The Dark Knight Rises Review :: Those Dudes Podcast

First, let me address the tragedy in Colorado at the midnight showing.  What happened was serious, but it was also the weak workings of an intelligent, insane man (he was studying neuroscience).  The point I'm trying to make is that one man, out of his mind, made a horror of a choice, but that has nothing to do with the film that was made.  Some people are already trying to make this tragedy synonymous with the film and it can't be that way.  It can't because then that one crazy person wins.

Now, The Dark Knight Rises review. 

Second, the reason you're reading.  You want to know how good the third and final installment of Christopher Nolan's (The Dark Knight, Inception) gritty, realistic Batman franchise was.  Well, to save everyone a lot of time, it was amazing.  This was a film that was considered to be impossible. It had to top The Dark Knight...without Heath Ledger.  All this talk around it has satirized most people's perception of what they're going to get with TDKR.  This isn't the Joker's story; this is Bruce Wayne's tale.  Set eight years after the last film, TDKR plays like a dark stained fairy tale that memorializes the events from the first two and ties them together in a way that provides both the real and fictional world with a solid, full ending.

I'm not going to sugar code this film at all because it is a story of revenge and anger.  This anger of course is the staple complexion of Batman; it fuels him.  What we get from this latest film is a beaten Bruce Wayne still living in the sorrow of his lost love Rachael.  What Nolan does to build this final chapter is he progresses the world in which these characters live, to a time where Batman isn't as young and go-hard as he once was.  All the characters we're so familiar with (Fox, Gordon, Alfred) have played out in such a way that Batman and Nolan have to build them up again.  Just as the title insists, he makes his cast rise.  Most of all, Christian Bale rises as well.

Getting down to the cast, it was spectacular as always.  There was one moment at the end of questionable acting, but it was overshadowed by a hard acted team effort.  For me personally, Anne Hathaway (The Devil Wears Prada, Rio) and Joseph Gordon-Levitt (500 Days of Summer, Inception) led the way.  The way they were able to adjust to a post-Joker Batman was so entertaining to watch.  JGL is always expanding as an actor and his character, John Blake, really fits into the Nolan Gotham mythology nicely.   I said to my sister afterword that Hathaway was the best Catwoman, but she said it was because I was in love with her.  I think we're both right.

Everyone wants to know, however, if Tom Hardy (Warrior, Inception) and Bane outperformed Ledger's Joker.  Short answer, no, but in all fairness that was asking a lot.  That's not to say Hardy didn't bring it.  He handled Bane with big boy swagger and a side of scary british mask face to keep the kiddy's cowering.  Bane was the kind of character who, like The Joker, had drive.  I personally wish the Nolan brothers (Johnathan Nolan co-wrote the script with Christopher Nolan) had given Bane a little more wildcard element just to fully utalize Hardy's acting abilities.  Still, Bane comes off as a bulking baddy of fun and like Blake and Catwoman, belongs to Nolan's universe.

As for the story, I won't spoil any specifics.  It is a long story (the film is almost three hours), but it pays off every other minute with something brooding and relevant to adore.  It is the kind of story that shows vision and scope in a grand way.  I'm always impressed with how much Nolan can expand and adapt his style to a bigger scale.  The Dark Knight Rises is no different.  Inception feels smaller when put pound for pound against it.  I even consider the story to be a better one than the first two.  It stays so close to the chest just like it's central character.  I believe when people get a chance to watch it a few more times, they will realize how full of a film it is. Structured, strong and fitting in every way.  This is the trilogy filmmakers and studios should strive to develop.

In summation, any fan of Batman or comic books or superheroes or anthing along those lines will want to see this film.  I myself have plans to go and see it again this week.  It bleeds the sort of heart and thought most films can't convey and acts as the perfect place to stop what could never be a neverending story.  If you aren't a fan of this type of film, it will convert you.  It will engulf you.  There is no stronger example of a comic book adaptation in existance.  Enough said.

TyT

www.ThoseDudesShow.com

P.s. - There are some great cameos to look out for.  Two in particular put a book ending sort of feel into the mix (if you get my drift *WINK*).

Those Dudes :: Video Review :: The Avengers

TyT's Video Review : The Avengers

Yes, it is me in person.  Those Dudes poster boy for what a grown Peter Pan  would be like if he was forced to assimilate into the modern world after only watching Real World for 16 years.  Alright, maybe I do cliff-hang on my jokes.  Anyway, we're talking Avengers, so get down on it.  

Happy Birthday, Jaffy...Gumby looking mofo.

TyT's Film of the Week : The Cabin In The Woods

Films in the horror genre are a kind that usually doesn't require common sense or character arcs to carry their stories from start to finish.  Generally, they establish a cast of unassuming victims...I mean characters, set up a location that steps them out of their comfort zone, introduce a mentally deranged murderer or evil supernatural entity and start scratching names off the cast list as blood and body parts begin to pile up.  So, the genre becomes predictable, stale and played out as more and more "original" horror films saturate the silver screen.  Let's face it, horror is the only genre besides pornography that can survive solely in bargain bins and strait to DVD scenarios.  In a world where every horror film has to do with predictable plot twists and overused, over-dramatic chase sequences, there is rarely a true horror film worth praising.  Then, something like The Cabin In The Woods shows up and blows the damn doors wide open.

If you are an avid horror fan, you may not like what The Cabin In The Woods has to offer because you may believe the writers to be poking fun at you.  I assure you, Joss Whedon (yes, the director of next month's The Avengers) and Drew Goddard (LOST, Buffy The Vampire Slayer) are not trying to make fun, but instead attempting to break the horror genre out of the tired, monotonous gutter that it's been in for years.  They're trying to surprise you in the most honest and original way.  I believe they do this brilliantly while they tell a horror tale and scratch names off their own cast list.

Cabin fills a good chunk of screen-time for jokes.  Not dick or ass jokes, but the twisted, perplexing ones you can't help but crack up while you ponder it's true intention.  The script is layered like that and if we dissected the whole thing, it would look like the rubix cube house from the movie's poster. (See Here)  The thing about it is, the jokes are funny and the film is fun as hell.  I relate to when everyone went to see Saw and realize the rules of a horror film had changed or rather that you could have a gory, excessive film while bringing a mind fuck element into play.  The Cabin In The Woods just does it by acknowledging the over-exhaustion in the genre.  Every plot hole and imaginative gap in a horror film, brought right into focus...but then beaten to death with the awesomeness of what you could do with a self aware horror house.

The acting was downright amazing.  Richard Jenkins (the Dad from Stepbrothers) and Bradley Whitford (Evil Erik from Billy Madison) kill and Chris "Thor" Hemsworth has so much fun.  The real star of the story is Fran Kranz, who know one will know.  He was in Whedon's FOX show, Dollhouse and a cancelled sitcom (Welcome to The Captain), but I loved him in both of those.  Naturally, I was excited to see him in the cast of college friends going to a cabin in the woods, but his character was the funniest and you'll believe me as soon as he's introduced.

The fact of the matter is, The Cabin In The Woods is the smartest horror film, perhaps, maybe of all time.  I know, real official statement, but the film carries itself with a hollowed self scope.  When expanded, it becomes a monster of its own devices and that's when you'll have the most fun.  This is definitely my favorite movie of 2012 thus far.  I plan to own it on blu-ray the second they stock it on shelves, but for now, I think I'll go back and see it again.  No, I'm not weird...it's just that damn good!


TyT's Verdict:  OMFG, YES! (aka better than Hunger Games)


Find TyT on Twitter @bakstar_inc or through Those Dudes @ThoseDudesShow and check out Those Dudes Podcast at www.ThoseDudesShow.com!

Those Dudes :: Episode 11 :: "Power Rangers!"

TyT here!  I just got out from seeing Cabin In The Woods and I'm going to have a great review for the blog this week.  Until then, however, be sure to check out the latest episode of Those Dudes Podcast!  We've got a great show for you this week.  Listen now FOR FREE!

Check it out here:
 
http://thosedudesshow.com/those-dudes-episode-11/

TyT's Film of the Week : THE HUNGER GAMES

Happy Hunger Games boys and girls,

TyT here for another installment of my weekly Film of the Week blog entry, brought to you by Those Dudes Podcast.  I know I'm coming to you all a little late this week, but I've been busy so get off my back.  I do come to you, however, bringing the gift of my infinite filmic knowledge, which I will apply to this years biggest film...THE HUNGER GAMES!

Let me just start by saying how awesome the entire film was.  The sets and designs were stunning, the script written almost flawlessly, all the actors were cast perfectly and their acting was sublime.  I can't stress enough how well the whole film was made.  In a day and age when so many movies cater to throwing money at a problem and not caring if it works or not, The Hunger Games comes in and really applies the material from the adapted novel of the same name in all the right ways.

Going into the film, I knew enough about it to know how they were supposed to handle the story.  For those who don't know, The Hunger Games is a yearly competition where teenagers, 12-18 years old, from twelve districts in a futuristic world are selected randomly to fight one another until only one is left alive.  That's right, teens killing teens as mandated by The Man.  This isn't a totally original theme as there have been several films and historically similar situations.  The one that rang bells on my end was a 2000 Japanese film called Battle Royale.  That revolves around a high school class all being put on an island and forced to kill one another or being remote detonated to an exploding death.  I was expecting a lot of that from The Hunger Games, but found that it had it's own original sort of mythos and plot turns to make it stand out.  At it's core (I know I say that every time), the film is about a group of 24 kids who are forced to survive not just against each other, but against a dynotopic society where a bitter president who has read way too much into Machievelli's The Prince, to the point where he wants to keep his kingdom in check by forcing their offspring to be gladiators.  The film works best then, when these kids are forced to advertise themselves on TV shows and at lavished banquets to gain sponsers and put on a good show before eventually murdering one another in brutal fashion.

Perhaps the film's strongest assets at work are the actors, who skate around the script like a Disney on ice show.  They're all professional in their own ways and it helps anchor the experience in such a way as to properly distribute the emotions the audience carries for each one.  You may not really care for Elizabeth Banks' character because she's a painted faced cog in a harsh system, but you never really get around to hating her.  The same thing goes for Woody Harrelson and Lenny Kravitz who play Haymitch and Cinna.  Both are part of the Hunger Games system, but both command their character's detest for the sport that makes them redeemable.  The best acting, however, comes from Katniss herself, Jennifer Lawrence.  Many people still don't know who Lawrence is yet and all I can say is, "why?"  She killed it in Winter's Bone a few years back and last year in X-Men First Class, so it was no surprise when she signed up for The Hunger Games.  As I expected, she has a fearless, at times daunting gaze that drives home the quiet mindset of Katniss.  She isn't a heroine who whines and cries over vampires or shirtless werewolves because she can't make a choice (BELLA!), she makes a choice in the beginning of the film to save her little sister and the rest of the film revolves around her honoring that choice (with the risk of losing her life).  Definitely one of the stronger young female role models in fiction over the last few decades and Lawrence carries the weight of Katniss like a champ.

All and all, the film was filled with sublime acting, stunning sets and killer action towards the third act.  Everything else was like an insight into the human condition and how to cope.  The reality of these characters are serious and dire, as apposed to something like Twilight.  It's a darker, more realistic seriousness than any Harry Potter, but in the spirit of that franchise, Gary Ross and his crew have made it compelling and honest.  This is a turning point for the industry.  Good writing honored with good, hard work yields monster results in the box office.  As the 3rd highest grossing opening of all time ($153 million in 3 days), The Hunger Games will return with a sequel for sure.  We can only hope it is as engaging and beautiful as the first.

TyT's Vertict: EPIC AWESOMENESS (256 stars)

Find TyT on Twitter @bakstar_inc or through Those Dudes @ThoseDudesShow and check out Those Dudes Podcast at www.ThoseDudesShow.com!

TyT's Film of the Week : 21 Jump Street

Greeting all,

TyT in the house, coming back to you with another installment of TyT's Film of the Week!  This week, I've chosen the recently released television remake film comedy adaption, 21 Jump Street.  Let's get cracking.

Bottom line, this film is hilarious.  I had a chance to see the midnight showing of it with some friends and we all agreed about the comedy content of the flick.  It's fresh, smart writing with fits of raunchy behavior, but mostly carries that whole awkward swagger of the modern age that we've come to enjoy (originally brought about with The 40 Year Old Virgin and Knocked Up).  I know a lot of us are fed up to the forehead with remakes and reboots and "re-imagined" versions of shit we've already seen, but 21 Jump Street goes after this tired approach understanding and empathizing with the audience here.  This leads the film to blossom as a story for today's audience, based around the plot structure of 80's at home audience.

For those who don't know about the film, it is the story of two baby faced cops (Channing Tatum and Jonah Hill) who are fast-tracked into a secret police operation where they will go undercover as teenagers.  They need to find the supplier of a new brand of synthetic drug being dealt at a local high school.  Needless to say, it seemed as if Tatum would be out of place in a comedic role.  Before this, he's done action or romantic films with a few dramas thrown in.  Fortunately for us, the kid is at the top of his game here and at times overpowers Hill and the rest of the cast with his comedy chops.  That's not to say Hill is bad, he's great too and as one of the writers of the story, it clearly has his brand of comedy built in.

At it's base, 21 Jump Street, makes a case for lower budget films (it rang in at $42 million to make) that don't need shallow characters played by mega stars and senseless CGI or pyrotechnics (though there are a few fireworks) to draw a crowd.  The jokes land, the characters are well established and likeable.  The story, however been there and done it it is, is brought together by all of this and turns out to be well worth watching.  Add in a strong cameo from the one and only Johnny Depp and you've got yourself a well balanced comedy that overshadows anything Adam Sandler has come up with in the last decade (sorry Sand-man, you're lack of enthusiasm shows).

This film has taken Jonah Hill five years to find it's way onto screens and that is evident in how much care and love is put into the work.  It's a win for those of us who want more Step Brothers and less Couples Retreat.  It's also somewhat of a loss, because Hollywood won't see the content of the comedy or the high caliber care put into making 21 Jump Street work, they'll only see the box office receipts and critic buzz.  They'll see the wrong things and continue their pilgrimage down the reboot path without regard for what the world needs (fresh ideas).  We don't need more John Carter, big budget flops ($250 million cost against $30 million opening weekend) we need more thin budget films with heart and characters and plot structure and scripts that weren't written with crayon.  21 Jump Street is that kind of film and I'm glad to have it, but I don't know that Hollywood will see the same sort of victory that audiences will.

TyT's Vertict : Must See, Bitches!

Hit TyT up on Twitter @Bakstar_Inc or @ThoseDudesShow and be sure to check out Those Dudes Podcast on www.ThoseDudesShow.com

TyT's Film of The Week : HUGO

Alright kids,

TyT in the bloggosphere to bring you a weekly blog series for all you Those Dudes fans out there (so like, two people).  If you've heard the show you know I am a man of many references and most of which are extremely obscure or just downright random.  So I figured I would give you all a little insight into the cinematic chasm that is my endless knowledge and passion for film.  So, I will bring you weekly installments of what I'm calling : TyT's Film of the Week.

Each week, I'll pick a different film whether it be in theaters, recently released to home video or just an old classic I feel you need to know about.  Not all will be praise-worthy, but I promise each selection has been picked to help to either expand your filmic knowledge or at very least, keep you from seeing a real piece of shit.

Let's get started shall we.  This week, I've chosen the recent 5 time Oscar winning film...HUGO.

For those who don't know what Hugo is, it is a fantasy fiction film adaption of the novel The Invention of Hugo Cabret, written by Brian Selznick.  The film is directed by arguably the greatest American director (or greatest period) ever, Martin Scorsese.  If that name is unfamiliar, you should probably just kill yourself because I can already tell you don't know shit about movies, but I'm sure you'd seen some of his films (Taxi Driver, Raging Bull, The Departed, Goodfellas, The Aviator, Mean Streets, Casino,Gangs of New York, The King of Comedy, Shutter Island, and he is also responsible for bringing Boardwalk Empire onto television).  The film has a number of amazing actors, including and especially Ben Kingsley, Chloe Moretz, Jude Law, Sasha Baron Cohen (yes, Borat) and of course Hugo himself, Asa Butterfield.

The film plays in a fantastical way mainly because Scorsese has a fantastical vision of the novel and story.  At it's heart, Hugo isn't about flashy things or big budget ploys to make money, it's about enduring love of artists and their dreams.  Meanwhile, the whole thing is spirited towards the heart and the healing of broken things. That is not to say the film doesn't look great, because it is perhaps the best looking film of the year and definitely earns it's Oscars in Visual Effects, Art Direction and Cinematography.

I think the thing I enjoyed about it, besides of course the love song to one of the founding pioneers of film, is how unique Scorsese's vision is and how separate it is from his hard, gritty gangster films like Goodfellas and The Departed.  The movie works hard to build the story in the right way while keeping the characters relevant, all the while proving that a beautiful film doesn't have to be short on story or heavy on explosions (MICHAEL FREAKING BAY).  Where so many studios now-a-days don't give a shit about bringing a story to life and building a strong connection between the audience and the characters on screen, Hugo does only that while it tells the story of an orphan boy who lives in a Paris train station and attempts to rebuild a automata (robot) as a way to rebuild himself.

What the film boils down to, at it's rawest form, is that dreams are something worth having and without them, you may never find your way in the dark, reality that is life.  Each character has their own dreams, each character deals with these dreams in their own way, but the whole film plays like a blue tinted dream itself, while keeping it's feet on the ground.  You won't see this kind of affection from a Transformers or a Twilight movie, because they filmmakers and producers don't give a damn about sending a message or making something worth testing time.  They're after dollar figures and capitalizing on the audiences willingness to pay money to see poorly executed everything.  I suppose we are to blame for that, because we are the ones who  put up the cash.

Hugo is not that.  Hugo is anything but that.  Hugo is the work of a film genius, who genuinely cares about quality and story and wanted to get a great story out.  Scorsese went way out of his niche mainly because he is the kind of diverse auteur who can, but also because he believed in what the story of Hugo Cabret was and wanted to share that with the world.

I've heard one of two people say the movie is slow paced, which I don't believe is the case here.  I do, however, believe we have forfeited what cinema is about in order to be entertained by mindless fireworks and flat, nonredeemable characters.  We'll never get back to the days where a filmmaker's labor was made from love and money lines or box office receipts, but with Hugo, at least it's good to know some of them are still after making art and dreams.

TyT's Vertict : Must See, Bitches  

Hit TyT up on Twitter @Bakstar_Inc or @ThoseDudesShow and be sure to check out Those Dudes Podcast on www.ThoseDudesShow.com