Top Five Films of 2012....and a bit.

I’m a little late to the game with end of year lists, I’m personally going from the beginning of 2012 up to and including that was released or eligible for this years Oscars, so it’s more like a 15 month period. But anyway, enough with the build up, let’s get straight to it.

5. The Master

Easily the most difficult of films to get into, or even get a hold of. Paul Thomas Anderson’s most recent film takes to post World War Two America as we follow navy veteran Freddie Quell, played disturbingly well by Joaquin Phoenix as he searches for something. The search is either to improve himself and his situation, or to simply continue to find better and better places to get drunk and have sex. Whether Freddie wants to change is one of the biggest questions in the film.

The Master, is one of Andersons shortest films, although the first viewing can be quite gruelling as there isn’t a lot of plot to drive the film forward, instead it focuses on the three main characters of Quell, Lancaster Dodd, or The Master (Phillip Seymour Hoffman) and his wife Peggy (Amy Adams). However, on subsequent viewings the film does “speed up” and is much more rewarding as it allows you to really focus on these characters.

It isn’t as perfect as There Will Be Blood, but then again few films will ever reach that bench mark again. Instead, The Master offers a personal look into beliefs and the power religion holds over people, as well as asking just how much people want to change against how much they can actually change. You may struggle with it, but it’s a film not be missed.

4. Looper

Arguably one of the biggest hits outside of the obvious comic book fare we had at the cinemas this summer. Rian Johnson’s excellent third film and possibly his best so far, reunited him with Joseph Gordon Levitt from Brick and once again they found and gave us an interesting and complicated protagonist.

Looper, for me follows in the tradition of the last few years where we get a big, accessible and intelligent science fiction film that really strikes a cord with the audience, in previous years it’s been Source Code (2011), Inception (2010), Moon (2009), although budgets may vary for all, it was that they all brought big ideas and themes to this resurgent genre.

The film begins quickly and gives our protagonist an obvious goal, to kill his future self and get his life back. But it’s when Looper changes from what everyone is expecting that it really kicks into high gear. As we are given Old Joe’s full story and reason for coming back as well as what he plans to do. Whether you can see a justification for what he does is a very individual thing. But by giving us conflicting protagonists, the film asks us to choose what it is the more valuable to us ,as well as why we are supporting this character over the other.

3. Zero Dark Thirty

If you can get past the endless controversy that surrounds this film, you are in for a tense and morally ambiguous film. We all know it ends generally, but here it’s about the characters who spent near enough a decade searching for one man. Bigelow and Boal do an amazing job of holding your attention as these operatives discuss names, places and histories at such speed that it would be quite easy for the audience to get lost. But because of their own skill and that of the actors, not once did I feel lost or behind on what was happening.

Chastain’s central character of Maya is one of the most interesting protagonists in last five years. We watch her evolve from being somewhat timid at the start of the film during her first interrogation, to a borderline obsessive by the time of the raid on Abbottabad.

Now, does the film justify Torture or the various methods that have been used by intelligence agencies? Not at all in my opinion, as one crucial piece of evidence is found without the use of torture. The big controversy comes from the fact that film states that torture took place in the first place. Given the people that it’s likely screenwriter Mark Boal spoke to, it’s seem fair to say that it did happen, maybe not like this, but that it certainly did happen. That accusation for some is more serious than the methods used.

2. Once Upon A Time In Anatolia

This may be a bit of cheat due to the date of release, but as it was released in 2012, it qualifies for this list. Nuri Blige Ceylan’s beautiful Turkish crime film is as mesmeric as it is visually stunning. Taking place in the Turkish countryside mostly, as a group of officials go out with a killer to find the body of the man he murdered.

As straight forward as the basic plot sounds, it is more about the men who have come out to search for the body, as the killer struggles to remember where the body is and they spend more time out in hills, they begin to talk about the histories and what made the into the men they are.

As mentioned before, the greatest part of the film are it’s visuals. We are often treated these elegantly framed and photographed long shots of the countryside as the cars move along the winding roads. As it has been mentioned before by various critics, these shots resemble moving paintings (for all the clumsiness of that expression) which reminds me of Stanley Kubrick’s Barry Lyndon.

This is personally complex, choosing it’s characters over its plot as its main focus and apart from a kind of twist towards the end, has the films stakes relate to the characters. To everyone else, what is it at stake is just the finding the body and getting back, but for the more senior members of the group, it is about, pride, reputation, the secrets of their past and the cost of telling the truth.

1. The Dark Knight Rises

This choice may not come as a surprise to many, in fact it may have been more of a surprise if it hadn’t made the top spot. Was it as immediately satisfying as The Dark Knight? Maybe not for everyone and it divide some peoples opinion, but that was no doubt down to it being a conclusion and people do hate having stories ended for them.

Like it’s predecessor, Rises aimed big, using contemporary fears and concerns and used them to colour it’s story, commentaries on it’s political leanings were expected, but maybe not as ridiculous as some that emerged. It also pushed it’s scope even further, breaking the narrative up into, two or three different storylines for the majority of it’s middle and asking the viewer to keep up, something that big budget blockbusters don’t, instead preferring to spoon feed audiences their basic plots.

Despite the numerous plots and characters present within the film, this and the rest of the trilogy were all about telling one mans story, Bruce Wayne’s. We saw him return from sacrificing years of his life, to be chased, beaten and driven to his lowest point and rebuild himself, leading to a stirring and tense climax that left me open mouthed for remaining five minutes of the film. We were given the scene between Gordon and Batman that we had waited three films for as well as the most relief and joy inspiring almost shot that any film of this kind has ever delivered.

All in all we were given a more than fitting finale to one of the most well loved and entertaining trilogies of the last few decades, easily standing alongside the sprawling Lord of the Rings. With his next incarnation, I can only hope that they manage to reach these heights once again.

Worlds Finest?

Earlier this week a story broke regarding Warner Bros and their hopes for a Justice League film. Initially, with the throwing out of Will Beall’s script, that the project was dead, how wrong we could be, as El Mayimbe from website Latino Review broke news that the project was still alive, but looked a little different, it was no longer the full Justice League but instead a World’s Finest film (Superman and Batman). The obvious casting of Henry Cavill as Superman had long been accepted in any version of this project, but when the name of who would be picking up the Cowl came out, that was the big news. Christian Bale was returning and if rumours were true, Christopher Nolan and David S Goyer were coming back with him.

By the sounds of it, the cast would feature Bale as Bruce/Batman, Cavill as Clark/Superman and I imagine some sort of composite of the cast from the previous films, plus some new faces. I wouldn’t bet against a certain bald man turning up during this film. Behind the camera is where it sounds the most promising, early indications are that Zack Snyder will take the directors chair, with David Goyer writing the script and Christopher Nolan producing, although with Goyer and Nolan’s track record of working together, I’m sure we will see them both working on the story.

With Bale and Nolan returning and Batman being involved, it seems as though it will be their Bruce Wayne that is returning to the screen , bringing back their version of the character, whose arc was so perfectly tied up at the end of The Dark Knight Rises. Essentially what we are getting here is both a sequel to TDKR and a sequel to Man of Steel.

As The Dark Knight Trilogy was brought to an end and most of it’s storylines concluded, bringing back this world, which admittedly looks similar  (at least in the trailers) to the world ofMan of Steel, means opening up these characters lives once again and following them through some new ordeal.

The main problem is that you have to essentially bring Bruce, as well as Selina, out of retirement in a certain way that doesn’t compromise the end of their story. As for how this could be done, I have no idea and thankfully that responsibility is not on my shoulders.

The other big issue, which the first would ultimately be tied to, is what happened to John Blake after he gets into the cave. Any continuation of this world has to deal with what became of him, as it promised so much possibility as to what kind of person he would become. In World’s Finest, we will need some sort of answer to this question, maybe he has failed, maybe he needs help, or maybe the threat doesn’t affect Gotham City.

Also, the belief that both Bruce and Batman are dead could be a problem, but one that would be fixed relatively easily. Especially considering that it’s easier to bring back Batman, than it is to bring Bruce back in the eyes of the world. We’ve also seen Bruce sneak around the world in each of the three films with and without his vast resources. Bringing back the Batman, would probably only add to his legendary status.

Finally, you would have the fallout from Bruce’s three surrogate fathers (or rather father and two uncles) in Alfred, Gordon and Fox. All of which would have something to say, all would be on different places on the happy and angry scale. In terms of character moments, these possible confrontations increase the potential for Bruce’s arc in this film. Although it could risk retreading some ground covered in The Dark Knight Rises.

As this speculation is all before most of the world has seen Man of Steel, it’s hard to judge what affect Worlds Finest will have on it. The biggest is that it could take the place of a potential sequel, or at least slow down production/release of one. But if the character arcs are carried across into Worlds Finest, then this obstacle may not be as big as we think it is. for example, Iron Man 3 seems to be attempting this, but in reverse, with the events of The Avengers affecting it’s story/characters in some way.

Most of the arguments against doing this come down to either personal preference in not wanting DC and WB to cram all their characters into film, or not wanting to damage The Dark Knight Trilogy. Both of which are valid concerns, THE trilogy was ended so that this world and it’s characters wouldn’t be run into ground like it was in the previous incarnation with no development on your main characters and a revolving door of villains.

Others would say that some characters are best kept away from the more fantastical characters, such as Batman and pretty much the rest of the Justice League. As it doesn’t suit Batman to have him meeting with these guys or interacting with them, he is at his most successful in a relatively realistic world, where he and his villains stand out all the more. There could be a risk of dwarfing or undermining his ability when you so closely put him next to Superman and eventually Wonder Woman, Flash, etc.

How do you pick a villain that caters to both characters and this new world, without going for the uninspired idea of simply picking a villain from each characters rogues gallery and putting them together. Yes (insert comma) there are ways it could work, but it would require more original thinking than going for each characters biggest or most prominent villain.

For the fans we get to spend more time with characters we have come to love and care for, this applies mainly to the Batman side of things. Anyone who doesn’t want more of Bale’s Bruce, Caine’s Alfred, Gordon, Selina, Fox or Blake are kidding themselves and at the moment it is the most exciting part of this project. Getting to spend more time with these characters. Given the cast of Man of Steel, I’m sure it will be exactly the same for those characters, but on a bigger more expansive canvas.

The biggest is obviously that we get to see Batman and Superman on screen together for the first time and see them clash, maybe not physically, but definitely in terms of their ideals and methods. Who is the scarier for a criminal, a god who by merely being there frightens you into submission? Or a man who is going to stop you, by any means necessary and undoubtedly painfully?

A film could almost be made without a villain, as their differences and similarities are so noticeable. As with all fictional characters, they have certain key relationships with other characters in their world (Batman has Alfred, Gordon, Joker. Superman has Lois, Jimmy, Lex Luthor), but in this case, their relationship with each other is so strong and important that it is more of the most vital

The Dark Knight Rises

Spoilers for this film as well as Batman Begins and The Dark Knight could crop up, so be warned.

The first time I saw it, I got pretty choked up, but managed to hold it back, the second time I saw it was close and I could feel the tears coming but somehow they were kept back. The third time, if there is (there most likely will be) I can either see myself not being as affected or quietly weeping in the darkness, no doubt worrying the person next to me. This may sound like an exaggeration for a “comic book” film, but when you are as invested in the main characters, ones that you have spent three films following, then this kind of reaction to the last ten minutes of the film is understandable, at least to me.

Once again spoilers will follow. Also for those who haven’t seen the previous two films in the series (Batman Begins and The Dark Knight), they are essential viewing as a number of plot points, etc, are dependent on what occurred these two films.

The basic plot of The Dark Knight Rises picks up eight years after the lie, Batman has been gone for that time and Bruce Wayne has spent the last three years holed up in Wayne Manor, ala Howard Hughes. Gotham has eradicated organized crime as a result of the ‘Dent Act’, but the two men responsible for the city’s peace, Gordon and Wayne are straining under the pressure of what it cost them. Unknown to both of them, a revolutionary army led by the terrifying Bane is heading to Gotham, ready take advantage of a out of shape police force and an arrogant city.

As with these previous two films, The Dark Knight Rises would be nowhere without the central performance of Christian Bale’s Bruce Wayne/Batman, one of the key aspects that has set this series apart. In what is being considered his best performance of the trilogy Bale takes the character of Bruce, who has always been the primary focus of the films, from his lowest point (twice), through numerous emotional revelations and weighty scenes, back up to his highest, giving us an arc in this film that parallels the combined one he goes through in the previous two films. Physically, Bale brings more to the character, as it is needed for the story, than we have seen before, especially early on as Bruce is still nursing what I assume is the affects of the events at the event of The Dark Knight. To be fair, so would you after that ordeal. Supporting himself with a cane and putting on a show for the world, despite barely leaving Wayne Manor where he has painted himself as the recluse.

Similar to the other performances he has given, some of his best moments are silent moments where he conveys the pain and loss that has dictated his whole life through his eyes and facial expressions, never over or underplayed, it is a performance that perfectly portrays both sides of the Bruce Wayne character. Will he receive the Academy nomination that some people have touted him for? It’s unlikely because of the film he is in and the way there are perceived, but this is a character that I personally have been pulled into and have invested in, both in terms of time and emotions, because of Bale’s three performances.

Visuals

Following in the footsteps of Heath Ledgers Joker was never going to be an easy task. Even picking a character from the rogues gallery who can match The Joker on a pure idea/concept level is difficult enough, without having to find an actor who can give a performance that was as engrossing as Ledger. Luckily Nolan and Goyer chose a character that couldn’t be more different from the Joker, in Bane. A massive physical presence, who is more than capable of matching Batman in a fistfight. Portrayed as somewhere between a modern revolutionary and a cult leader. Hardy brings a completely new take on the character to anything we have seen in any version of the character we have seen. Gone is the luchador mask and venom (a drug in the comics that cause Bane to physically increase in size and strength) replaced by terrifying mechanical mask that administers a pain medication constantly. Equally charismatic and frightening, Hardy shows the character as a man capable of convincing people to devote themselves totally to him, willing to give their lives in an instant at one of his commands, then switching to a cold killer who will go through anybody who stands in his way. He certainly isn’t as fun as the Joker to watch, but he isn’t supposed to, you are supposed to be scared of this character, to hate him, yet at certain times be enthralled by his personality. His is one thing that seems to have gained some sort of negativity. At times it can be difficult to hear, but this seems to be as much about the films sound mix as the cinema (I have seen it in two different cinema’s, one got it right and I could hear everything, the other didn’t and some lines were muffled), his accent is interesting, no doubt a mix of the mask and the characters history and the places he has been to. But ultimately the voice and how you feel about it and hear it, is a very subjective like or dislike.

She is never referred to as Catwoman, just Selina Kyle, but you would have been living in a cage to not know that this is Catwoman. One of Batman’s most important and long running characters, it was great to see her brought to life in an accurate portrayal, no dead cat zombie lady in this one. Many didn’t feel that great when Anne Hathaway was announced. How stupid they must feel, or at least should feel now. Like her character in the film, she does steal scenes in this; one bar sequence is so perfectly Selina Kyle that it blows any would be complainers away, not to forget her entertaining introduction at Wayne Manor with Bruce and Alfred. Like both Bale and Hardy, Hathaway brings a great physicality to the role, more than capable of holding her own against a few thugs, she also uses her body to convey her different personalities whenever she doesn’t say anything, once again, her first two scenes demonstrate this perfectly. Finally, yes she does look like Catwoman and Selina Kyle and there are “ears” as part of the cat suit.

Following in the footsteps of the previous two films, The Dark Knight Rises moves at quite a pace once it gets going, which results in them being able to get a lot of story into the films mammoth running length of 164 minutes, most of which would be hard to cut down or eliminate. As a result for the most part the story is engaging and considerably tight, this is probably the most loose and free flowing of the trilogy, the end game is set up relatively early on and obstacles put in front of the protagonists. There is one factual error involving the kind of stocks/options purchased by one character at a point in the story, which during the film doesn’t take you out of the moment due to what comes before and after it, but after the credits roll it does stick out at you. But the fact that they have tried to incorporate something like this in a “comic book” film should be praised, even if it is a little off and if this is the only issue I can really find in the film that I can say that I am completely happy with that.

Talking about the plot and building on saying that it is the most free of the trilogy is meant to be taken positively, as it allows them ask questions and introduce ideas into the narrative, much in the same way as The Dark Knight and Inception, allowing each audience member to takeaway different things from the film and being allowed to leave with their own answers, conclusion and meaning from the story and characters.

As with Bale, Gary Oldman’s Jim Gordon is one of the cornerstones’ of this series, his role is slightly diminished compared to the one in The Dark Knight, but not by a large amount, once again he proves to be one of Gotham’s heroes. Here, Oldman plays Gordon as man who has paid the price for the lie that he and Batman built together to save Gotham, now eight years on, without his family with a desire to resign and admit the truth to everyone. As with the previous two films, Oldman brings the character in a complete way, giving us a man who you can see is physically crumbling and who can’t stand what the people of Gotham think of his “friend” as he puts it. It’s hard to give more detailed praise of the performance of the character other than it is completely believable and that when you see him on screen it, is Jim Gordon you see, not Gary Oldman.

John Blake, what a mystery he was prior to the film, having probably even more speculation about his character and who he really was. Who he becomes is something that I won’t completely talk about; I will save it for another blog. When Gordon-Levitt was first announced, the way his character was announced made it seem like he would have a secondary role in the film, acting as Gordon’s assistant. But as the film plays out, we see his character grow in stature, especially after things in Gotham go wrong, Blake establishes himself as a vital figure not just to the resistance, but also to everyone in the city. In a role that could have been played awkwardly and arrogantly by a lesser actor and honestly after seeing Gordon-Levitt play the role, I cannot imagine anyone else in the part, one scene early on with Bruce Wayne, featuring a monologue of his, could have come across as more of a plot point than a genuine character moment that starts his and Bruce’s relationship and shows to us just what this police office is capable of. Some people may guess where his character arc will end, even without any knowledge of the Batman mythology. Without doing it, Nolan gave us his interpretation of a critical character to Batman, the only thing I would have changed is his name, but I will say no more.

One of the main issues some people seem to have with The Dark Knight Rises is the sound, certain lines of dialogue seem to drowned out at time by the score, but it seems to vary from cinema to cinema and how their sound system is set up. There were a few moments in The Dark Knight that this issue, but were subjective to the cinema, yet they were resolved for the DVD release. My biggest piece of advice would just be to give the film your complete attention and you should have no problem.

To sum up then, is The Dark Knight Rises as good as it’s predecessors? Especially The Dark Knight, well that depends on your own personally preferences and how much you are willing to invest in the film and its characters emotionally. It may not be as fun as The Dark Knight or as a tight as Batman Begins, it is more sprawling and asks bigger questions and with any ending, it will draw more attention and opinions good or bad, as is the problem when someone brings a conclusion to a character who has never had his story end before. I for one enjoyed it immensely; it is a great ending to Bruce Wayne’s story and Nolan’s trilogy. Go and see it, ideally watch all three films close together to really get the whole story, then make up your own minds, just don’t go in hoping for your ending, theirs’ is most likely better.