Category: Directors

Two Finches, One Fury.

In fanboy cinema news, Alien 3, Fight Club and Se7en director David Fincher picks up two new projects: Zodiac, yet another serial-killer flick starring Mark Ruffalo, Jake Gyllenhaal, Robert Downey, Jr., and Anthony Edwards, and Benjamin Button, which concerns Brad Pitt aging backward from the age of fifty (while romancing Cate Blanchett.) Elsewhere, Bruce Willis as Nick Fury, Agent of S.H.I.E.L.D? Beats Hasselhoff, I suppose. Update: Gary Oldman joins Zodiac.

From Mars to Munich.

“‘Viewing Israel’s response to Munich through the eyes of the men who were sent to avenge that tragedy adds a human dimension to a horrific episode that we usually think about only in political or military terms,’ [Spielberg] said. ‘By experiencing how the implacable resolve of these men to succeed in their mission slowly gave way to troubling doubts about what they were doing, I think we can learn something important about the tragic standoff we find ourselves in today.'” War of the Worlds complete, Steven Spielberg moves on Vengeance.

Close Encounters of the Worst Kind.

“Across the gulf of space…intellects vast and cool and unsympathetic, regarded this earth with envious eyes, and slowly and surely drew their plans against us.” Hey, don’t say L. Ron Hubbard didn’t try to warn us. At any rate, Spielberg’s take on War of the Worlds is a gritty, eye-popping ride at first, but ultimately ends up being a disappointing affair. In short, it too often abandons the eponymous conflict for pained bouts of family melodrama and lots of Signs-like crashing about in a basement.

I’m aggravated by this film more than most, because from the lightning storm in the first fifteen minutes to the incident at the Hudson River ferry about halfway in, War showed flashes of amazing promise at times. With their introduction from below and their commence-the-killing foghorns, the tripods were spindly alien nightmares, just as they should be. Some of the humanity adrift sequences didn’t make much sense (Why do the news crew cannibalizing the downed plane act starved 12 hours into Day 1 of the attack? How could everything else be picked over by then?), but I particularly liked the swarm of panic and rage surrounding the sight of the Cruise family’s working van. And, while using blatant and Dubyaesque terror, terror, terror, 9/11, 9/11, 9/11 imagery seems like something of an easy shortcut (and how was that “missing persons” board near the ferry created so quickly, in such a random place?), it still helped augment the apocalyptic gloom that an adapation of War of the Worlds needs front-and-center.

But, alas, amidst all this armageddon, we’re forced to take multiple timeouts so that Tom Cruise and his kids can work out their unresolved family issues. You have to expect some of this in a Spielberg movie, sure, but it still seems like filler, pretty much every time. And it seriously detracts from the terror War is trying to invoke when one starts counting the character beats until the unavoidable group hug. Moreover, when we get to the interminable basement of Crazy-Eyez Robbins, the film just stops dead. (I know there was a similar sequence in the 1953 George Pal film, but frankly I don’t remember enough to compare the two.) After all the rabid, contagious fear of teeming, ant-like humanity that permeates the first hour, why would we want to watch Cruise, Robbins, and Fanning play hide-and-seek for twenty minutes with that Abyss-like tentacle? (Particularly given that we saw Cruise already do this with the ID spiders in Minority Report.) As a result, by the time Team Cruise gets to (a surprisingly undamaged) Boston for the cathartic group hug, I’d pretty much checked out. Unfortunately, despite a captivating first hour, War of the Worlds eventually bogs down into quagmire.

Munich, Mission, Muties.

In recent casting news, Geoffrey Rush joins Spielberg’s Vengeance (with Eric Bana and Daniel Craig), Laurence Fishburne boards MI:3, and Alan Cumming announces he won’t be back as Nightcrawler for X3. Well, good to hear at least the blue fuzzy elf will miss the Ratneresque carnage Fox is about to perpetrate on the X-Franchise.

Bats in the Cradle.


This just in from the Gotham Gazette: Much of the city’s criminal element are packing off for Metropolis to try their luck with Supes…cause, well, this “Bat Man” fellow is just plain terrifying. Yes, y’all, I’m happy to report that, while Chris Nolan’s Batman Begins has some minor problems — each character gets a few clunky lines and the final action sequence isn’t all that memorable — this is the Batman movie that fans of the Dark Knight have been waiting for. There’s no Schumacher statuary in this Gotham City, and nary a Burtonesque Batdance to be had. Nope, this is just straight-up Frank Miller-style Batman, scaring the bejeezus out of the underworld in his inimitable fashion. [Spoilers to follow.]

Going in, I was mostly afraid that all the ninja training and Liam Neeson speaking in Qui-Gonisms that marked the trailers was going to take up half the film. But, to its credit, Batman Begins moves at a surprisingly brisk clip, interspersing Bruce Wayne’s travels in the Orient (as we begin, he’s doing hard time in a Eastern prison) with flashbacks of various fateful moments in his early life. Bale and Neeson in particular are encumbered by some potentially ponderous dialogue here — fear is the mindkiller type stuff — but they do well with it (as does Michael Caine, Gary Oldman, Cillian Murphy, Tom Wilkinson…everybody, really, even Katie Holmes.)

And, when Wayne gets back to Gotham, the film really takes flight. If the message boards are any indication, some of the fanboy nation are ticked that you never get a really good look at Bats in any of the fight sequences — he’s always flitting from shadow to shadow or bringing a beat-down from above. But I for one loved it…as seen from common-thug-level, this incarnation of Batman is — finally — downright scary. (And, speaking of scary, the Scarecrow has a devilishly creepy introduction here.) Whatsmore, Nolan and screenwriter David Goyer wisely play up the “Bruce Wayne, billionaire playboy” angle too, which is as important a subterfuge as Clark Kent’s bumbling around the Daily Planet.

Problems? Like I said, yeah, a few. The Batmobile chase scene is a bit gratuitous, and the final action extravaganza isn’t all that involving. (Also, as one astute AICN reader pointed out, the microwave emitter scenario should have had a much more disastrous effect on the “bags of mostly water” surrounding it.) I’d have liked to see even more of the Fear-vision (particularly as that whole sequence reminded of me of Swamp Thing’s visit to Gotham in the Alan Moore years.) It seems like calling in the “back-up” would likely give away the location of the Batcave. Taking out Wayne Manor was a bit extreme. And, to my mind, Batman never really needs a love interest, aside from Catwoman, Poison Ivy, or the like.

But these are all quibbles. In the big picture, Batman Begins is a rousing success, and I want to see Batman Continues next-to-immediately…particularly after that you-know-what at the end. (!) After all, even with the considerable star power on display here, Gotham’s still one card short of a full deck…