They’re all different visions for these fictional characters. While some comic book films exceed and others fall flat, while some are entertaining as hell and others force me to sit and think, I have enjoyed and appreciated films that fly on both sides of the fence.

Perhaps it has been the explosion of superhero films taking over summer theater seasons these past 2-3 years (X-MenGreen LanternGreen HornetThorCaptain America, Iron ManBatman to name a few) that have caused people to question whether comic book movies ought to take a more serious approach, or be what the comic books always intended the characters and stories to be.

Or, one has to ask, did the comic books ever propose a specific tone to be applied? I mean, after all, serious events do take place in comics. Serious crimes committed, serious truths implied, serious moral questions asked. Is it all within the way a person (read: reader or viewer, not director or writer)  approaches said comic book or film? Do we need to go back to the original comic book writers and ask them what their intent was when writing? Most likely there were multiple purposes: both to entertain, and to influence.

Both light-hearted and more serious comic book films do both of those actions, do they not? The Avengers offered food for thought–what about working together as a team? how much do people need to be stripped down before they can rally together? should your special abilities allow you to have a big ego? what about self-sacrifice, giving of yourself?

And doesn’t The Dark Knight Rises offer up a bit of entertainment as well? “Oh, so that‘s how that feels.” Catwoman screaming. “And yes, Mr. Wayne, it comes in black.”

At the end of the day, a good film is a good film. But isn’t determining what a “good film” is mostly subjective? Maybe I should just stop asking questions, grab a bowl of popcorn, and watch a movie that isn’t about a superhero. 🙂

It’s your turn now. What say you? Should comic book films be serious, or not so serious? Does it even matter? What makes a comic book film good, and what makes it not so good?

AEOS Review: The Dark Knight Rises

Not Avengers. Not The Hobbit. Not the first of The Hunger Games or the last of Twilight produced the most anticipated hype for movies in 2012. I still believe that The Dark Knight Rises was the most anticipated film of the year. You can even add in a Tom Hooper and Quentin Tarantino flick near Oscar movie season, and I still hold firm in casting Nolan’s ending Batman in that top spot.

And with so much hoopla surrounding a film, only the inevitable seems probable, right? In other words, it’s not really possible for a movie to fulfill the impossible expectations that we, as film viewers, critics, audience, or even your average, everyday film-goers, have placed upon the film and shoulders of one Christopher Nolan, right?

Code language aside, The Dark Knight Rises was faced with an uphill battle the moment The Dark Knight hit theaters back in 2008. With a Batman movie receiving that kind of critical acclaim and love from critics and audiences together, how could the now much-recognized director deliver on an even higher and better level? He still has all the same people in his pockets–his brother, Jonathan, as co-writer; his cast with Christian Bale and Michael Caine leading; his composer, Hans Zimmer; his executive producer, Michael Uslan–the list goes on of course. But can the same team of people create an even better film?

With the unexpected death of Heath Ledger, perhaps there were minor (or major) script changes following The Dark Knight. Regardless, following TDK‘s massive success came the decision to finish the series with a final film, thus creating another trilogy film set–and according to some (and me in that group)–the best film trilogy made yet. But let’s not get ahead of ourselves.

This Is Not a Summary

I met up with my film buddy, Fredo, from FilmYarn yesterday to record a podcast on the film. When he posts it, I’ll be sure to include a link here. Before recording, one idea we talked about was how oftentimes many film reviews are just pretty summaries of the film. Am I guilty of doing that? Oh yes. Multiple times, in fact. But in order to offer something I hope will be a little fresher, I’m working extra hard with this “review” in order to make it not just a film review reiterating plot points, but something a little different, and hopefully something that will boost some outside-of-the-box thoughts and discussion from you guys.

My Initial Reaction(s)

I forced myself to not write this review until I had seen the film at least twice. Often when I see a film a second time, I have a very different reaction. I’m happy to say that this was the case, even though I didn’t even allow 24 hours between my two viewings.

After I saw TDKR for the first time, I loved it. Thought it was great. But I couldn’t dispose of the nagging feeling in my head that TDK was better, superior, and overall the better film of the two. And that was frustrating, because this was the END! Never again will I get to see a new Nolan Batman film and compare. Regardless, I went back the following day and caught an afternoon viewing with a friend who had yet to see it. The result this time?

Still, I loved it. But my complaints had narrowed considerably. I liked it probably ten times better than the first viewing. Partly, because I caught quite a few more things the second time around, and was able to better relax while watching. Any movie that has a decent amount of depth and plot usually requires me to view it twice minimum in order to get out as much as possible about a film.

Comparison to Its Older Cousin, Spiderman 2

Although this may seem like an odd comparison, I felt like I kept seeing parts of Sam Raimi’s Spiderman 2 while watching. Spiderman 2, was, in fact my favorite of Raimi’s Spiderman trilogy, as well as the best-reviewed of the three. That point aside, consider the plot of Spiderman 2. In the opening scene, Peter Parker loses his job. Mary-Jane is with another guy. Peter gives up being Spiderman for a short time. The guy is picked apart and stripped down. It isn’t until he hits his lowest point that he regains speed, reclaims his title as Spiderman, fights the bad guys, and reunites with the girl.

In TDKR, in an effort to not spoil or give anything away (in this section), I’ll hold off on revealing too much. Essentially, however, the same idea takes place; any person who has viewed the trailer can piece that together. The idea is in the title–the action on Batman’s part, “rises”–implies that he must be low in order to rise. This idea moves me into the next thought I had . . . .

Metaphorical vs. Heavy-Handed

Fredo and I argued about whether TDKR treated its theme as a metaphor in a literal sense, or was it really just Christopher Nolan being heavy-handed in over-exaggerating the theme? I, for one, vote on the side of metaphorical. Picking up where I left off, Batman is in a low place, and therefore must rise. Several parts of the film adopted the idea of being low in order to rise. Various scenes were filmed underground. Bruce Wayne/Batman started off the film in a low place–weak mentally, physically, and emotionally. Even the time of day/weather played a role in literally rising.

Fredo saw this use of emphasizing the theme of rising as more like banging the audience over the head with a hammer constantly. It wasn’t just enough to have Batman rise to the occasion, to rise to the problems of Gotham and put his best foot forward; Nolan had to emphasize the idea of rising in multiple outlets and formats throughout the film. While I very much appreciated the purposefulness of it all, others, like Fredo, did not.

For those of you who saw the film, would you consider the film more metaphorical, or handled far too heavy? For those of you who have not seen it, please take this idea in mind and let me know what you think when you do see it!

It’s Such a Nolan Film

Anyone who has seen multiple Nolan films will agree that TDKR follows the same formula of his other films. Every scene, every piece of dialogue, every action, every tangible and intangible element has a purpose and point for being in its place at its time in the film. Everything is planned out. His films are literally puzzles, and each scene acts as a piece that must be placed at a specific time and place in the correct space.

The element of time, while is important for the film, doesn’t bear the necessity it does in his other films. In Memento, the time functioned in a more nonlinear structure. In Inception, time could be extended in various levels of dream stages, thus elongating itself in order for certain actions to take place. Nolan’s Batman films don’t quite restructure time like his others; however, time plays an essential role in certain actions needing to take place.

The film contained quite a few flashbacks in order to successfully tell the story. Nolan loves him some flashbacks. He makes great use of the device in The PrestigeInception, and Memento. The flashbacks tell a great story that reveals pertinent information in the film. 

Ensemble Cast from Heaven

In his review of the film, Richard Roeper called watching this cast work as “movie heaven.” Even with TDKR‘s flaws, the cast really pulled out all the stops. There wasn’t a weak force on screen. Anne Hathaway was a stand-out just for not screwing up the role. Viewers went into the film with the lowest expectations for her, and she turned around and surprised many of us, including me.

Complaints have been made regarding Tom Hardy’s Bane. I talk more about his motivations in the Closing Thoughts/Queries section, but speaking just on his performance, I’d have to say he was nothing short of excellent. Talking with that device over his face had to be pretty difficult to deal with. He was menacing and expressed himself through his eyes, and while he might not have “stolen” scenes, he certainly took center stage when he was on screen.

The scenes shared between Christian Bale and Michael Caine were some of the strongest. My one big frustration (SPOILER) was Alfred going MIA the entire second half of the film.

Full Circle . . . for the Fans

SPOILERS AHEAD! 

And now I can’t hold back from spoiling parts, because in order to appreciate the idea that TDKR fulfilled Nolan’s Batman in such a satisfying way, one has to point out those lovely gifts Nolan wrote into the film. Getting to see Liam Neeson in a few short scenes as Ra’s al Ghul was such a treat. To learn of his connection in TDKR with Miranda Tate as his daughter, his heir who desires to finish his legacy, really makes it feel like we’re watching a finished, fulfilled version of Batman Begins.

Cillian Murphy returning for a couple short scenes as a crazy version of himself (was he really being Scarecrow?) felt like Nolan just saying to the fans, “Here ya go, fans. Enjoy.” Even when the prisoners were released to run about and eventually engage in battle, I was again reminded of Batman Begins. I felt like TDKR had quite a few parts that mirrored Batman Begins.

Closing Thoughts/Queries

SPOILERS AHEAD!

  • What did you think of Joseph Gordon-Levitt as Robin? Do you think the idea of leaving the Batman legacy to Robin was a smart choice? I, for one, enjoyed the reveal at the end, even though there were little hints dropped throughout the film if you hadn’t already caught on that JGL fit the Robin profile exactly.
  • Did the ending feel like Inception to anyone else aside from me? Two different people afterwards asked me if that end scene was a dream. I’m not sure whether to laugh or consider the possibility! But really, I don’t believe it was a dream.
  • Can someone please fill me in on what exactly Bane’s intention was? He kills, kills, kills. He constructs these nearly flawless plans to destroy Gotham and its inhabitants. You can’t tell me he did this all for the love of a woman. While the fake-out at the end revealing Miranda Tate as the villain was a little surprising, it really makes Bane’s motivations fall apart at the seams.
  • Did anyone else wish that the Joker story would have been closed? Every villain in all three films–except the Joker–was brought up in some way. Ra’s al Ghul, Scarecrow, Two-Face/Harvey Dent, and of course the two in the film, Catwoman and Bane, all had a place.
  • So many films end with the hero sacrificing himself by destroying something bad in order to save a place. In Lord of the Rings, Frodo sacrificed himself to destroy the Ring to save Middle-Earth. In The Avengers, Iron Man sacrificed himself to destroy a missile to save New York City. In Captain America, the captain sacrificed himself. Even Jack Bauer in 24 was about to fly a plane down in order to save the world, or something like that. The Dark Knight Rises follows suite: Batman sacrifices himself to destroy a time bomb to save Gotham. Yet all the heroes live in the end. Would it have been a better ending for Batman to die?
  • We have to compare (of course), so did you dig The Dark Knight or The Dark Knight Rises more? Was either one a better film than the other? While in some aspects I consider The Dark Knight the better film, I couldn’t imagine Rises being any better than it was. It completed a trilogy. It brought the series full circle. It even had hints of humor that the previous two films lacked. It pulled out all the stops, was epic in almost every proportion possible.

I’ll really miss this series. I believe it’s the best film trilogy made yet. Although the goodbye is bittersweet, I can’t help but wonder, what is Christopher Nolan going to do next?

The Boy Who Loved Batman — Up Close with Executive Producer Michael Uslan

Little did I know a few weeks ago that meeting Michael Uslan, executive producer of all batman films, that I would find some of the greatest inspiration to pursue my passion for film. After finding my way into the right building at Harper College, I paid the seven dollar fee, saving myself a few bucks by handing the teller my college student ID that I unfortunately still seem to resemble. I grabbed a seat in the front middle section, not knowing what to expect.

But this post isn’t about me, it’s about Mr. Uslan, the 8-year-old son of a stone mason, who, through his love of batman and comic books, latched himself onto one of the greatest film series to have hit screens.

Michael Uslan’s Story, As He Told It

Michael grew up loving comic books. He said by the time he graduated high school, there were over 30,000 comic books stacked up, sitting in the garage. He knew he loved comics, especially about Batman. I don’t think he knew entirely what he wanted to do with his life, but I will never forget how much he spoke of his parents supporting him in whatever endeavors he wanted to pursue. His brother and he watched as his dad would get up early to work hard every day, staying out late working oftentimes, both of them desiring to have that same drive to spend their lives being passionate about their work.

One day in college, Michael said he decided he wanted to pitch the idea of teaching a comic books class at the university. He needed a department to back him before he could make the pitch. After having accomplished this, he stood before a group of professors and deans gathered to hear this idea–that comic books could be considered art–and that Michael was capable and qualified to teach this class. He described himself as having long hair and wearing a Spider-Man t-shirt. I can only imagine what the teachers must have thought of his appearance. About 2-3 minutes into his pitch, the head dean stopped him, telling him that he didn’t need to go any further. Whatever this silly idea was that Michael was pitching, the dean considered it irrelevant. Can you imagine taking a comics book class at college? At the time, that was unheard of. The dean dismissed Michael, telling him that he had read Superman comic books as a kid; they certainly weren’t art then. Why would they be now?

At this point in his story, Mr. Uslan slowed his story, looking at the audience. With a bit of frustration lingering in his voice, he said, “I wanted to walk right out. I wanted to turn around and leave. But I didn’t.”

Michael then respectfully (so I assume) asked the dean if he could ask him two questions. The dean hesitantly agreed. First, Michael asked, “Do you know the story of Moses?” When the dean replied yes, Michael then asked him if he could recall a summary of it for them. The dean then went on to tell the story of Moses, starting with how the Israelites were slaves to the Egyptians, and that in order to save baby Moses’ life, that his mother placed him in a basket which she put in a river. There, an Egyptian family raised him as their own. Later, Moses grew up to be a leader to save the Israelites from the Egyptians.

After the dean’s summary, Michael then reminded the dean that he was knowledgeable on Superman, given that he had read the comics as a kid. He then asked the dean if he could recount the story of Superman. So the dean gave in again, telling how the planet Krypton was about to be destroyed, so his parents put him in a ship in order to save him, sending him to earth. There, a family found him and raised him as their own. As Superman grew older, he eventually became a leader and savior to the people.

As soon as the dean had reached that point, he stopped mid-sentence, telling Michael, “Fine. I get it. You can teach your comics book class.”

And that’s how Michael Uslan became the first professor to teach a comic books class.

But as he was walking away, happy to have successfully convinced the board of deans and professors to accept his proposal, he said he recalled words of wisdom from his mother: he ought to market himself. From there, he said he went home and called a news station. When he was finally able to get a reporter on the phone, he changed his tone. He was angry, and he started shouting phrases regarding America’s youth, and how news people should not have let things get to such a bad place. The reporter on the end was thoroughly confused. The reporter then asked what Michael was so upset about. Michael started again with lines like, “You really don’t care about taxpayers’ dollars do you? Do you have any idea what’s going on? Our kids in school should be getting a proper education!” When the reporter failed to follow where Michael was going with all this, Michael responded, “Did you know that the university is allowing students to be taught about comic books? I heard they just hired someone to teach them a comic books class! This is ridiculous!”

Mr. Uslan said it took three days following that phone conversation for that reporter to make it to the university to find out what was going on. And from there on, Mr. Uslan said that there were multiple reporters, camera men, even celebrities who would pop in and sit through one of his classes. He made it in a large article in multiple newspapers across the country and even in Europe. His phone was constantly ringing with newsreporters and job offers. And one day soon following his overnight fame, Michael received a called from Marvel, offering him a job in New York City.

For the first few years, Mr. Uslan didn’t say that he did anything all too significant at Marvel. Then one night, when he was just about to leave for the evening, he heard yelling and screaming. He walked over towards the sound and found one of the editor’s furious. Apparently the editor had a script assignment for the Shadow comic due the next day, and he could think of nothing to write about. Fortunately for that editor, Michael said he had an idea. After some pulling and tugging away and random ideas that came to mind, Michael had convinced the editor to let him write the script. Michael pulled an all-nighter, and handed in the script the next morning.

A few weeks later, one of the major writers at Marvel walked by Michael. He stopped Michael, saying that he had read his Shadow comic. He commented that it wasn’t bad. Michael was about to keep walking, but the writer stopped him again. This time, he asked him a question: “Would you be interested in writing Batman comics?”

Clearly, Michael’s answer was “yes.” At this point, Mr. Uslan transitioned his story, remarking that he reached a point in his life–and at an early stage–where he had achieved his dream. The big question lingering in his head was, “What now?”

Michael wasn’t able to answer that question for himself until the first Batman show premiered on TV. Mr. Uslan mentioned how excited he had been, with all the anticipation leading up to this. FinallyUnfortunately, Michael didn’t totally dig the silly, light-hearted, slap stick humor of the show. He wished Batman would be taken a little more seriously. He wanted to see that human, realistic side to Batman. After all, Batman really was just a human. He wasn’t bitten by a radioactive bug. He wasn’t an alien sent to Earth to save all of humanity. He was a human, who just happened to have a lot of money and desire to help other people.

Mr. Uslan said it was that moment that he vowed to himself that somehow, some way, he would bring Batman to the big screen in a big way. But not just in a big way–he wanted the world to see the raw and humanistic side of Batman. He wanted the superhero who had influenced and inspired him as a child to influence and inspire other people in a way where they weren’t just laughing at him. So he set out to do just that.

To shorten this seemingly long story, I’ll cut the final part of this short. Mr. Uslan described how he went about buying the rights to Batman. He got married. He went to school again and became a lawyer for four years. He quit his job, moved to California, pitched the idea of a Batman movie to every studio and was turned down by every single one of them. It was another ten years until someone by the name of Tim Burton thought a lot of Michael’s idea.

And according to Mr. Uslan, the rest was history.

After the Story

Following his story, there was a short question and answer time. I was lucky enough to have caught his eye, having him answer my question. I asked him about breaking into the film business, specifically screenwriting. He gave short, but thoughtful advice that I truly appreciated.

When the Q/A time came to a close, I stood in line and bought his memoir, getting one of the last three copies there. I then had him sign it. The batman symbol he drew was awesome! As he was drawing, I talked to him, telling him a little bit about how I grew up not being allowed to watch movies. He was encouraging and kind, and strangely answered that Wes Craven grew up the same way. I really wonder about that now.

From the post, you can also see that I got a picture with him. I have yet to think or imagine another moment in my life when I was as inspired to go after my passion like Michael Uslan did. With no connections to people, he still got to where he wanted to be. He kept his promise to himself to do what he wanted to, or to at least try, try, and try again, knowing he gave everything within himself to his dream. It’s neat to think that his life somewhat mirrors that of batman’s–he fell so many times, but he fought his demons. Now he’s rising.

So if you have yet to see The Dark Knight Rises, look for Michael Uslan’s name in the credits. And when you do, think about how I got to meet him up and close and personal, and get to talk to him about achieving dreams. It’s people like Michael Uslan rather than actors or celebrities, that I look at and call successful, because it wasn’t a name or connection or physical appearance that got him to where he wanted to be. His drive and determination and desire to fulfill his dreams were what got him to where he is now. And possibly the coolest part about it all? He said people were looking into the film rights for his memoir. Keep a look out for that one, folks.

I couldn’t help but find it most appropriate to be posting about the executive producer of the Batman films with The Dark Knight Rises opening this weekend. I’ll be leaving to see the film in less than four hours.

I can’t wait.

New Trailers: The Dark Knight Rises, The Hobbit

In addition to the much anticipated The Dark Knight Rises, The Hobbit teaser trailer has made a nice, expected visit to theaters now, placed in front of The Adventures of Tin Tin, which Peter Jackson is producer of. Scroll to the bottom to view the trailer and more information regarding it.

It’s finally getting around that the first full trailer for The Dark Knight Rises is out there and ready to be speculated about. Positioning the trailer well in front of both Sherlock Holmes: A Game of Shadows and MI4: Ghost Protocol in IMAX, Christopher Nolan takes a few minutes to talk about his upcoming movie, The Dark Knight Rises, in this article posted on The Reelist.

According to Nolan, the trailer is all that he has finished editing: “I’ve barely started to edit the rest of the film,” he admits.

Interviewers are still pressing him for information on whether or not this is really the end of his time with the batman franchise. Perhaps since he has revealed multiple times that this is his last Batman film, as well as distinctly given it away on the trailer that The Dark Knight Rises is the “final” film in his batman “trilogy,” The Reelist was still pressing for whether or not he would consider producing a batman film in the future. Nolan gladly answers that it’s all going to be circumstantial for any possible involvement with the franchise in the future as well as concludes he isn’t planning on writing or directing anymore batman films after this one: “I think the important thing really for me is as a director and as a writer and so forth, this is the conclusion of my involvement with it.”

With all of the very early hype for a film that isn’t due out for another good 7 months, I still wonder if Nolan’s going to be able to deliver the colossal film that everyone is not only hoping for anymore, but also expecting it to be. He describes his writing process and the point of when he knew things were starting to fit together for the film: “I think really once we figured out our ending, then it felt like okay, we know where this story is going and where we have to land the plane if you like. That’s always very important in any project, with all my projects. I really try to figure out the end first and work up from there.”

To read the full article, go here. And in case you haven’t see it yet, check out the full trailer below.

What do you guys think of it? I was wondering what the disintegration of the football field was all about. Aside from that, Tom Hardy looks villainous enough, and Anne Hathaway might possibly pull off not being awkward in a movie. Possibly. It’s nice to see some of the Inception cast return in another CNolan film, like Joseph Gordon-Levitt and Marion Cotillard. And Gary Oldman reprising his role as Commissioner Gordon looks great, of course, too. Did everybody else notice that Christian Bale isn’t in the trailer much?

When I heard the term “teaser trailer,” I was not expecting a two and half minute trailer. I’m delightfully surprised to get to see so much, from Bilbo (young and old version), a hint of Frodo, a lot of Gandalf, some Galadriel, and of course at the end, Gollum and the ring. The only other big character I haven’t seen is Legolas. Perhaps in the “full” trailer, we’ll get a hint of him, similar to that tiny scene of Joseph Gordon-Levitt in The Dark Knight Rises trailer. This is an exciting and fun-looking trailer that also includes some new faces. Even a full year before its theatrical release, we’re getting quite a bit of footage. Check out the trailer below!

It has Peter Jackson’s hands all over it. I’m happy to see this prequel being done by the same director as the series. It definitely gives it a mode of continuation with the series. There’s really no doubt that this movie is going to be successful, especially to those who are already big LOTR fans. I think the biggest question is really, how will it compare to the LOTR? Will we like the story as much, or will too high expectations disappoint in the end? Martin Freeman, who plays Bilbow, looks promising, and actually very similar to old Bilbo, played by Ian Holm. I’m still betting on Howard Shore to do the soundtrack for this film. I guess we’ll have a full year to wait.