The Dark Knight

Despite Jet Li’s Would-Be Resurrection, ‘The Mummy: Tomb of the Dragon Emperor’ Still Flops

HollywoodChicago.com — Thu, 31 Jul 2008 21:35:55 -0700

Rating: 2.0/5.0

CHICAGO – The threequel that culminates with “The Mummy: Tomb of the Dragon Emperor” is so hackneyed that even the main star of the previous two films – Brendan Fraser – wasn’t enough to sell audiences on a third return. Universal Studios needed to enlist co-star Jet Li to stand a fighting chance and take the mood the Asian way.

Jet Li as the vicious emperor comes back to life in “The Mummy: Tomb of the Dragon Emperor,” which races from the catacombs of ancient China high into the spectacular Himalayas.
Photo credit: Digital Domain, copyright Universal Studios

If there’s a single success this may have, “The Mummy: Tomb of the Dragon Emperor” may finally be the only film that can vanquish the epic, two-week reign of “The Dark Knight” at the box office. Projections target approximately $50 million for its opening weekend.

Brendan Fraser’s Hollywood dossier is currently most memorable for these three films, which progress from mediocre all the way to 2008’s tragedy. Likewise, Fraser in the Indiana Jones-like role (but not nearly as well-scripted as Harrison Ford’s character) is a surefire recipe for mediocrity.

It’s no mystery why the evolution from “The Mummy” in 1999 ($43.4 million opening; $155.4 million total) and then “The Mummy Returns” ($68 million opening; $202 million total) only two years later in 2001 took seven years to yield “The Mummy: Tomb of the Dragon Emperor”.

The vicious emperor (Jet Li) conjures the elements in “The Mummy: Tomb of the Dragon Emperor,” which races from the catacombs of ancient China high into the spectacular Himalayas.
Photo credit: Digital Domain, copyright Universal Studios

The filmmakers, studio and production companies clearly spent seven years flailing about a single question: Do we really want to make a third or should we just let this one go at two? In the decision to green-light the threequel, Jet Li’s star power and villainous character clearly was the film’s attempt for rejuvenation.

Li, though, is more often in irate CGI character than he is in his own skin. When he’s there, he is indeed menacing and ruthless, but the power of Jet Li is best harnessed when the martial master can merely be himself.

Explorers Rick (Brendan Fraser) and Evelyn O’Connell (Maria Bello) in “The Mummy: Tomb of the Dragon Emperor,” which races from the catacombs of ancient China high into the spectacular Himalayas.
Photo credit: Digital Domain, copyright Universal Studios

The third film suffered the unfortunate loss of the always brilliant Rachel Weisz, who was replaced by Maria Bello (she had the charm but lacked the fire), and Luke Ford unfortunately steps in for the first time as Brendan Fraser’s son. Ford has as much acting range as the CGI abominable snowmen.

The big-effect sequences feel like Hollywood’s merely pressured to deliver a blockbuster.

The difference between failed films such as “The Mummy: Tomb of the Dragon Emperor” and wildly successful films such as “Iron Man” and “The Dark Knight” is they don’t just do the fancy schmancy. They also have substance, too. Even Fraser himself scoffs in the film at the notion of “another mummy”.

If you find yourself dozing off (like yours truly) and awaking confusingly thinking you’re in “Indiana Jones and the Last Crusade” (this Fraser flick clearly rips the “he needs a magical element to avert death” sequence) along with the “weapons blot out the sun” sequence, you’d be among friends.

“The Mummy: Tomb of the Dragon Emperor,” which stars Brendan Fraser, Jet Li, Maria Bello and Michelle Yeoh, opened everywhere on Aug. 1, 2008.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com

‘The Dark Knight’ Bestows Role of a Lifetime For Heath Ledger, Epic Proportions For Itself

HollywoodChicago.com — Wed, 16 Jul 2008 22:01:00 -0700

Rating: 5.0/5.0
(rarely perfect)

CHICAGO – With only three short words comprising the film’s enigmatic title, “The Dark Knight” also boasts three epic claims to fame: the role of a lifetime for the late Heath Ledger as the hauntingly deranged Joker, one of the best films of 2008 and one of the greatest superhero films of all time.

In a year when Hollywood has the superhero woody comparable to when westerns where the greatest thing since sliced bread, “The Dark Knight” not only fares well against blockbuster competition with films like “Iron Man” and “The Incredible Hulk” but also manages to rise above chartbuster status into a whole new league of undisputed justice.

Heath Ledger stars as the Joker in “The Dark Knight”.
Photo credit: Warner Bros., copyright DC Comics

Though a decidedly dark and outcast Batman is the heart behind the marketing machine for “The Dark Knight” from writer and director Christopher Nolan (who also directed the film’s first iteration in 2005 entitled “Batman Begins”), Christian Bale in the seminal role as one of history’s most beloved characters has his show stolen by Ledger’s villain.

Christian Bale as Batman in “The Dark Knight”.
Photo credit: Warner Bros., copyright DC Comics

While to some it may be surprising to classify Bale’s performance as “B” list and Ledger’s as “A+” list, you almost feel modesty in Bale’s screen time to honor the true man of this film’s 142 minutes.

While “The Dark Knight” completed principal photography prior to Ledger’s death, Bale delivers an intricately muted role as compared to Ledger. While entwined with the power inherent in his superhero marauding, Bale’s also humbled from working with another man who was delivering the culmination of his life’s work.

Health Ledger disappears so convincingly and completely into the Joker that you struggle to remember him in anything else.

This is a telling testament to an illustrious – albeit too short – career of an actor who memorably broke free in transformative roles in films including “Brokeback Mountain”. Nolan – who for this film was significantly influenced by the 1995 film “Heat” – says he selected Ledger for the focal Joker role based on his “fearlessness”.

Ledger’s Joker is developed to the finest of details even down to his unruly tongue action and the sounds of his excess saliva. Moreover, Nolan and co-writing brother Jonathan Nolan (David S. Goyer was also integral in the film’s story) deliver to Ledger the best profundities of any talent in the star-studded film.

Christian Bale as Batman on his Batpod in “The Dark Knight”.
Photo credit: Warner Bros., copyright DC Comics

These include: “I use a knife because guns are too quick. Otherwise, you can’t savor all the emotions. You know who people are in their last moments [of life].” “It’s not about money. It’s about sending a message.” “I’m a dog chasing cars. I don’t have plans. I just do things. I’m not a schemer.” “This is what happens when an unstoppable force meets an immovable object.” Eckhart is handed a literary gem, too: “You either die a hero or you live long enough to see yourself become the villain.”

In his beautifully deranged state of chaos and anarchy, the Joker even utters the cheesy “Jerry Maguire” line “you complete me” to Batman and follows with: “You’re just a freak – like me. You’ve been cast out like a leper.”

Michael Caine at Chicago’s Navy Pier for the red-carpet premiere of “The Dark Knight” on July 16, 2008. In the film, Caine plays Alfred Pennyworth.
Original photography for HollywoodChicago.com by Kris Kasperek of iKLiKphoto

We are not to forget that “The Dark Knight” won’t be the last time we see Ledger at work. Despite a threat to shut down the 2009 Terry Gilliam film “The Imaginarium of Doctor Parnassus” following Ledger’s death on Jan. 22, 2008 at the young age of 28, Johnny Depp, Jude Law and Colin Farrell are completing with the assistance of some shrewd script rewrites.

But along with the glory of Ledger’s Joker – a performance that will remain throughout history as having trumped any iteration before him including interpretations by Jack Nicholson and Cesar Romero – the power of “The Dark Knight” is in its totality. The film didn’t even need “Batman” in its title and is in fact the first Batman film not to use the iconic name.

Gary Oldman at Chicago’s Navy Pier for the red-carpet premiere of “The Dark Knight” on July 16, 2008. In the film, Oldman plays Lt. James Gordon.
Original photography for HollywoodChicago.com by Kris Kasperek of iKLiKphoto

Along with the incessantly marketed roles for Bale and Ledger, Nolan in this deeply developed and brilliantly complex film redefines the concept of a supporting cast. He not only uses them in integral roles but draws high impact out of them in ways you typically only achieve from lead roles.

In addition to furnishing an Oscar-worthy role for Ledger’s interpretation of the Joker (the academy can conceivably nominate the film for six or so categories also including best picture, screenplay and art direction), Aaron Eckhart as district attorney Harvey Dent (known in the Chicago-filmed Gotham as the “white knight” in contrast to Batman as the “dark knight”) and then the villain Two-Face along with Gary Oldman as Lt. James Gordon also deliver personal bests with performances unmatched in their own careers.

Chin Han at Chicago’s Navy Pier for the red-carpet premiere of “The Dark Knight” on July 16, 2008. In the film, Han plays Lau.
Original photography for HollywoodChicago.com by Kris Kasperek of iKLiKphoto

Moreover, Michael Caine as Bruce Wayne’s faithful confidant Alfred Pennyworth is as fundamental to this film as Bale’s Batsuit is to Batman. Maggie Gyllenhaal – who thankfully replaced Katie Holmes for the part of Rachel Dawes (tension exists with her dual love between Harvey Dent and Bruce Wayne) and neither Rachel McAdams nor Emily Blunt (who were rumored for the part) would have fit the bill – indeed cashed a fitting check.

Director Christopher Nolan at Chicago’s Navy Pier for the red-carpet premiere of “The Dark Knight” on July 16, 2008.
Original photography for HollywoodChicago.com by Kris Kasperek

Nolan honored his son, Rory, with the working title “Rory’s First Kiss” while filming extensively in Chicago. Chicagoans embraced the city with open arms during filming and become regularly involved with “The Dark Knight” viral marketing, which has been the most elaborate in the history of film.

After capturing the first set photo of the Batsuit from Chicago filming and publishing more than a year of comprehensive local coverage, those who participated in the countless viral campaigns recall sophisticated events including Harvey Dent campaigning in downtown Chicago (many thought someone was actually running for a political seat) to cell phones embedded in cakes.

Countless viral Web sites for the film popped up with aggressive regularity while printed newspapers were distributed, the bat signal beamed atop Chicago’s Sears Tower, Anthony Michael Hall’s character was revealed here and there was even the real-life explosion of Chicago’s defunct Brach Candy factory, which was purchased by the film for transformation into a Gotham hospital. The Joker hysterically does his deadly deed in a nurse’s uniform, too.

In retrospect, seeing the film is a huge payoff for viral marketing followers because a climax is revealed to everything the campaigns teased.

“Why so serious?” How’d the Joker get his scars? Why a “world without rules”? Who likes to just “watch the world burn”? Does Harvey Dent’s double-headed coin make it into the film from the comics? How does the new Batpod spawn from Batman’s Tumbler (which hilariously changes from a ruinous “loiter” mode to devastating “intimidation” mode)? Why is the Joker indeed a “man of his word”? All answers are revealed.

Christian Bale (left) stars as Batman and Heath Ledger (right) stars as the Joker in “The Dark Knight”.
Photo credit: Warner Bros., copyright DC Comics

While you can enjoy “The Dark Knight” in regular theaters, its epic nature is tailor made not only for the big screen but actually for the biggest screen on IMAX. Nolan made use of custom IMAX cameras to shoot several scenes, and while you won’t notice the difference at the traditional ciné, you’ll see the screen transition from widescreen to full screen for IMAX and then back to widescreen.

Some, though, may merely dismiss this film with a fleeting “Batman isn’t for me”.

From experiencing the coming together of the film over the course of a year and being moved by all the fruits of its labor in high-impact IMAX, though, you clearly needn’t be a diehard “Batman fan” or even a Batman fan at all to enjoy “The Dark Knight”.

You even needn’t be a Chicagoan who appreciates the way “The Dark Knight” majestically shines a spotlight on the Windy City. You need only be a person who enjoys seeing a historic film so complete that it’s nothing short of a once-in-a-lifetime opportunity.

But perhaps Kevin Smith sums it up best in his early review of “The Dark Knight”: “It’s ‘The Godfather: Part II’ of comic-book films and three times more earnest than ‘Batman Begins’ (and [bleep] was that an earnest film).”

As for the lingering question beyond “The Dark Knight” about whether there will be a third film, we won’t discuss whether all loose ends are indeed tied up. Instead, we’ll leave you with this simple gem: Batman’s not just a vigilante superhero. He’s becoming something more.

“The Dark Knight,” which is directed by Christopher Nolan and features Christian Bale, Heath Ledger, Aaron Eckhart, Michael Caine, Maggie Gyllenhaal, Gary Oldman, Morgan Freeman, Cillian Murphy, Eric Roberts, Anthony Michael Hall, Colin McFarlane, Joshua Harto, Michael Jai White and William Fichtner, will open everywhere on July 18, 2008 in traditional theaters and in IMAX. The film will show in IMAX for a continuous 72 hours for its opening Chicago weekend.

View our exclusive, 35-image red-carpet coverage of “The Dark Knight” in Chicago on July 16, 2008.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com

Following ‘Pan’s Labyrinth,’ ‘Hellboy II: The Golden Army’ Regresses From Best to Worst For Guillermo del Toro

HollywoodChicago.com — Thu, 10 Jul 2008 22:01:00 -0700

Rating: 2.5/5.0

CHICAGO – Hellboy is plugged as the world’s brawniest, kitten-loving superhero. While that paradox is supposed to be both funny and action packed, “Hellboy II: The Golden Army” from famed writer and director Guillermo del Toro falls flat on the funny front and instead winds up on the funny farm.

Amid a superhero-laden 2008 with true blockbusters including “The Dark Knight” (opening on July 18, 2008), “Iron Man,” “Hancock,” “The Incredible Hulk” and “Punisher: War Zone” (opening on Dec. 5, 2008), “Hellboy II: The Golden Army” had just as much potential but reveals only semi-blockbuster status.

Hellboy (Ron Perlman) does battle with an elemental in “Hellboy II: The Golden Army”.
Photo credit: Double Negative, copyright Universal Studios

On the heels of the majestically dark “Pan’s Labyrinth,” Guillermo del Toro regresses from perhaps his finest film hour to his among his greatest misfires in the action-packed but story-miscued film about a tough-talking hellspawn who wages war against rebellious and ridiculous creatures.

Writer and director Guillermo del Toro tries on Hellboy’s right hand of doom on the set of “Hellboy II: The Golden Army”.
Photo credit: Egon Endrenyi, copyright Universal Studios

If you recall 2004’s “Hellboy” at all, it’s not likely because of the $60 million in domestic dollars the film raked in theatrically or its $100 million worldwide total in theaters. Rather, “Hellboy” earned cult-following status from its subsequent DVD release. It’s that launch pad that’s propelling “Hellboy II: The Golden Army” with steam in 2008.

But while the film will show an improved box-office balance sheet and critically is earning rave reviews, don’t be fooled by the hype machine. Guillermo del Toro delivers the Hollywood filet mignon we’ve come to expect wrapped nicely in all the special-effects bacon we’ve come to desire but without the heart we’ve come to demand.

Do we care about any of these characters? Do we care if this one actually falls in love or if that one actually lives or dies or if this one makes amends or if that one comes to terms with destiny? What we do feel isn’t for the characters, their missions or the performances they deliver.

All we do feel is gypped that Hollywood took our 10 movie bucks and gave us flat characters, forced plotlines and ultimately a mediocre movie experience.

The initial adolescent Hellboy backstory begins with Montse Ribé – yes, a female – as the young Hellboy. She’s credited with doing special effects makeup for Guillermo del Toro’s “Pan’s Labyrinth” and should stay in the special effects and makeup departments instead of behing handed her first acting role.

Ruthless leader Prince Nuada (Luke Goss) challenges his enemy in “Hellboy II: The Golden Army”.
Photo credit: Double Negative, copyright Universal Studios

The child acting and costuming weakly stood out larger than even kid Hellboy’s right hand of doom.

Ron Perlman as Hellboy and “A”-gamer Selma Blair return as a duo from Guillermo del Toro’s first iteration of “Hellboy” in 2004. This time around, we’re treated to the same mediocrity spewed upon us then. What we didn’t expect – and what wasn’t advertised – is that the most interesting characters in “Hellboy II: The Golden Army” were in fact the supplementary ones.

Writer and director Guillermo del Toro holds Hellboy’s revolver on the set of “Hellboy II: The Golden Army”.
Photo credit: Egon Endrenyi, copyright Universal Studios

Ancillary creations Abe Sapien and Johann Kraus and their respective performances from Doug Jones and James Dodd (voiced by Seth MacFarlane) had the right idea the rest of the film fatally ignored. Now these organisms – Abe as an aquatic “merman” and Johann as a disembodied ectoplasmic spirit – had charm, intrigue and character appeal.

RELATED IMAGE GALLERY
View our full, high-resolution “Hellboy II: The Golden Army” image gallery.

RELATED READING
More film reviews from critic Adam Fendelman.

As well, we can appreciate the ruthless creature leader Luke Goss as the spear-fanatical Prince Nuada and the saccharine Anna Walton as the interestingly entwined Princess Nuala. This brother-and-sister duo earns scripting props.

But “Hellboy II: The Golden Army” isn’t about them. While the four supplementary characters deliver admirable supporting roles and performances, the film ultimately leaves you feeling “eh” because at its heart is a superhero who’d be just as fine fighting adversaries as he is taking a nap or petting a cat.

Following a magnum opus in “Pan’s Labyrinth” and a red-hot backfire in “Hellboy II: The Golden Army,” Guillermo del Toro raises a red, hit-or-miss flag on his upcoming blockbuster projects “The Hobbit” in 2011 and “The Hobbit 2” directly after in 2012.

“Hellboy II: The Golden Army,” which is written and directed by Guillermo del Toro and stars Ron Perlman, Selma Blair, Seth MacFarlane, Luke Goss, Anna Walton, Doug Jones, John Hurt and Jeffrey Tambor, opened everywhere on July 11, 2008.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com

Superhero Film ‘Hancock’ With No Superhero Ancestry Proves Bold But Deadly Decision

HollywoodChicago.com — Wed, 02 Jul 2008 01:19:27 -0700

Rating: 2.0/5.0

CHICAGO – With superhero films as hot in 2008 as psychedelics were in the 1960s, the new blockbuster superhero film “Hancock” fits in with the label but without any of the ancestry.

While 2008 superhero films such as “Iron Man,” “The Incredible Hulk,” “The Dark Knight,” “Hellboy II: The Golden Army” and “Punisher: War Zone” (along with “X-Men Origins: Wolverine” coming in 2009) are all based on previous stories with a previously ravenous fan base, “Hancock” with an alcoholic and listless Will Smith and Charlize Theron – who hides a surprise bombshell – literally comes from nowhereland.

Charlize Theron (left) and Will Smith in “Hancock”.
Photo credit: Sony Pictures Entertainment

In fact, “Hancock” is the only 2008 superhero film not derived from a previously established comic book.

Will Smith in “Hancock”.
Photo credit: Sony Pictures Entertainment

The original script for “Hancock,” which was inked by Vincent Ngo in 1996 and called “Tonight, He Comes,” was shuffled through the Hollywood director’s circuit until director Peter Berg (“The Kingdom,” “Friday Night Lights,” “The Rundown”) finally ate it up in Oct. 2006. Filming began in July 2007.

Its truly original origin could have either been its golden savior or its deadly assassin. The decision ultimately proved treacherous as everything it tried to do to be different just made it the same.

Its originality actually might not seem so novel, too, once you consider the 1983 film “The Return of Captain Invincible”. In that film, Alan Arkin plays Captain Invincible and Christopher Lee plays his nemesis (Mr. Midnight).

Captain Invincible is asked to return from retirement to the superhero battlefields, but this time around, he’s a raging alcoholic. Sound familiar? Uh huh.

Upon closer scrutiny, the principal downfall of “Hancock” isn’t even in the question of its origins but more in the forcefulness of its script. “Hancock” felt entirely too written. A good film, of course, is written eloquently well – so well, in fact, that you forget it’s written. A hackneyed story feels forcefully written.

Will Smith (center) “Hancock”.
Photo credit: Sony Pictures Entertainment

After writers Vincent Ngo and Vince Gilligan launched off on their journey to script a man who can demolish the street beneath him at the mere jetting away into the sky, they added Superman-like strength. As for where to go next, you can actually feel them pondering the decision. They then inked something cliché because they were already committed to the process and the big Hollywood dollars would be on the line.

Now Smith’s cliché costuming to look the superhero part was actually the least cliché part of the entire script. Smith’s character despised it, appeared awkward in it and actually successfully sold you on more authentically being that inebriated chap. Sporting a costume that looked like it could have been purchased at Walgreen’s on a man who felt more comfortable being naked was refreshingly witty.

Will Smith (second from left), Jason Bateman (second from right) and Charlize Theron in “Hancock”.
Photo credit: Sony Pictures Entertainment

All in all, we can’t be satisfied with all the “Hancock” plot twists and turns because we didn’t get to the heart of what actually makes a superhero a superhero. Will Smith himself doesn’t know and couldn’t tell you if you asked him – even after he has been jailed, rehabilitated and PR spun by Jason Bateman who’s trying to change the world.

RELATED IMAGE GALLERY
View our full, high-resolution “Hancock” image gallery.

RELATED READING
More film reviews from critic Adam Fendelman.

While it is a bit of a twist to make your “good” superhero hated and then needed and then loved once he learns to love himself, focusing on that internal exploration of the superhero felt like the self-discovery process should have happened privately with Dr. Phil rather than as a central plotline in a major Hollywood film.

Now Charlize Theron’s character had teeth. Will Smith as an anonymous “John Hancock” who can’t remember his genesis is branded by the film as a Bruce Willis-like “Unbreakable” character, but who the heck is Charlize Theron? Is she just the scorching wife of PR man Jason Bateman or does she have something incredible up her sleeve, too?

“Hancock” director Peter Berg would have been better served directing this script with a focus on her as the central character – a character who veils who she really is under the guise of humanity rather than the bumbling, stumbling Will Smith who merely cloaks his superhero depression with a bottle. Any takers for “The Incredible Housewife”?

“Hancock,” which features Will Smith, Charlize Theron, Jason Bateman and director Michael Mann in a small acting role, opened everywhere on July 2, 2008.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com