For better or worse, 2016 will go down as the year DC finally kicked off their cinematic universe. Despite being critical whimpers, both Batman v Superman and Suicide Squad were bona fide box-office bangs, opening to the tune of $166 million and $135 million, respectively. Critics be damned; Warner Bros. is the only franchise studio to see their films open above the $100 million mark. That includes Man of Steel. But success, of course, is measured in the long run. It remains to be seen what kind of legs Suicide Squad will have going into its second and third weekend. That, and the critical decline in DC films so far have put enormous pressure on the next film to be an even bigger hit. Seeing as how WB has been reactively and aggressively tinkering with its own films, perhaps the only thing that can stop the studio is the studio itself, which begs the question: is DC at risk of imploding? Continue reading
When was the last time you walked into a movie theater completely unaware of the film you were about to see? For me, it was the summer of 2010. The movie: Inception. The earliest trailers for the film displayed a number of staggering visuals. A rotating hallway, a city folding on itself, and a train charging through the rain. This merely whet the appetites of countless filmgoers like myself. Soon, we were standing in line for the film’s release, not knowing a single detail of the plot. Even on the day of, all we had to go on were the film’s cryptic tagline (“Your mind is the scene of the crime”) and a tiny bit of description from director Christopher Nolan himself (“a heist movie set within the architecture of the mind”). Some could argue we already had more than enough to go on. But compared to today’s films, where entire movies are given away in a two-minute trailer, Nolan’s film barely left a trail of breadcrumbs. It was a refreshing change of pace that allowed audiences to experience the film in its rightful place – the movie theater, of course. Continue reading
With Gone Girl finally hitting theaters this weekend, director David Fincher has been making the press rounds, something quite unlike of him to do. Then again, when you’re adapting Gillian Flynn’s bestseller, it’s hard to stay out of the limelight. Fincher usually tries to avoid over-exposure, but his directorial methods are very well known. His reputation precedes him, and with good reason. Whereas most directors settle for a few takes per scene, Fincher aims above and beyond, shooting as many takes as he needs. While this sounds obscene on the surface, I’d like to dig a little deeper into his process to show why he’s the hardest-working and the most misunderstood director in the business.
At the end of the 20th Century, the future of the Caped Crusader looked bleak at best. With a rather lackluster Batman Forever, followed by a total flop in the form of Batman & Robin, it seemed as though Hollywood would never be able to bring justice to Bruce Wayne’s story. Then, in the summer of 2005, Christopher Nolan reinvented the Batman mythology for modern audiences and gave us hope for the franchise. Batman Begins was a sign of something truly great, only no one could anticipate just how great the upcoming trilogy would be. Its sequel, The Dark Knight, elevated Batman from a mere comic-book adaptation to an enormously thrilling crime saga that stands as one of the defining movies of our time. Now, after a long road of spectacle and awe, Nolan and crew have returned to deliver an epic finale to top off the towering achievement known as The Dark Knight Legend. And on that note, I’d like to take a look back on Bruce Wayne’s journey from a boy who fell into a cave of his own fear to a man capable of rising from the darkness. This is a celebration of my favorite superhero and a dear friend. This is me saying goodbye to The Dark Knight.