Tag Archives: Detective

Cinema, New Releases, Reviews

CINEMA REVIEW: THE BATMAN (2022)

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CINEMA REVIEW: THE BATMAN (2022)

Directed by: Matt Reeves

Written by: Matt Reeves, Peter Craig

Based on: Characters from DC

Produced by: Dylan Clark, Matt Reeves

Cast: Robert Pattinson, Zoë Kravitz, Paul Dano, Jeffrey Wright, John Turturro, Peter Sarsgaard, Andy Serkis, Colin Farrell, etc.

Cinematography: Greig Fraser

*** MAY CONTAIN SPOILERS ***

Three hours of darkness, shadows, fireworks, distorted sound and vision, dull emo-bluster, explosions, fist-to-fist combat, choppy chases, limp dialogue, sparse suspense, blaring sirens, mumbling delivery and humdrum sexual chemistry combine to an incredibly stylish yet boring experience. It may be the biggest box office hit of the year, but The Batman (2022) was interminable filmic disappointment for me. Bruce Wayne/The Batman is a miserable cipher here for the action on show. He is also arguably one of the worst detectives I have witnessed on the screen. Yet, be aware it is NOT the filmmaker’s fault. It is mine. I am a bad cinemagoer.

I am as jaded, and world weary as Robert Pattinson’s noir gumshoe in a costume on screen. Except I have earned it. I have lived through dead-end jobs, despair and disappointment. This film starts by asking us to follow Bruce Wayne’s Caped Crusader into the mean streets of Gotham to battle nefarious gangsters and a crazed, riddle-driven terrorist. But why do we care about him? Christopher Nolan and Christian Bale breathed vibrancy and commitment into the DC comic hero. His trilogy, though not faultless, made us root for the rich kid scared of flying rats. Going on a journey of discovery and finding himself an identity in the process, Bale’s Batman was a three-dimensional hero. Matt Reeves eschews all that with The Batman (2022), presenting familiar characters searching for some semblance of plot and characterisation in the dark.

The story is a breadcrumb plot as Pattinson’s suited vermin plods through scene after scene trying to work out who is killing the corrupt officials of Gotham City. There are fireworks and expertly designed action sequences although many of them are difficult to see amidst the cinematographic murk. Moreover, there isn’t really any empathetic characters here. I love a good cinematic anti-hero, but that requires personality and energy. This Batman has neither of those. Although the screen work of Jeffrey Wright, Paul Dano, John Turturro, Colin Farrell, Andy Serkis and Zoe Kravitz does breathe light and heat into the dull script. Farrell is The Penguin but essentially an Al Capone substitute. His excellent caricature gets buried and almost lost in obsidian and prosthetics.

But as I say, I am to blame. I am a bad superhero cinema person. I am saturated and fatigued by comic book film adaptations and TV shows from Marvel to DC to Vertigo and Image and Icon (yes I know this is Marvel too). I mean the best I can say is The Batman (2022) blasts away the rot that Affleck and Snyder implanted into the Batman franchise. Although that isn’t saying much. Because an obscene $200 million dollars was spent on this hollow vision of a wealthy emo-brat in a dark suit kicking the crap out of shadows. But remember this is my fault. I am old. I am cynical. I applaud Matt Reeves and his talented production team for delivering an impressive visual feast. It’s just a shame that in the bloated running time (15 minutes of that being end credits), they didn’t write any characters worth spending three hours with.

Mark: 7 out of 11

horror, Reviews, Shudder

SHUDDER HORROR CLASSIC REVIEW – THE CHANGELING (1980)

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SHUDDER HORROR CLASSIC REVIEW – THE CHANGELING (1980)

Directed by: Peter Medak

Produced by: Joel B. Michaels, Garth H. Drabinsky

Screenplay by: William Gray, Diana Maddox

Story by: Russell Hunter

Cast: George C. Scott, Trish Van Devere, Melvyn Douglas, John Colicos, Jean Marsh, Helen Burns, Madeleine Sherwood,

Cinematography: John Coquillon

***MAY CONTAIN SPOILERS***

If, teenagers being stalked and slashed by a crazed non-speaking maniac are your preference, then you probably would not enjoy the classic ghost story, The Changeling (1980). However, if you are rivetted and chilled by expertly crafted cinematic horror, built on a compelling screenplay, excellent performances and fine cinematography, then this is a film for you.

Not to be confused with the kidnapping thriller, Changeling (2008). The Changeling (1980) feels like one of those older films which created the mould for many other contemporary ghost narratives. A few examples include: The Woman in Black (2012), Candyman (1992), the Ring series and more recently, Hereditary (2018). Such films often feature genre tropes like:

  1. Grieving or vulnerable lead protagonist(s).
  2. A vengeful ghost or spirits who were murdered or done wrong when alive.
  3. A creepy house or location which holds a dark secret and becomes a character in it’s own right.
  4. A detective plot structure which finds said protagonist attempting to solve the mystery of the ghost’s past.
  5. Lots of creepy supernatural comings and goings that ultimately lead to the ghost’s redemption or a successfully chilling retribution.

Of course, the model for such conventions lay in the pages of classic literary ghost stories, however, having not seen The Changeling (1980) for over thirty-years, I felt like I was watching a masterpiece of the supernatural film genre. It doesn’t hurt having Oscar winning actor, George C. Scott, subtly playing the lead as grieving John Russell, a musical professor trying to come to terms with the death of his wife and child. Moreover, the mature approach to pacing and direction by Peter Medak slowly builds the terror to a real crescendo. The horror within the plot, involving a murdered child, is ably imbued by the compelling score, elegant editing and John Coquillon’s exquisite camera movement and lighting composition. Ultimately, I enjoy a good slasher film, but give me a classy supernatural tale such as The Changeling (1980) any night of the week.

Mark: 9 out of 11

Reviews, Television

TRUE DETECTIVE (2019) – SEASON 3 – HBO TV REVIEW

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TRUE DETECTIVE (2019) – SEASON 3 – HBO TV REVIEW

Created by: Nic Pizzolatto

Writers: Nic Pizzolatto, David Milch, Graham Gordy

Directors: Jeremy Saulnier, Daniel Sackheim, Nic Pizzolatto

Starring: Mahershala Ali, Carmen Egogo, Stephen Dorff, Scoot McNairy, Ray Fisher etc.

No. of episodes: 8

**MAY CONTAIN SPOILERS**

Time is an unforgiving concept. It marches on and absolutely never stops until we are dust. While young we believe we have more time, but deep down we can see our own death. That fear will either drive us forward positively or send us insane. Old age is perhaps the bitterest turn in time we must suffer. If we live long enough to collect a litany of fine memories, the mind disintegrates them, cruelly disallowing us from recalling such happy moments. There is also regret. If you have a conscience you are likely to suffer regret. Regret of what you have done wrong, not done right and been simply incapable of doing. Lastly, it is said time and tide wait for no man or woman. But it is waiting; waiting for us to die.

Existential police procedural drama, True Detective, is back for a third season and very good it is too. Starring Mahershala Ali and Stephen Dorff as the, as usual, mismatched cops; it concerns the hunt for two missing children in the Ozarks, Arkansas. Further, the supporting cast include the impressive Carmen Egogo and always compelling Scoot McNairy. Set over eight compelling episodes we criss-cross three separate timelines that centre on the said case. Events unfold circa 1980 (when the crime occurred); circa 1990 (when the investigation is re-opened); and the present with the characters aged and withering from time’s unrelenting march. The complex structure really enhances the genre plot as the intriguing timelines over-lap and bleed into one another, thickening the mystery and heightening suspense.

While the criminal case is central to the conventions of the genre, writer Nic Pizzolatto is as much interested in the character development and themes pertaining to: love, time, regret, guilt, aging, memory and death. The character of lead detective, Wayne Hays (Ali) is fascinating. A former U.S. soldier who served in Vietnam, he is a complex soul striving for meaning and trying to do the righteous thing. Consistently, however, he finds his race and social standing a barrier to solving the crime. Through his trio of timelines we feel his sense of loss, love, isolation, anger, happiness and confusion. The confusion especially worsens when his older self is hit by Alzheimer’s. Indeed, it is incredibly heartfelt while he attempts to piece together events from memories past including: the crimes, his actions, violent events, and the romantic moments he had with his wife (Egogo.)

Once again, Mahershala Ali proves he is pound-for-pound one of the best actors around. He gives an incredibly nuanced and intelligent performance as Hays. To inhabit the same character in three different guises takes a particular skillset and the subtle differences in performance are a joy to behold. He is assisted by uniformly excellent direction and production design. Indeed, some of the editing is sublime as the images switch between the young Hays and older Hays brilliantly; dissolves, reflections and over-lapping montage effects used imaginatively throughout. Lastly, it’s was also great to see Stephen Dorff too in a prominent role as Hays’ no-nonsense partner, Roland West. Dorff provides ebullient support during the investigation and their friendship is a mainstay of the show.

After the scintillating first season which had Matthew McConaughey and Woody Harrelson burning the plasma off the TV screen with their intense performances, the unfocussed second season contained star acting power but a confused narrative. However, Season 3 is a fine return to form and if you love your cop shows: dark, existential, meditative, violent and intelligent, then this is definitely worth your time.