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The official Dark Knight Review Thread (pg. 16)
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| vonbremen |
just saw it. heath was awesome.
dialogue and context = A+
no excessive blood but genuine top-notch gripping action (and i just over used three adjectives right there).
there's a very important message in this movie that concentrates on the roots of good and evil. the fine line between justice, ambition, power and the desire to gain notoriety - Are moral values unbreakable? How thinly are the lines of .benevolence and malice drawn inside our sub-conscious*? Different levels of understanding |
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| vonbremen |
i can't get this movie out of my head - i never expected this. i don't think half of the audience understood the real purpose of the film. ;)
Anyways, I guess you'll find this a good read...
http://movies.nytimes.com/2008/07/1...8knig.html?8dpc
| quote: | Dark as night and nearly as long, Christopher Nolan’s new Batman movie feels like a beginning and something of an end. Pitched at the divide between art and industry, poetry and entertainment, it goes darker and deeper than any Hollywood movie of its comic-book kind — including “Batman Begins,” Mr. Nolan’s 2005 pleasurably moody resurrection of the series — largely by embracing an ambivalence that at first glance might be mistaken for pessimism. But no work filled with such thrilling moments of pure cinema can be rightly branded pessimistic, even a postheroic superhero movie like “The Dark Knight.”
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I could go on and explain how some of the themes surrounding the movie might have upset a certain number of people, but I'd be wasting my time. This was, in my opinion, a snapshot of how imperialism crumbles and how heroes are now, more than ever, a lost cause for hope. |
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| SuspicionVandit |
I tried showing someone the pencil magic trick from the movie, but they weren't taking the bait
:whip: |
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| Sushipunk |
| quote: | Originally posted by SuspicionVandit
I tried showing someone the pencil magic trick from the movie, but they weren't taking the bait
:whip: |
:stongue: :stongue: |
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| LeopoldStotch |
:crazy:
just wow. another well put movie. as for heath ledger, i believe now what everyone says about him. this guy really blew my socks off. |
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| chach |
| Christian Bale > Heath Ledgers ghost ass |
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| iammesol |
| Best movie I've seen in years. |
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| Spike |
lol pkc if you're going to steal insults from somebody...next time to do it from someone less popular than maddox...nice try but better luck next time.
Annnnnd the movie was amazing. BLEW away the batman Begins. Going to see it again soon, just so many things done right in this film |
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| LeopoldStotch |
i agree. there were very knit picky flaws i can point out here and there, but nothing too obvious. overall, this film is a very good movie.
btw, i believe at the end of next year, we are going to be sick and tired of christian bale. we are talking about 3, possibly 4, new movies coming out after this movie, including 2 potential "summer" blockbusters (john conner in "terminator" and robin hood in "nottingham"). i guess he's hollywood's golden ticket right now.
also, i am happy the nolans are going to step back and take a break to allow themselves to ensemble a quality 3rd part.
p.s.s. - to people who watched to film, everytime when christian bale was at parties in his smooth suit with hotties in both arms, did everyone think he would whip out a patrick bateman line? :wtf: say he's in "mergers and aquisitions"? how huey lewis and the news became big when "sports" came out? how phil collins was better after genesis? |
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| LeopoldStotch |
story here
| quote: |
Somewhere in a parallel universe there is an alternate reality in which The Fountain was never made and Rachel Weisz got the Dark Knight gig
July 11, 2008 3:15 PM
Nolan and Aronofsky
Christopher Nolan (left) and Darren Aronofsky. Photograph: Lindsay Parnaby/Nicolas Guerin/PA/Corbis
The release date of Christopher Nolan's hysterically awaited Batman sequel, The Dark Knight, draws ever nearer, with some reports suggesting that midnight preview screenings are already sold out.
Like its predecessor, Batman Begins, early indications are that it's going to be a film as beloved by the critics as audiences; at the time of writing it had acquired an impressive 100% approval rate on the critics' review synthesis Rotten Tomatoes. The untimely death of Heath Ledger has only fuelled the publicity machine. One person likely to be watching all the attendant fuss with a mixture of regret and bitterness is Darren Aronofsky.
The film-maker came to public attention in 1998 with his no-budget mathematical thriller Pi - a film offbeat enough to ensure his next project, an adaptation of Hubert Selby Jr's apparently unfilmable Requiem For A Dream, was made in 2000 with name actors (Jared Leto, Jennifer Connelly and an Oscar-nominated Ellen Burstyn) and, despite its NC-17 rating, garnered a great deal of critical praise. Aronofsky was seen as a visionary genius, and he was offered a Hollywood rite of passage, the chance to direct a Batman film.
After Joel Schumacher's appalling Batman and Robin appeared to have destroyed Warner Bros' franchise forever, they were reduced to desperate measures, either resurrecting their other great comic book hero Superman for a mano-a-mano with the Caped Crusader, or alternatively pursuing a darker, more adult path, inspired by Frank Miller's gritty and violent Batman: Year One, a take that, amongst other things, jettisoned Bruce Wayne's wealth and sophistication and made him into a psychotic vigilante, with Alfred an elderly mechanic and the Batmobile a souped-up Cadillac. Aronofsky was hired to direct an adaptation of the latter, promising that it would be true to the dark spirit of Miller's work. Christian Bale, fresh from the success of American Psycho, was rumoured to star.
Somewhere along the line, Warner Bros panicked. It isn't hard to see why; not only was Aronofsky far from a proven director, but his jet-black treatment of one of their most commercial properties stood every chance of turning off the mainstream audiences that they craved. Thus, the project went on the back burner, and Aronofsky moved onto what would become his grand folly, The Fountain. Spanning hundreds of years, with little coherence or comprehensibility, it was a substantial commercial and critical flop, despite attracting a hardcore cult following.
Meanwhile, the studio's decision to turn the franchise over to Christopher Nolan proved an inspired one. Like Aronofsky, he's a writer-director whose projects all bear a highly personal stamp (even Insomnia, his only film to date without a writing credit for him), and, again like Aronofsky, his debut work had been a no-budget black and white thriller, Following, that acted as a calling card for greater things. Now on his sixth film, Nolan has established himself as that rare thing, a director who makes commercially successful films that are also critically popular. It's too early to call him a true auteur, but his fascination with themes of doubling and trickery, often told through elliptical editing, look back to such greats as Nicolas Roeg and John Boorman. If The Dark Knight is the massive success that it's widely expected to be, he will have cemented his position at the very top of the Hollywood A-list.
And as for Aronofsky? It has recently been rumoured that he's been in talks to direct another reinvention film, this time that of Robocop, which might seem redundant given the brilliance and continued social relevance of Paul Verhoeven's original. Let's hope, for the sake of a man who's clearly as talented as he is, that if he does take on the project, he does something as original and daring with it as Nolan did with Batman Begins; otherwise, one of the most exciting young film-makers around runs the risk of becoming just another Hollywood hack.
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| IpLaYWiTLiGhTs |
THIS MOVIE WAS BOOOOOOOOOOOOOOOOOMB.
even with the fact that I was in the front row, ffs. went home with the worst migrane of my life.
BUT THE MOVIE WAS BOOOOOOOOOOOOOOMB. |
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| nchs09 |
| movie was bomb.... it was a bit long eh |
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