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By Gordon! Is Commissioner Gordon the Central Character of Nolan’s Batman?

We have to save Dent! I… have to save Dent!

– Commissioner Gordon, at the climax of The Dark Knight

It was Joss Whedon himself – the man now helming The Avengers – who once argued that the problem in bringing DC adaptations to the screen was that the traditional line-up was somewhat difficult for the audience to relate to and engage with (as compared to identifying with the X-Men’s status as social outcasts or Peter Parker’s nerdy little troubles):

Because, with that one big exception (Batman), DC’s heroes are from a different era. They’re from the era when they were creating gods.

And the thing that made [rival publisher] Marvel Comics extraordinary was that they created people. Their characters didn’t living in mythical cities, they lived in New York. They absolutely were a part of the world. Peter Parker’s character (Spider-Man) was a tortured adolescent.

DC’s characters, like Wonder Woman and Superman and Green Lantern, were all very much removed from humanity. Batman was the only character they had who was so rooted in pain, that had that same gift that the Marvel characters had, which was that gift of humanity that we can relate to.

Of course, he cites Batman as the excpetion, but you can’t help but wonder just how easy it is to relate a billionaire playboy who is focused on avenging the loss of his parents to the exclusion of all else. The wonderful thing that Christopher Nolan has done with the Batman mythos is to render it so wonderfully accessible. And perhaps he’s done that by making James Gordon, as wonderfully played by Gary Oldman, the centre of his saga.

Gordon lights up the movie...

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Non-Review Review: Happy Gilmore

I’m not a guy who likes Adam Sandler – except maybe in The Wedding Singer or something. Still, it seems that the most unlikely people are inevitably fated to have a soft spot for a particular Sandler comedy, even if it doesn’t quite deserve it – my better half’s father, for example, has an inexplicable affection for Little Nicky. I, however, have a completely illogical affection for Happy Gilmore – despite the fact that I make note of its many flaws even as I watch it. It’s a movie I can’t quite justify my affection for, which perhaps makes it even more oddly endearing.

Taking a swing at it...

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Sticking it to the Fan: George Lucas and Fan/Hatedom

By all accounts, George Lucas should be one of the most beloved people on the planet. Ignoring the fact that he was the forefather of one of the most iconic trilogies of all time (Star Wars), he has managed to expand the boundaries of what is possible with special effects (down to companies like Industrial Light & Magic and Skywalker Sound) and even in video games (many of the earliest videogames on flopdisk came from LucasArts). Beyond that he’s also the man perhaps most responsible for Indiana Jones and one of the most influential film makers of all time. And yet his name evokes a huge amount of discord when it’s spoken. Just why is that?

Lucas has un-Fett-ered control of the franchise...

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Non-Review Review: Red Dragon

I have a confession to make: I don’t much care for Manhunter. I know I love the work of Michael Mann, but the film just left me cold. Maybe it’s Brian Cox’s stale performance as Hannibal, or the final action sequence choreographed to Inna Gadda Vida, but I don’t react well to the film. I loved the original book – I’d argue that Harris’ Red Dragon surpasses even The Silence of the Lambs as the greatest forensic thriller ever written – and, I have to confess, I certainly quite enjoyed Red Dragon.

Guess whose back...

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Wet Blogathon: I Wish It Would Rain Down…

This is part of the rather wonderful “Wet Blogathon” put together by Andrew over at Encore’s World of Film and Television, asking bloggers to pick their favourite scenes in the rain. It’s a great little idead and I was delighted to be invited to take part.

Though your hurt is gone, mine’s hanging on, inside
And I know, it’s eating me through every night and day
I’m just waiting on your sign –

‘Cos I know, I know, I never meant to cause you no pain
And I realize I let you down
But I know in my heart of hearts
I know I’m never gonna hold you again

Now I… Now I know, I wish it would rain down, down on me
Ohh I wish it would rain, rain down on me now
Ohh I wish it would rain down, down on me
Yes I wish it would rain down, rain down over me.

– Phil Collins, I Wish It Would Rain Down

Yes, I was quite fond of that in my young almost-emo teen-in-love days – you know the kind, when one little attraction meant the entire world. I’ve kinda gotten over it. Still, there is something inherently powerful about the imagery of rain – water pouring down from the skies. It can represent – as it does in that infamous scene from The Shawshank Redemption – a divine shower, washing the character clean of their sins, evoking imagery of baptism and rebirth. Or it can be heavenly tears – as in Se7en, for example – reflecting the tragedy of a broken world where all you can do is cry. The always wonderful Andrew over at Encore’s World of Film and Television invited me to contribute to a blogathon he’s hosting celebrating the most powerful rain imagery in film – and there’s quite a bit to choose from. There are a rake of moody and gothic applications of rain – a wide variety and more than a few outside choices to be made. However, I am going to betray my inherent sappiness by picking Chasing Amy, which offered an inherently straight-forward and almost cliché application of the heavy rain as a metaphor for turbulant emotion, but did it with such heart that even cynical old me could not resist.

The raining champion...

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Non-Review Review: The Expendables

Nostalgia is a double-edged sword. When it was mentioned that Sly Stallone would be putting together a dream team of action movie stand-bys – Jason Statham, Jet Li, Mickey Rourke, Eric Roberts, Bruce Willis, Arnold Schwarzenegger and Dolph Lundgren – our minds immediately go to a happy a place. We remember the joys of films like Rambo: First Blood or Die Hard or Total Recall. However, we forget that a great many of the films produced over that iconic era we look back to were also just plain terrible (or, at best, woefully mundane): Red Heat, Cobra, Tango and Cash, among many others. Sadly The Expendables stands more with the latter than the former. Which is a damn shame.

Sly managed a long and arduous shoot...

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Scott Pilgrim Treasure Hunt!

I just thought I’d pass on this sort of competition-y bit of news, because I’m a big fan of viral marketing. Anyway, the wonderful folks over at Universal Pictures Ireland have put together an internet competition – in fact, a “treasure hunt” – for on-line fans of Scott Pilgrim vs. The World (which I wholeheartedly recommend), with the winner receiving a trip to Toronto. Check out their facebook page here.

If the entire movie had a sound effect, it would be "Awesome!"

Incidentally, yes, I originally hoped to be part of this treasure hunt – but it was not to be (difficulties with wordpress). You can still see little snippets dotted around the site which were meant to be part of all this – it’s a shame it didn’t work out. Ah well, maybe next time.

Non-Review Review: Superman II (The Richard Donner Cut)

Superman II has had a somewhat rocky production history. Essentially conceived as the “second half” of the original Superman film, it was all beautifully and carefully mapped out since before the original was released – in fact, Donner had done most of his work on the sequel before the original saw the light of day, and Gene Hackman didn’t even officially work on the second film (his filming blocks overlapped). It was a bold gambit, but one which could have returned an almost infinite reward. Instead, the producers of the film – the Salkinds – would fire director Richard Donner before he could finish his work and hire Richard Lester to come in a film some replacement footage. Perhaps the most telling thing about Lester is that, on viewing Donner’s epic take on the Man of Steel, the replacement dismissively stated that he wanted to stay away from “the whole David Lean thing”. Because the last thing he’s want to do is make a good movie. However, Donner would eventually get an opportunity to tell his version of the story – or as close to it as possible. Although there’s only so much editting can do, Superman II: The Richard Donner Cut makes almost as solid a case for its director’s vision as Superman III and Superman IV do for his successor’s lack of same.

Let's put this to bed...

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Lee Lucas Film: The Background Posters from Scott Pilgrim

I love little pieces of movie marketing magic – particularly those which offer little easter eggs of films coming out. It’s nice to have some hype material which manages to avoid spoiling the film, but also adds a little texture to the fictional universe. And so, from the minds behind Scott Pilgrim vs. The World, we have the fictional filmography of Lee Lucas, the second “evil ex” that Scoot must vanquish. Played brilliantly by Chris Evans in a performance that would make William Shatner blush (really, like Brandon Routh, he’s clearly having the time of his life), he’s a “sell out” – a skater turned movie star. And here are some of his hits – as presented by the guys at Empire. My favourite, and a movie which needs to be made now? Doctor Action.

“The good news is… you’re going to live.

The bad news is he is going to kill you.”

Click to enlarge.

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Non-Review Review: Scott Pilgrim vs. The World

If it weren’t for Inception, Scott Pilgrim vs. The World would be the most visually impressive film of year. Maybe it still is. This tale of adolescent irrelevence might have a bit of difficulty finding an audience, but it certainly deserves one – it’s a pure kaleidoscopic sugar rush of youthful exuberence and energy, all focused through a simple but effective emotional narrative. Indeed, perhaps its closest companion is (500) Days of Summer, the breakout romantic comedy of last year – except this time the emotional complexity is dialed down and the visual flair way up. And neither of those are bad things. In fact, as part of Edgar Wright’s latest film, they are actually quite genius.

Scott packs quite a (cup of) punch...

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