After Christopher Nolan’s fabulous trilogy of Batman Begins, The Dark Knight, and The Dark Knight Rises, I was sure we wouldn’t see The Caped Crusader in a standalone film for a long time. Nolan’s series was pure perfection. Whichever director attempted to bring, arguably, the most storied superhero in comic book history was already behind the eight-ball before a script was even imagined. With its 29% Rotten Tomatoes score, 2016’s Batman V Superman: Dawn of Justice was far from what we all hoped it would be. 2017’s Justice League (39%, 68%) didn’t help much. However, However, Zach Snyder’s 2001 director’s cut, while chalking in at over four hours, faired much better (71%, 94%). Matt Reeves’s (Dawn of the Planet of the Apes, Cloverfield) The Batman is a darker, more mysterious take and is the perfect movie to bring the iconic superhero back to the big screen in his own story.
Category Archives: Mystery
Smile (2022)
If watching the trailer for first-time feature director Parker Finn’s Smile evokes memories of a particularly disturbing videotape from an, at the time, unknown movie that had the casual horror filmgoing fan cowering their eyes behind their hands for the better part of two hours, it’s because it’s supposed to. I’m referring to, of course, the 2002 classic The Ring, and the comparison I’m making is the phone call the watcher receives after watching the videotape that tells them they have seven days to live. Likewise, the trailer for Smile informs us that when the viewer sees “it” (what “it” is, we are uncertain), they will soon die. While there are both similarities and differences between the two films, what is certain is that The Ring generated $129 million domestically at the box office, which Finn would gladly like to duplicate.
Don’t Worry Darling (2022)
Don’t Worry Darling, Olivia Wilde’s (Booksmart) may have been the most talked about movie of the year. While the film garnered much buzz, it was the much-publicized dysfunction between some cast members (most notably Wilde and Florence Pugh) and different versions of why Shia Labeouf exited from his role (he said/she said story from he and Wilde) and how it played out in the reputable news outlets, as well as the tabloids and social media. There was much worry that Wilde’s second directorial effort would be known for the hoopla around the film rather than the film itself. With a production budget of $35 million (compared to just $6 million for Booksmart), I’m sure Wilde felt considerable pressure for her film to succeed. Despite its lukewarm ratings among critics, 39% on Rotten Tomatoes, it has resonated with audiences (82%). While not a perfect movie, I was thoroughly engrossed in the setting, the characters, and where the story would lead.
Beast (2022)
What was that 2022-released movie about some terrifying, highly intelligent entity that identified and hunted its targets in a way that was anything but human? It might have been called Prey. Wait, maybe it was called Beast. Correct. Both movies (each with an equally unmemorable name) revolved loosely around the same premise. The studios of each movie didn’t do each other any favors with what they could have done, if anything, with the release date. Each film is worth a watch, though I wonder if a home viewing would translate to the enjoyment of a theater viewing. Each was designed to be seen on the largest screen possible.
Nightmare Alley (2021)
When you win an Academy Award for Best Directing, you can do pretty much anything you want regarding creative control as a director. Guillermo del Toro (Pan’s Labyrinth, Crimson Peak) has elevated himself to the point where his constraints have been lifted. Following his Best Director Academy Award (The Shape of Water), del Toro could have picked whatever project he wanted to do next, and he would have had swarms of A-list actors lined up to work with him. Ironically, with Nightmare Alley, he went about as mainstream as he’s ever gone before. This is not to say this 2021 Best Picture nominee isn’t without its share of the bizarre.