Animal Kingdom

In the opening scene of David Michod’s Australian crime saga, Animal Kingdom, a Melbourne teenager named J (James Frecheville) sits stone-faced and clueless after his mom dies from a drug overdose.  After the police drag the body away, he calls up the only person he knows will come through for him, his previously estranged but all too willing to reconnect grandmother, Janine (Jacki Weaver in a performance that deserves awards’ buzz).  Janine just happens to be the proud and perky lioness ruling a family of small time bank-robbers and drug-dealers.  The eldest, “Pope” (Ben Mendelsohn) is a loose cannon on the cops’ most-wanted list.  J quickly gets caught up in the middle of a mess after the cops take out a family friend resulting in a gangland retaliation, and a detective (Guy Pearce) becomes determined to use the impressionable J against his uncles.

Michod weaves an intermittently compelling tale that is part coming-of-age story and part mob flick spun Down Under.  His framing and mise-en-scene is technically sound but sometimes too self-conscious, and the slow-paced editing makes the film seem longer than it is and hinders some of the drama.  Continue reading

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A Review of Christopher Nolan’s “The Dark Knight”

Terror in the Knight, 22 July 2008
9/10
Author: David H. Schleicher from New Jersey, USA

Director Christopher Nolan has tapped into a cultural zeitgeist with his soaring Dark Knight.  No other director has shown so much ambition while working within the context of such an iconic name brand belonging to popular culture. By building upon the excellent framework he set with Batman Begins and adding in the chaos of the Joker (Heath Ledger, legendary) and the tragedy of Harvey Dent (Aaron Eckhart, admirable), Nolan, like Hitchcock before him, utilizes a B-level genre flick to tap into our shared cultural fears. Along with his co-writer brother, Jonathan Nolan, the director crafts a tightly wound tapestry that explores our archetypal fears of losing our identity and becoming that which we hate, while tuning into post 9/11 fears of terrorism, cowboy diplomacy, wire-tapping, and vigilante justice run amok.

The cast assembled falls right into place with Nolan’s epic and relentlessly dark vision of our current superhero mythology. Michael Caine and Morgan Freeman are again perfect in their supporting roles of wisdom and gadget providers, while Gary Oldman receives a surprising amount of screen time and delivers a sterling Oscar-worthy performance as the tormented Commissioner James Gordon. Replacing the dreadful Katie Holmes, Maggie Gyllenhaal is spry and feisty as assistant DA Rachel Dawes, but still seems out of place in her role. Bale is again brooding and effective as Bruce Wayne, though he gets overshadowed by the sly trickster that is Heath Ledger’s Joker. Ledger is everything he’s been hyped up to be. He’s scary good and his insanely nuanced and subversively humorous performance haunts the film while his character terrorizes Gotham with a feverish intensity that is divinely married to Nolan’s amped up tempo of thrills.

The opening moments of the film fall victim to the typical trappings of a sequel as it tries to reintroduce us to the cast regulars while setting the stage for new conflicts. However, once the Joker starts playing his games, Nolan ratchets up the tension to a nightmarish effect that will leave your pulse pounding for two hours. With each terrorist act of the Joker and ensuing catastrophe, Nolan ups the ante, resulting in a film that is enormously entertaining while also making the obvious bloated runtime seem oppressive and nerve-wracking…almost as if the film is a terrorist attack against the audience…

…and maybe that’s the point. With the opening camera swoop between skyscrapers zeroing in on a single window taken straight from Hitchcock’s opening shot from Psycho, Nolan tells the audience what they are in store for. Two more images, along with Ledger’s ghastly scarred and make-up covered visage, seep into the viewer’s subconscious. The first is after a building is exploded we see an image of firefighters spraying water over the scalding steel left behind that is eerily reminiscent of scenes from Ground Zero. The second is after a hospital is demolished, an image of the building’s carcass on the television seems taken straight from the Oklahoma City Bombing. As we watch the harrowing Joker-less climax involving Batman, Dent, and Gordon, and knowing in the back of our minds what became of Ledger in real life, we realize that terrorism can not only come from without, but from within. Sometimes we are our own worst victims.

Originally Published on the Internet Movie Database:

http://www.imdb.com/title/tt0468569/usercomments-1186

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Check out my review of the original Batman Begins:

http://www.imdb.com/title/tt0372784/usercomments-501