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The time has finally come for me to review what I consider to be the three greatest superhero movies of all time, which are also three of my all-time favorite movies, period: Christopher Nolan’s Batman Begins, The Dark Knight, and The Dark Knight Rises, which have come to be known collectively as The Dark Knight Trilogy. These three movies form such a cohesive whole as a series and are so close together in quality that it is appropriate, I think, to review them all in one massive review. Plus, that lets me review two extra superhero movies down the line. So without further ado, let’s take a look at the first masterpiece in this trilogy.
Batman Begins (2005)
Batman Begins can be considered the first real superhero movie reboot, restarting the Batman franchise eight years after the travesty that was Batman and Robin (the fourth movie in the Burton-Schumacher Batman series). This movie went where no live action Batman movie had gone before by telling the origin story of Batman in what is, in my opinion, still the best superhero origin story ever told on the big screen. By being set in a grounded, realistic world and taking its time with the origin, showing Bruce Wayne gradually training himself and obtaining the necessary equipment to become Batman and not showing the full Batman suit until nearly halfway through the movie, Batman Begins makes you feel almost like there could be a real Batman in the real world, and if there was, this is what he would be like. The movie is directed by acclaimed director Christopher Nolan, who here uses a similar nonlinear storytelling approach as he used in Following and Memento, except neither to as great an extent nor in as deliberately confusing a manner as in those films. The casting in this film, like the direction, is brilliant. Christian Bale is, in my opinion, the best live action Batman to date, portraying the dual identity of Bruce Wayne and Batman in a more complex, nuanced way than any actor before him had. Legendary veteran actors Michael Caine and Morgan Freeman lend the right dose of gravitas to the roles of mentor figures Alfred the butler and Lucius Fox, respectfully. Gary Oldman is perfectly cast as future police commissioner James Gordon, portraying a more proactive, true to the comics version of the character than had been seen in previous movies. Liam Neeson, possibly my favorite actor of all time, is brilliant as Bruce Wayne’s mentor Ducard, who hides a dark secret. The underrated actor Cillian Murphy is wonderfully creepy as the villainous Scarecrow, a role he would reprise in cameos in the next two movies.
The Dark Knight (2008)
The Dark Knight is doubtlessly the most successful and universally praised film in this trilogy. It takes the dark, gritty, realistic tone of Batman Begins to the next level, as well as the stakes, the scale, and the scope. The Dark Knightshowcases the brilliant, iconic, Oscar-winning performance of the late Heath Ledger as the Joker. Ledger’s Joker is dark, sadistic, and frightening, but somehow still manages the Joker’s trademark sense of humor in what is easily the greatest on-screen portrayal of Batman’s arch-nemesis. This movie added another great cast member to this trilogy in Aaron Eckhart’s portrayal of District Attorney Harvey Dent, staunch ally of Batman and Gordon who is tragically destined to become the villainous Two-Face. Eckhart portrays Dent’s fall from grace brilliantly and sympathetically, and in many ways, this movie is really the story of Harvey Dent and his tragic fall from grace. The Dark Knight is a dark, thought-provoking exploration of what it means to be a hero and what a hero must do to defeat evil.
The Dark Knight Rises (2012)
In my opinion, The Dark Knight Rises managed the nearly impossible task of being an ending to this brilliant trilogy worthy of the previous two installments. In fact, it’s really the first movie to be the definitive ending to a superhero movie series, with no intention whatsoever of sequels. The Dark Knight Rises seamlessly blends the influence of four books for its story: the Batman comic book stories The Dark Knight Returns, Knightfall, and No Man’s Land, and strangely enough, Charles Dickens’s masterpiece A Tale of Two Cities. Tonally, The Dark Knight Rises feels like a combination of the previous two movies, with The Dark Knight‘s high stakes and darkness and Batman Begins‘s somewhat lower level of realism. Tom Hardy is brilliantly menacing as the brutally tough but intelligent Bane, and Anne Hathaway is the perfect Catwoman, exploring her character’s tendencies to be both an enemy and later an ally of Batman. Joseph Gordon-Levitt and Marion Cotillard round out the cast as police officer John Blake and socialite Miranda Tate, respectively, two characters who are seemingly new to the Batman mythos.
Overall, Batman Begins, The Dark Knight, and The Dark Knight Rises are not just great superhero films, but great films, period. They are certainly my three favorite superhero movies, but I could never rank them against each other. They are all equally brilliant, well-crafted, dark, thought-provoking movies that take the superhero genre to the next level.
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007 Daniel Craig (0) | 2016.01.15 |
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By: Jay
A Clockwork Orange is another installment in the Kubrick canon, and ranks as yet another crucial film rife with deep social and psychological meanings. The film is adapted from the famous novel that places Alex DeLarge in a dystopian future where society has degenerated into a trashy, concrete mess. Gangs of thugs titled “droogs” run rampant, and Alex himself is a young gang leader. The film will raise the question of the use of mass pyschological warfare and control techniques from behaviorist psychology as a means for creating a populace controlled by a scientific elite.
Kubrick considered his film a piece of social satire that would question the notion of totalitarian regimes brainwashing the public into an android state. If the subject could be conditioned through a kind of shock therapy, the loss of willpower would ensue and the “droog” of the future – the future man, would be a controlled slave. However, my analysis differs from what you see in the typical approaches to reviews of clockwork. I think Kubrick presents another angle – a Nietzschian/elitist angle that the totalitarian scheme is, in fact, the norm.
In the opening milk-bar scene with the mannequins, the bar is full of sexual imagery. The film continues this motif throughout, combining sex with violence as the social norm. Alex’s parents are completely docile and impotent, having no idea of the actual state of world affairs. Strangely, Alex has an affinity for Beethoven, despite his predominate brutishness, which often plays over scenes of violence or sex, including rape.
Alex and his “droogs” engage in “ultra-violence,” and end up raping the wife of a liberal activist who opposes the state’s draconian control measures. Later, Alex attempts to rape a wealthy woman who lives in a country estate and is caught. What we see here is a prophetic view of the future of man’s world. A globalized, 1984-style slum, where a few elites and intelligentsia live outside the urban areas.
The intelligentsia like the writer and the behaviorist therapist seeking to cure Alex have a faulty view of human nature, and this is the key. The film is full of sexual (and other bodily function elements) images which display the fact that most men are led about by their bodily desires, and contribute nothing to society. The liberal activists and therapists continually try to make Alex a “productive” member of society and seek to influence him with religion and other salves. However, the crucial point of the film is that Alex remains Alex.
He begins a “droog” and ends a “droog.” As such the film becomes a powerful commentary on the unavoidable nature of classes. There will always be classes because there will always be well-bred and ill-bred men. Nietzsche wrote of master and slave morality, and that is appropriate here. The misguided placement of blame by the liberal writer ends up leading to his own demise, as the people he writes to defend and protect from what he views as the manipulative political class, end up raping his wife. In short, he has an unrealistic view of human nature and action, as do all “liberals.”
My view is confirmed by the fact that at the end, Alex is co-opted by the system, as he has been all along. Alex jumps out of a window and injures himself, becoming a martyr for the “people” (who hate the governing class), while the writer who captured and imprisoned Alex for raping his wife, is put away. Alex is then offered a job within the system, and is pictured with the politician who has offered to reimburse him. He then dreams of everyone watching him have sex in the snow. He chides that he was “cured alright.” In other words, having been run through cleansing/brainwashing of the system, he now becomes a cog in the system.
But all along, all he wanted was to continue his nihilistic savagery, and the final scene lets us know he hasn’t changed or been cured, just more adept at mischief. The politician and the therapist had made promises that “science” would “cure” Alex and make him a productive member of society. However, this failed, and Alex remains what he is – a monster. London recently exploded into riots run by a bunch of droogs. This was, of course, planned, and co-opted by the system as Alex and his droogs were. The system relies on the foolish utopianism of the masses to believe the lies they are told, particularly when it comes to “science” perfecting man, and making him into a “new man.”
No, no human means of do-goodery or feel-goodiness will ever perfect man or make him into the state’s archetype. Men are either well-born and well-bred, or they are savage. So no, no mystical esoteric doctrines here, aside from the fact that film’s imagery stresses the eye at the top of the pyramid, and given my analysis, I think it means the elite view is that there will always be a caste. You can’t change the nature of man, and no amount of blaming society or other ills, will ever lead to the “curing” of man in this world. Understanding this is understanding the nature of the system itself. As a friend pointed out, an orange is organic, and to try to treat it like a machine (clockwork), is a failed enterprise.
랑야방 : 권력의 기록 (2014) (0) | 2015.10.27 |
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홍 상수 (0) | 2015.09.26 |
V for Vendetta (2005) (0) | 2015.07.28 |
Wire In the Blood (2002) (0) | 2015.07.28 |
Damages (2007) (0) | 2015.07.17 |
By: Jay
At first, I was going to engage in a lengthy, protracted analysis of the symbols and imagery of V for Vendetta, but I have changed my mind. While it does contain a good bit of esoteric imagery and significant depth beyond most Hollywood trash, the meaning and purpose of the film is much simpler. The film is based on the famous graphic novel by ritual magician and Crowley adept, Alan Moore. While Moore is a talented artist and storyteller, the notion that his story is geared towards human liberation, as masses of ignorant fans assume, is laughable. Fans and reviews offer a wide array of online speculation as to its meaning and imagery, but few will be able to decode it without understanding the ritual element, which I so often highlight.
V for Vendetta is a manifestation of sophisticated managed dialectics and ritual psychodrama that deludes the rebellious young pop mind into thinking it is part of an anti-establishment “V Mask” movement, known as anarchism. True Satanism is anarchic, and certainly given the ridiculous, backwards “civilization” we live in, this is understandable. Yet the solution to three hundred years of “revolutions” and full spectrum subversion can in no way be more of the same. My friend Mark Hackard has highlighted this in his recent essay translation on monarchism and republicanism/democracy, and I commend readers to consider its import. Political solutions are understandable, given that we are weary of past engineered attempts that ended in miserable failure – communism, fascism, and now world socialism/egalitarianism. But the other option – anarchism, is no different, as it has the same starting point – universal human egalitarianism. Ironically, anarchists tend to be the most elitist after a few years, recognizing their fellow cell members are dupes of larger foundation-run interests.
I do have a soft spot for anarchism, due to it being the ultimate high point of the left – they are the most likely to realize the vacuous nature of modernity. Yet anarchism is a worldview of ultimate atomism, where the individual reigns supreme in a meaningless universe of self-imposed meaning. This atomized, pseudo-ubermensch mentality is generally short-lived, as the entirety of one’s experience soon comes in to dispel this teenagey, mytholological fantasy worldview. Anarchism is the worldview par excellence of the elite, as it is the most destructive. Anarchism is chaos magick, intent on releasing the forces of destruction under a self-deluded belief in engineering a mass “dark night of the soul” to create the “New Man.” It is the final manifestation of the revolutionary faith 1789 and 1776 began. As an occultist, Moore is well aware of the effect such semiotic acts of aesthetic terror can have. How quickly the intellectual leftist revolutionary realizes his comrades are morons, and then purges them. Anarchism is therefore the fullest manifestation of Jacobin “lady liberty” living. Yet Jacobin lady liberty living leads to self-destruction when taken to its fullest. The chaos unleashed upon society comes home to roost in the lives of the “revolutionaries.”
So this is the real masonic mystagogy of V for Vendetta: V is Satan, as the graphic novel even states. V initiates Evey, as a new Eve, into the cult of liberty. V utilizes all the same mind control techniques and torture the system uses to “free” Evey. This is why Evey is “locked up” and has her head shaved, as we have seen with many Hollywood brainwashed starlets. The cult of liberty is a harsh master, however, as absolute liberty is really absolute slavery to the passions. Meanwhile the establishment in the film and novel is a far right establishment which persecutes homosexuality and tries to enforce Christianity as a state religion in the UK. This is utterly laughable, except in the sense that the neo-conservative establishment in the US does wear a thin veneer of evangelical covering. However, that is quickly wearing thin, and as the film is set in the near future where the US has collapsed and the UK is under a theocracy, its thesis is absurd. As with other Wachowski films like The Matrix or Cloud Atlas, the message conveyed is that all law is slavery – even that of gender. To be male or heterosexual is to be a slave to imposed social constructs, not to the fulfillment of natural order. This transformation process is symbolized by Evey being shown with butterflies following her mind control torture.
From this perspective, we can also gain insight into the staged bio-release theme. The plot revolves around a pharmaceutical establishment and political elite that have staged a bio-release to gain political power. This aspect of the film does have contemporary esoteric significance, as that is what we are presently seeing in the US with the hyped Ebola fear. As Jon Rappoport has shown, the tests for Ebola are themselves questionable at the least, and speak to older managed crises like AIDS and H1N1 that never delivered on their presaged apocalyptic doom. However, don’t put it past the establishment to release a real bio-attack! While that is yet to come, my analysis of the present Ebola crisis is that it is not what it is said to be, but rather, a cover for AFRICOM intervention as the hilarious Kony propaganda was. And to further add to this point, Webster Tarpley has a reasonable thesis in his Synthetic Terror that Guy Fawkes himself was an agent of British intelligence who ran a false flag to frame Catholics as “terrorists.” V, then, as Satan, is merely a ruse of managed anti-establishment rebellion that plays into the hands of the establishment like putty. Prompting the V Mask wearing rebels in the populace to engage in terror acts only fuels the establishment’s designs. Therefore, for V for Vendetta, I’m avoiding all the symbolism and esoterica and looking at the main point – managed, Hegelian dialectical faux rebellion. So put your mask on and grab your Dawkins and your comic books, the revolution will be televised! V is Hot Topic mall rebellion.
As Oswald Spengler stated:
“There is no proletarian, not even a Communist movement, that has not operated in the interests of money, and for the time being permitted by money – and that without the idealists among its leaders having the slightest suspicion of the fact.”
홍 상수 (0) | 2015.09.26 |
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A Clockwork Orange (1971) (0) | 2015.07.28 |
Wire In the Blood (2002) (0) | 2015.07.28 |
Damages (2007) (0) | 2015.07.17 |
한니발 (2013) (0) | 2015.07.15 |
Série policière britannique, la Fureur dans le sang (Wire in the Blood) es tune adaptation des romans de Val McDermi, crée depuis 2002 sur ITV. En France, la série est diffusée sur Canal+ depuis 2003, puis sur NT1.
L'inspecteur Carol Jordan (Hermione Norris) pour la saison 1 2 et 3 puis Alex Fielding ( Alex Fieldin) pour les saison 4 et 5),enquête sur des affaires criminelles (particulièrement les tueurs en séries) Dans ses enquêtes, il est aidé par Tony Hil(Robson Green), éminent psychologue clinicien et professeur d'université qui pénètre l'esprit de ses tueurs fous
Canal+ diffuse la sixième saison dès le 17 août 2009.
A Clockwork Orange (1971) (0) | 2015.07.28 |
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Quantico, Virginie. Clarice Starling, une des meilleures stagiaires du FBI se voit confier une mission de la plus haute importance : questionner le Dr Hannibal Lecter alias « Hannibal Lecter », psychiatre emprisonné, après de nombreux meurtres, dans une cellule hautement gardée pour en retirer des informations capitales sur « Buffalo Bill », soupçonné d’avoir assassiné plusieurs personnes et capturer la fille du gouverneur …
En 1991, Jonathan Demme adapte le best-seller de Thomas Harris, Le Silence Des Agneaux, sur le brillant psychiatre cannibale, Hannibal Lecter avec des acteurs inoubliables, un scénario béton et une mise en scène innovante.
La distribution du film a été un peu plus chaotique. Gene Hackman devait diriger et jouer dans le film en tant qu’en Hannibal mais le scénario étant trop violent, il le refusa. Les producteurs bluffés par Stop Making Sense, ils recrutèrent Jonathan Demme. Ce dernier proposa le rôle de Clarisse Starling à différentes grandes pointures comme Kim Basinger, Michelle Pfeiffer, Emma Tompson, … mais c’est finalement la jeune lauréate de l’oscar de 1989 qui fut enrôlée, Jodie Foster (Taxi Driver, Les Accusés, Panic Room, Flight Plan, …). Elle incarne une jeune stagiaire du FBI, fille d’un policier abattu d’un coup de feu. D’habitude, dans les films noirs, la femme est la victime ou la femme fatale, alors que dans Le Silence Des Agneaux, Demme prend l’opposé, Clarisse devient un personnage principal en puissance dans un monde d’homme où les femmes sont massacrées par un individu. D’une tension rare, Jodie Foster réalise une bonne performance grâce à une intensité sur son visage s’accentuant tout au long de l’enquête, une complexité : pris entre réussir son enquête pour sa renommée et pour la mémoire de son père comme le montre le flashback des funérailles de son père. Elle alterne parfaitement toutes les émotions, dans les faces à faces avec Lecter elle est complètement troublée notamment lorsqu’il s’engage dans le passé de Clarisse et sur son père, dans l’évolution de la mission elle est d’un sérieux imperturbable et enfin dans la scène finale la peur et la tension se mélangent dans un cocktail excellent. Malheureusement pour elle, et heureusement pour le film, elle est face à une performance monstrueuse de l’incroyable, l’extraordinaire Anthony Hopkins (Elephant Man, Dracula, Les Vestiges Du Jour, Nixon, …) en terrible psychopathe Hannibal Lecter.
L’acteur est totalement habité par son rôle, le début du mythe commence dès sa première apparition où on le voit dans sa cellule debout regardant fixement Clarisse avec un léger sourire sournois, d’une sérénité inébranlable. Cette scène est un vrai tour de force de l’acteur, une présence phénoménale, une justesse grandiose pour interpréter un fauve attendant sa proie, les moments où il sent le parfum de Clarisse et lorsqu’il imite un rongeur sont d’une maîtrise implacable. Le reste de sa performance n’est que d’anthologie, à l’instar de Marlon Brando dans Le Parrain, Hopkins créé son personnage en se vieillissant le visage et en se mettant du gel sur des cheveux en arrières. Complètement fou, il incarne sobrement son personnage, préférant l’immobilité à l’excitation de ses compagnons de détention. Il n’a pour autant pas perdu son métier de psychologue et adore entrer dans les plaies du passé de ses victimes pour mieux jouer avec leurs peurs, les humilier et les capturer dans sa toile. Un vrai psychopathe. La grande performance de l’acteur vient aussi de sa diction lente et dense qui accentue encore pus sa folie. Dans les grandes scènes de l’acteur, on retiendra la fuite de sa cage où il crucifie le policier qu’il a amadoué et lui prend son visage et la scène finale avec une phrase devenue mythique : «J’aimerai poursuivre cette conversation mais j’ai un ami pour diner ». Dire que le rôle n’a failli pas arriver à Hopkins car il fut proposer à Jeremy Irons, Sean Connery, Robert Duvall et Brian Cox. Un rôle fantastique proche de celui de Norman Bates de Psychose. Le deuxième fou est interprété par le très convaincant Ted Levine et Scott Glenn (Apocalypse Now, Urban Cowboy, Silverado, …) est parfait de sobriété dans le rôle du chef du FBI Jack Crawford.
Gene Hackman ayant finalement refusé de réaliser le film, Jonathan Demme (Stop Making Sense, Philadelphia, …) reprend le livre de Thomas Harris. Il mélange astucieusement plusieurs genres : le film noir, policier au drame psychologique. Le film est construit sur un jeu de chat et de la souris entre Lexter et Clarisse qui se transforme peu à peu après de nombreux retournements de situations en course poursuite contre la montre. Inspiré par les films d’Hitchcock, il met en place dès les premiers plans une ambiance pesante, dans cette scène proposée par Foster où on voit Clarisse courir dans le brouillard, une atmosphère d’angoisse et de peur. Demme modifie certains codes en filmant les dialogues entre Lecter et Clarisse avec des plans très strictes à 180° pour que l’acteur et notamment Hopkins parle directement au spectateur (comme dans Voyage à Tokyo d’Ozu). Ce qui amplifie la folie du personnage qui hypnotise le spectateur et ce qui créé une véritable thérapie entre les deux. L’ambiance surréaliste du film vient notamment des jeux des lumières dans certaines scènes comme celles où Lecter est dans sa cage où la lumière blanche arrive sur la cage donnant un côté divin au personnage. Tandis que dans les scènes chez Buffalo Bill, la lumière sombre donne un effet schizophrène magistral. Demme ne se refuse pas de montrer les horreurs d’Hannibal et nous offre une œuvre réaliste dont la photographie à toute son importante, en effet elle alterne la sobriété des extérieurs et la saleté des intérieurs tels que la prison où la cave de Buffalo Bill. Demme utilise des techniques originales et bien trouvées comme son utilisation des champs/contrechamps durant les dialogues, un montage audacieux et l’utilisation pour la première fois du « nightshot » dans la dernière scène. Revenons sur les deux dernières techniques et sur la scène chez Buffalo Bill. Le réalisateur à préparer fort habilement le moment crucial : avec une montée de la tension liée au temps qui se raccourcit, il utilise un montage parallèle, où on attend à ce que la brigade arrête le coupable mais Lecter ayant bien joué son coup il envoie Clarisse dans la gueule du lion et c’est elle qu’on voit apparaitre derrière la porte de Buffalo Bill. Alors que la tension et le suspens est à son comble le réalisateur décide de fragmenter la scène de l’échange de tirs en 20 images en 6 secondes pour une puissance visuelle incroyable. Tout cela filmé en « nightshot » où la caméra prend la place des lunettes infrarouges de Buffalo dans une atmosphère glauque. La force de la scène vient aussi du silence brouillé par la respiration irrégulière de Clarisse aux abois. Une réalisation innovante.
Le scénario a été écrit par Ted Tally d’après le roman éponyme de Thomas Harris sur le psychopathe Hannibal Lecter.
Succès publique et critique (les 5 oscars majeurs : film, réalisation, acteur pour Hopkins, actrice pour Foster et scénario adapté), Le Silence Des Agneaux est rapidement devenu un véritable film culte grâce à la performance hallucinée de Hopkins et à la réalisation de Demme.
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