Come anticipate "The Dark Knight Rises" with *BATSPOILERS*

Will Smith as Ali would've been a great Bane.

i think liam can keep coming back dead jedi style and we can chalk it up to ninja hypnosis.

i say keep two face locked up and bring back a new joker

bane eventually became an antihero, right?

maybe in the universe where he never became a scientologist

https://sphotos-a.xx.fbcdn.net/hphotos-ash3/528866_268228676610276_712433066_n.jpg

and batman is better than bane when he comes back because it's all about facing your fear and believing in what you're fighting for maaaaan

― the late great, Saturday, July 21, 2012 11:25 PM (Yesterday) Bookmark Flag Post Permalink

http://gifsoup.com/webroot/animatedgifs/267298_o.gif

they shouldnt have cut the part where batman tebowed after climbing out the pit

for the first few minutes of that airplane scene i was like, wait, why is rand paul in this movie

overhyped scene imo

that was carcetti from the wire, dude

overhyped scene imo

― the late great, Sunday, 22 July 2012 06:36 (3 hours ago) Bookmark

yeah, there wasn't one memorable set piece in this thing

Okay I'm glad someone mentioned Cilian Murphy.

Saw it last night in one of those fake IMAX setups. Loud, of course.

Anyway, couple of muddy soundtrack/dialogue moments aside, rather loved it. Was bemused by Nolan/Goyer overegging the French Revolution referencing with the Dickens quote at the burial from Gordon.

Also didn't expect (therefore appreciated) that when Alfred left he actually left instead of returning with thirty minutes to go or something.

that was carcetti from the wire, dude

― hot sauce delivery device (mh), Sunday, July 22, 2012 3:23 AM (6 hours ago)

yeah i know i figured it out after a minute, couldn't place him at first. they do kind of look alike!

Also didn't expect (therefore appreciated) that when Alfred left he actually left instead of returning with thirty minutes to go or something.

usually happens at night

instantrimshot.gif

Catwoman's sidekick seemed pretty underdeveloped. Does she exist in the comics?

Not as far as I know, but she's played by Juno Temple from Dirty Girl, and Chloe Grace Moritz and Jennifer Lawrence both auditioned for the role!

Yup, she was in the comics, I think she originated in Batman: Year One

it's not as good as the first two, the emotional beats weren't there

throw those beats u know where

Still kind of amazed my joke about Bane taking over the Wayne company ended up actually making it in the film

I liked this, as with the last one it could've been shaved down by about 20 minutes, but I thought it was a pretty satisfactory way to wrap the trilogy. Sure, some clunky Nolan dialogue moments, but nothing enough to ruin the film for me. I think what surprised me the most was that I didn't hate JGL in this as I expected and Hathaway did a pretty good job in her role.

Ended up having to see this again with another group. More thoughts spoilers

- They're are a lot of bad performances from the actors with bit parts. This feels like one of those movies where many of the "one-line" roles were given to people who were owed a favor or were friends with someone, and so you get non-actors overacting and blowing their one line. That, or Nolan doesn't do a good job getting performances out of actors who aren't seasoned pros or loose canons are going to do their own thing anyway. Maybe both.

- The redneck sheriff who chases after Batman during the bank sequence reminded me of the redneck sheriff in the boat chase of "Live and Let Die."

- The Russian prisoner who's lived half of his life in the Great Pit of Carkoon (Star Wars joke for you there) has been modernized enough to call Bruce Wayne "a man of privilege." Odd euphemism.

i thought ut was all very james bond

Sicinski:

And all this over Christopher Nolan! One thing that comes across when you really look at The Shining or any Kubrick film is that, micro-manager or not, the guy was weird. Part of the reason one can groove on both his technique and his minutiae is that there are off-kilter line readings, unmotivated zooms, singular, indelible images throughout his oeuvre. (Needless to say, the same is true of Hitchcock.) PTA and Fincher vary from film to film, of course, but what I’m talking about here, if you’ll forgive me for being reductive, is poetry. It is certainly possible to see these directors as fetish-filmmakers, and to make fetishes out of them in kind. But one’s appreciation will almost inevitably open along those fault lines, those textual hiccups where sounds and images make a different form of sense, one irreducible to lockstep narrative logic. Is this something anyone can say about Nolan, as a general rule?

...If I might be so gauche as to state the obvious, we are well past the era when the default notion of “art” can be expected to be culturally oppositional. As there seems to be not only less and less of an outside to neoliberal capital, but less and less of a space for imagination of an outside, many of us can conceive of cinema only as the Will to Power. That is, we find ourselves looking for signs of big money, friction-free, exacting masculinized, motorized one-size-fits-all allegorical hollow-tip mega-narrative at the undifferentiated mass, without the unalloyed expenditure of poetry. If we all get behind this, if we keep this Bat-Signal 100% Fresh and punish anyone who introduces the “noise” of a contrary expectation, we could treat every day in our democracy like it’s Halloween.

http://cinema-scope.com/currency/sifting-through-the-guano-christopher-nolans-the-dark-knight-rises/

I and every other critic knew he or she was setting themselves up to be pilloried, insulted, even “threatened” (after a fashion—I mean, like the Legion of Combox Doom actually knows how to find Marshall Fine, much less throw a punch)

"Arts critic as Internet hardman" is NAGL.

yeah i am kinda w/him on some of that. brody is on the same wavelength:

There are no moments of affecting plainness—a person walking unportentously or even moving with any sort of undetermined impulse, instinct, or distraction. (See the head toss at 1:17.) Yet, at the same time, the movie is surprisingly, blandly uninflected, devoid of anything off center or disproportionate—or even incisively angled or hysterically restrained—that would elicit a feeling of synaptic leaps, of subjectivity made physical.

... The film may have been made in part on location in New York, but nobody is in danger of getting dog poop on their shoes. Neither on the grand nor the intimate scale does the movie allow for accidents or coincidences. Gotham is the city without serendipity.
xp

Anyway

http://banescoat.tumblr.com/

not as good as hitchcock? you don't say!

the 'occupy' inspiration was just the worst thing, not sure a comic book movie could possibly be more out of touch

out of touch how?

i think this movie defeated Armond. I mean this is autopilot stuff - "Nolan hasn’t got the wit to “nuke the fridge” (Spielberg’s rich, still-misunderstood anthropological jest"

http://cityarts.info/2012/07/20/bat-guano-economics/

JFTR principal photography on this movie started in May 2011, about four months before Occupy Wall Street, which means the screenplay was locked down even earlier, so "inspiration" may not be the word we want here. It's not like "eat the rich" as a concept was invented at Zucotti Park.

And having just rewatched The Dark Knight earlier today, it's not like those themes weren't there either.

out of touch how?

― the late great, Sunday, July 22, 2012 8:05 PM (4 minutes ago) Bookmark Flag Post Permalink

in that the nolan bros seem completely unaware of how young people/poor people behave

specifically their bloodlust

also the whole uncontested 'cops are heroic heroes' thing which just looks freakishly politicized following one of the biggest storylines out of the movement

but yeah it makes a bit more sense that the script was just badly timed, i seem to forget how recently occupy started

yeah i don't like cop culture in movies nor am i a big fan of class warfare but i think in this case it's about as pertinent as criticizing the first film's portrayal of psychiatry

one thing i am kinda fuzzy about: how did bane and crew figure out the special forces thing so quickly?

erm, pretty sure bane's politics and the infrastructure of the revolution/new government or whatever was pretty central to the film

"not a big fan of class warfare"...heh, guess i understand that occupy dig from yesterday

Talia clued them in about it, and they showed up with about the same amazing response time as the SWAT team did at the beginning in response to the text message from the Congressman's phone.

following one of the biggest storylines out of the movement

again, its important to note the timeline here, that the screenplay was done well before any of the storylines "out of the movement" could've been that huge of a direct inspiration

oh i agree kevin but like someone else said, "eat the rich" / french revolution is a very, very old story

i didn't really perceive any direct connection to OWS

oh right, thalia, thanks

like i am concerned about ethics of biotech research and i enjoyed prometheus but i'm not going to be taking a hard look at prometheus w/r/t that

well yea for one thing his politics were terribly simplistic - if bane was supposed to be some romney dis they at least seemed to allow his politics to be some kind of hysterical national review projection of what revolutionary politics are, so as to please everyone

xp fwiw i didn't get any OWS vibe at all from he film but i may have missed something

the*

i think i was prepped to expect OWSesque stuff. definitely read one or two things about the film that mentioned it. the scarecrow court at least struck me as like rush limbaugh's paranoid fantasy of how OWS would turn out.

i definitely got a vibe. shooting ended midway thru november, it wouldn't surprise me if nolan switched some things around toward the end to make it seem more timely.

scarecrow thing is straight out of revolutionary war political cartoonage

he's wearing a tweed jacket and a tattered judges' robe and the bench is a huge pile of books and desks and shit and those scenes are all laffs anyway. nolan is twee-r director than wes anderson in his man-child way, lighten up.

gee sorry? i don't disagree with the last sentence