Mooney at the Movies: The Dark Knight

Batman and Joker share their taste for the theatrical. (Warner Bros.)


The Dark Knight (A)

Starring Christian Bale, Heath Ledger, Aaron Eckhart, Gary Oldman, Michael Caine, Maggie Gyllenhaal, Morgan Freeman
Story by Christopher Nolan & David S. Goyer
Screenplay by Jonathan Nolan and Christopher Nolan (based on characters created by Bob Kane)
Directed by Christopher Nolan



The stakes have been raised. The bar has been set. The Dark Knight is now the gold standard for pretty much any genre of film. From Heath Ledger's incredible final performance, to the magnificent stunt work and special effects, to the multi-layered storytelling, The Dark Knight is about as perfect as films get.

So let's start with what everyone will be talking about: Mr. Ledger's last completed work. Would it be as talked about nearly as much if he hadn't sadly passed away earlier this year? Well, when it's this good, I think so. As much as I loved Jack Nicholson's perfectly over-the-top performance in Tim Burton's '89 feature, this is on another level entirely. There's never a moment where you'll think Ledger is giving anything less than his very best. His Joker isn't funny, only sadistic. "Some men only want to watch the world burn," Alfred (Michael Caine) tells Bruce Wayne (Christian Bale). And burn things he does: people, piles of money, even hospitals. If this all sounds darker than any previous Batmans (or any comic book movies for that matter), it's because it is.

The Dark Knight barely squeaks by with its PG-13 rating. There's basically no language or blood, but the tone is so murky that anyone under, well, 13 should see it. It's that jarring and shocking. But that only adds to the film's mastery. The Nolan brothers have no regard for how well the movie will do with families or how well the toys will sell. They set out to make a brilliant film and that's exactly what they've done.

However, while this is a movie about Batman, the caped crusader is onscreen as much as the diabolical joker, the valiant Harvey Dent (Aaron Eckhart), and the hard-working Lt. Jim Gordon (Gary Oldman). This film leaves so much to marvel at. There are so many directions this film could have gone in, but everything here is perfectly crafted. Like the Joker says, "It's all part of the plan."

And this plan includes more than entertainment. There's modern day moral conundrums, too. Like terrorism, domestic spying, corrupt politicians, and whether or not the truth is the best thing to tell someone. Discussion will abound. There's just so much beyond what would be required of a picture like this. Sure, it's jam-packed, but it's perfectly paced, cast, scored, shot, edited, written, directed, marketed, everything. It'd be nearly impossible to make any improvements.

Bleak as it may be, The Dark Knight proves that any parameters set by convention or past films or studio heads can be broken. And once they're broken, and a writer's imagination can run free, and the possibilities are unlimited. This has what's been created here and however long it's remembered or honored, it will be a touchstone of what bold filmmaking can accomplish. And that's no joke.

The Mid-Year Awards 2008

THE RULES:
Only films released between January 1 and June 30 qualify.
That's it.

THE 5 BEST MOVIES:
1) U2 3D (dirs. Catherine Owen & Mark Pellington)
More than just a concert film, this super-cool doc (from the uncoolest of places: National Geographic) is better than a front-row seat. It's front-row, onstage, behind the drummer, in the pit, everywhere. One of the all-time great moviegoing experiences.

2) WALL·E (dir. Andrew Stanton)
Just when you think Pixar has outdone themselves, they do it again with this rebirth of the silent film (in its first half) and a scathing satire of American laziness (in its second) with a love story joining its magnificently crafted parts.

3) Iron Man (dir. Jon Favreau)
The bar is now set for pure entertainment. Let's see who raises it.

4) Forgetting Sarah Marshall (dir. Nicholas Stoller)
In his screenwriting debut, Jason Segel (of the mildly humorous How I Met Your Mother), has already beat producer Judd Apatow at his own game: balancing the sweet with the raunchy.

5) Expelled: No Intelligence Allowed (dir. Nathan Frankowski)
It's a bit uneven and a bit biased, but like all great documentaries, it's got a killer guide through the mess (Ben Stein) and it makes you think and ask questions for yourself. Chief among them being: If Intelligent Design is as worthless a concept as the scientific community says it is, why are they so quick to silence anyone who believes it (or even questions the many holes in the theory of evolution).

THE 5 BEST PERFORMANCES:
1) Robert Downey, Jr. as Tony Stark in Iron Man
Here, the notorious actor portrays a super-rich, alcoholic degenerate who turns his life around. Sound familiar?

2) Russell Brand as Aldous Snow in Forgetting Sarah Marshall
We Americans are just now getting our first taste of something the UK has known for years: Brand is a stellar comedic talent.

3) Steve Carell as Maxwell Smart in Get Smart
Forget The Office: this is the role the brilliantly deadpan funnyman was born to play.

4) Dylan Moran as Gordon in Run, Fatboy, Run
Perhaps the only reason Moran played Simon Pegg's sidekick instead of Nick Frost is so audiences wouldn't think it was one of those masterful "Blood and Ice Cream" films. And even if this British import (directed by David Schwimmer--yes, that one) isn't quite a classic, Moran's one-liners carry the film above its clichés.

5) Abigail Breslin as Maya in Definitely, Maybe
This last one may be a stretch, but the always delightful Oscar nominee continued to show up everyone in her age group by deftly playing the daughter of a couple going through a divorce.

Mooney at the Movies: Hellboy II

That's the last time he'll try the three-bean salad from Crafts Service. (Universal)



Hellboy II: The Golden Army (A-)

Starring Ron Perlman, Doug Jones, Selma Blair
Written and Directed by Guillermo del Toro (based on the comic book series by Mike Mignola)

If you'll pardon the expression, comic book movies have been flying high lately.

Earlier this decade, we've experienced the greatness of Sin City and Spider-Man 2. But this summer, with Iron Man and The Dark Knight, the boundaries have truly been stretched as tales ripped from the dime-store racks have been worthy of the term "masterpiece."

If Hellboy II doesn't quite get there, it's certainly not for lack of trying. While the first film was entertaining, it was still a red-headed (or in this case, red-bodied) stepchild: plagued by a too-tiny budget (compared with other comic book flicks), distributed by a lousy studio (the now-defunct Revolution), and a trailer that made it look cliché as all get-out. Despite all this, it still managed to be much better than many higher-profile action films (this means you Fantastic Four).

But after the financial and critical success of Pan's Labyrinth, Guillermo del Toro has been allowed to flesh his wild imagination out, and the universe he's expanded is truly extraordinary. Now there's much more than a few creatures that "go bump in the night," as John Hurt put it in the first outing. You've got your underworld princes, your troll markets, and your cranky German ectoplasmic spirit. And don't forget those nasty Tooth Fairies.

Still, with all the vivid characters, this is the cigar-chomping, ill-mannered Hellboy's show. Thanks to Ron Perlman, returning under all that makeup, Hellboy is now a character as delightfully foul as Johnny Depp's Capt. Jack Sparrow. But, as the Village People once sang, "No man does it all by himself." And to the audience's benefit, the supporting players are given real purpose. Abe Sapian (played and now voiced by the indelible Doug Jones, who plays nearly all of del Toro's most fascinating creations) has much more of a presence (and gets to duet with the demon on a killer drunk version of Barry Manilow's "Can't Smile Without You") as does literal firestarter Liz (Selma Blair) who's hiding a major secret.

One thing that's apparent though: there's not much of a story. Bad dude wants to take over the world, hero (or anti-hero as is more often the case lately) tries to stop him. But in all fairness, comic book movies are rarely known for their plots. Besides, when a movie is this eye-popping and imaginative, some witty banter will suffice.

Hellboy II is adequately stuffed. Still, when it comes to sci-fi portions, some may find this sequel to be it a bit much (I doubt anyone would find it short of its potential). Whether or not it sets any box-office records, I think time will be kind to this franchise, for its wonderful effects, its wild imagination, and its brilliant focus on the relationships of its characters. Not many films (comic-book or otherwise) get this last one right, and the fact that this gets it right alone is worth the price of admission.

Mooney at the Movies: Hancock

Hancock takes a load off. (Sony)






Hancock (B-)

Starring Will Smith, Charlize Theron, Jason Bateman
Written by Vincent Ngo & Vince Gilligan
Directed by Peter Berg

Hancock is a pretty gutsy for a summer flick. But anyone familiar with Peter Berg's knows that his last few pictures have been basic genre fare elevated to greatness level with good performances and, as the anti-Michael Bay: lets the audience use their brains. And here, the superhero flick gets a shake-up: our hero ain't such a good guy. Of course the anti-hero's not a new concept, but it's hard to think of a protagonist this unlikable before.

However, as this is the summer and families love Will Smith, he's not as bad as if this would've stayed true to its R-rated core. As past summers have taught us: a PG-13 doesn't guarantee the big bucks, nor does an R guarantee a failure, which makes it all the more surprising (and disappointing) that this group has decided to play it somewhat safe.

But enough about the film's shortcomings. There's still plenty to be entertained by here, particularly Will Smith. As one of the last true movie stars, he can pretty much open a film at #1 without even trying (with this, he's broken the record with eight top openings along with eight consecutive $100 million-plus grossers), but what sets him apart is that no matter how much he gets paid, as an audience member, you never feel he's just cashing a check. There's always something he'll bring to the role.

It's great to see Smith, always the noble hero, here playing against type as a real "asshole" (as characters frequently call him). His boozy tirades have caused millions in damage and earned his reputation as the aforementioned body part. Enter Ray (the ever-brilliant deadpan Jason Bateman), a PR guy with a conscience (now there's a shocker). Hancock saved his life from an oncoming train and now Ray wants repay him with some "image consulting." The reluctant Hancock caves after some meditating during one of those great Explosions in the Sky-scored montages that Berg is so great at.

Ray's plan includes jail time, anger management classes, and an ill-fitting leather uniform. As with most addicts, he's completely stubborn, but once Hancock starts to let down his guard, he becomes a better-loved hero, but he's just not quite as interesting. At this point, it's almost as if the writers knew they couldn't keep the film going like this, so they throw in an unexpected twist that completely convolutes the story up to this point. (I won't reveal it here, but let's just say it complicates things.)

After the twist is revealed, the movie completely switches tones to a dark tragedy and the transfer is pretty jarring. And it's like forcing a piece into a puzzle: it just doesn't fit. That being said, the film is still highly entertaining and the gusto Smith brings to the role sells the picture even when it stops selling itself.

Mooney at the Movies: WALL·E

"Can I just have one more moondance with you, my love?" (Disney/Pixar)





WALL·E (A)

Starring the voices of Ben Burtt, Elissa Knight, Jeff Garlin
Written and directed by Andrew Stanton

Animated films can do a lot of things. They can cause laughter, wonderment, and inspiration. In some rare cases, they do all three. But as many times as Pixar has scored that hat trick over the last 13 years, this is the first time that animation can be considered not only great film, but great art in any medium.

And that's precisely why this Pixar outing is so risky. They've done talking toys, monsters, fish, cars, and rats, but now Stanton (who directed Finding Nemo) is tackling robots, but without the talking. Yes, for the first half hour or so, this is as close to a silent movie as we'll probably ever get. Luckily, the character of WALL·E (that's Waste Allocation Load Lifter Earth-Class to be exact) is as delightful and cheery as Chaplin and Keaton.

In the smog-filled trash heap that the earth has become in the distant future (well, only 100 years), WALL·E collects and compacts trash, then stacks it in skyscraper-high piles. When he finds something that catches his eye (like a brassiere or lighter), he collects it in his ever-expanding, well-organized junk pile. And so day after day he follows his routine until the Mac-white angel known as EVE (that's Extraterrestrial Vegetation Evaluator to be specific) lands on a mission to well, her name explains itself. When she's retrieved, it's up to WALL·E to win her back. And this is where WALL·E really takes off, no pun intended.

The gorgeous interstellar backgrounds that whir by as WALL·E and EVE make their way to Axiom, the Carnival Cruise-like ship holding Earth's population until it's declared inhabitable again, are absolutely breathtaking. Truly, no animation has been this completely perfect. Ever. I also don't think I've been as raptured in the story of a Pixar film than I was here. Previously, while the screenplays have snapped, crackled, and, popped, but you kinda knew where the stories were headed. Here, you're simply mesmerized.

And speaking of that screenplay, Andrew Stanton's got some points he'd like to make. Luckily, he doesn't use his fantastic story as simply a soapbox (sorry, Glenn Beck) for green issues and social commentary on the gluttonous road America is headed down. But even for a Disney film, his burning issues aren't glossed over. It's just the right mix of message and story.

There's not a thing about WALL·E that doesn't work. It's simply magnificent. Will it go down as Pixar's finest creation? Only time will tell, but for now it's hands down the best feature film of 2008 so far.

Mooney at the Movies: Wanted

Jolie leans with it, rocks with it. (Universal)







Wanted (C-)

Starring James McAvoy, Angelina Jolie, Morgan Freeman
Written by Michael Brandt & Derek Haas and Chris Morgan (based on the comic book series by Mark Millar)
Directed by Timur Bekmambetov

You've probably seen the trailers for Wanted and gone "Whoa." But you're in for a bit of bad news: you won't say that many more times once you get to the theater. For all its mind-blowing stunts, Wanted should be more aptly titled Wanting, as in Wanting More.

You will want more out of this stellar cast. Morgan Freeman and Angelina Jolie have both won Oscars, but they completely sleepwalk through their roles. And James McAvoy, so gripping in last year's Atonement, whines and drifts throughout the first 30 minutes or so. You won't necessarily want more action, but you will want them to not show their entire hand so early in commercials and previews. It really takes the thrill out of this thriller when you've already seen EVERY awesome scene. And boy will you want more out of those scenes that don't involve a bullet going completely through someone's head. The dialogue either serves the plot in its constant, dry explanations about plot devices like curved bullets and the Loom of Fate from the Narrator himself Morgan Freeman. Or it's a clunky soliloquy straight from Fight Club's anarchist worldview.

But that's where the classic Fight Club and this film part ways. Sure, it wants to have it both ways: rail against the horrors of consumerism while at the same time declaring that happiness is a warm gun that shoots untraceable bullets. Basically, cubicle dweller Wesley Gibson (McAvoy) barely stays awake through his account management reports until he's rescued by Fox (Jolie) and gets recruited until he gets recruited into the Fraternity (a 1000-year old brotherhood--plus Angelina--of assassins).

And what would an action movie be without a reluctant hero? McAvoy continually tries to duck out of his "destiny" despite the constant pressure to join up and experience the Most Awesome Thing Ever. But alas, he decides to get all philosophical and wonders if it's right to dispose of wasteful, murderous cheaters. "Kill one, save a thousand," Jolie responds. And thus everything is tied up with a neat, blood-red bow and the killing spree begins.

But if this was only a killing spree, then Wanted would be more pointless than it already is. So, we get a big and unexpected twist. And while it's better than your average for a summer action flick, the writers, veterans of the Fast and the Furious franchise, use it only to serve up more killing. And while it's stylish, it's not exactly original. Sorry, Bekmambetov, the Wachowskis did all this only better almost a decade ago.

Basically, this is a movie that wants to be crazy-sexy-cool, but doesn't get all three parts. The Russian director behind this madness may one day impress us, he just needs to make sure the marketers don't show all the tricks up his sleeve to soon.

Mooney at the Movies: Get Smart

Agents 86 and 99 aren't amused, but you will be. (Warner Bros.)





Get Smart (B)

Starring Steve Carell, Anne Hathaway, Dwayne Johnson, Alan Arkin, Terence Stamp
Written by Tom J. Astle & Matt Ember (based on characters created by Mel Brooks & Buck Henry)
Directed by Peter Segal

When it comes to taking TV series to the big screen, sometimes you get a Fugitive, sometimes you get a Dukes of Hazzard. Fortunately, this is closer to Richard Kimball than the Duke boys. Still, you'll get the feeling they missed being great by this much.

So let's start with the good. First, no one could have filled Don Adams' telephone shoes better than the brilliantly deadpan Steve Carell, and he plays the role with gusto. Whether dancing with a, how shall I put this delicately, robust woman, or getting harpooned in the face, Carell's giving it all, which, come to think of it, he does with every role, good or bad. In fact, few actors have a shred of the comic timing he possesses.

Secondly, Carell and Hathaway (an actress I've always wished would invest in a higher class of pictures) play off each other very well. They won't go down as one of the all-time great duos, but it's certainly better than expected. Their chemistry is well-played; not every laugh is obvious, occasionally, the writers make you work for your laughs, which is surprising considering their, um, accomplished resumé.

Third of all, and this is surprising, it's squeaky-clean (well, aside from a tired gay joke). The action's a little intense for some younger viewers, but the fact that all involved didn't take the opportunity to stuff Get Smart full of double entendres is exciting, proving that foul language and tawdry jokes don't have to pervade every live action comedy that comes along.

But it doesn't all work so well. Alan Arkin and Dwayne Johnson, so great in their last comedic roles, are pretty much wasted here and the cameos are hit or miss. Also, the barrage of explosions and fight scenes want you to believe this as an action flick, but it really can't have it both ways. Not with the B-list talent behind the camera, unfortunately.

Overall, though, this is a highly enjoyable comedy with plenty of quotable lines and good sight gags. It's probably the funniest movie we'll get this summer. So if they continue to make a series of films out of this, well then that might just be OK, too.