Batman Begins - 8
The Dark Knight - 9.5
The Dark Knight Rises - 6
*Couple of small gripes about Knolan's Batman. Would've preferred a voice modulator over that boogie man voice that Bale did. Also not a big fan of the Batsuits in his movies either.
DC Movies:
Batman - 8
Batman Forever - 5
Batman and Robin - 2.5
Daredevil - 3.5
Green Lantern - 3.5
Catwoman - 1
@KALofKRYPTON Is Joe Manganiello still attached to reprised his role as Deathstroke?
I generally like or love majority of DC's animated stuff except for The Killing Joke. I especially love Justice League and Justice League Unlimited. One of the things I loved was how they always introduced B-list heroes in the latter and made them somewhat cool. Best Batman animated movie for me was Batman: Under the Red Hood.
@RogerRoger maaate... The Batman will be a recast I think. My money is on Jake Gyllenahaal.
If it stays stagnating as it is, there's every chance Flashpoint could act as a soft reset for the World's of DC. After that, who knows what could happen.
As poor as I think Miller is in Flash role and how thoughtless the effects are - just the remote possibility that Jeffrey Dean Morgan could actually be Flashpoint Batman...
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"Fate: Protects fools, little children, and ships named Enterprise." - Cmdr William T. Riker
@RogerRoger I was always happy with the Batfleck casting. He's good at it and looks the part and despite the popular revisionist rhetoric, DareDevil is a good flick, and he's great in it.
Keaton was good for Burton's style over substance and action averse direction. I still think Alec Baldwin would've been the better choice (as proved very much in the Shadow). Post Keaton was just the standard Hollywood 'star in the lead' deal really.
Hammer is a good actor - as I said, he was cast as Bats and did a fair amount of preproduction (all the way up to costuming) on George Miller's canned Justice League movie.
As for his roles - he saves The Social Network from being little but an exercise in watching lots of awful people be awful, he's good in Free Fire, he (with Cavill) save The Man From Uncle from its boorish Guy Ritchy-ness and he absolutely saves The Lone Ranger from it's abhorrently long run-time too.
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"Fate: Protects fools, little children, and ships named Enterprise." - Cmdr William T. Riker
Some of the movies [have] writing [that] often can't match that of the comics.
Watchmen - 8
My entire problem with the Watchmen movie. It's a perfectly competent production, but the writing is completely lacking in nuance compared to the original GN, and the transgressive moral issues it tackles are dumbed down in favor of explicit sex and violence (SO edgy rolls eyes).
I was particularly annoyed with how they removed the atheistic existentialism almost entirely from Rorscach's thinking and backstory. His worldview extends beyond just being misanthropic, and it's a major motivating aspect of his character.
@RogerRoger Honestly - it's not a good film. I watched it again not long ago as it showed up on Netflix. Performances are generally good though, Hammer and Cavill are given very little to do. I recommend The Lone Ranger. It is way too long. Depp's casting and direction is a misstep (Jack Sparrow, but Native American) but Hammer is very good.
Actually - you could just watch the last half hour and be suitably entertained.
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"Fate: Protects fools, little children, and ships named Enterprise." - Cmdr William T. Riker
@KALofKRYPTON I really didn't appreciate most of the changes. And it's "stylish" in that obnoxious, slo-mo, overly glitzy way only Zack Snyder films are (this aspect of his films are VERY love it or hate it, I find).
And, this might just be me, but the fact that pretty much every piece of music in the movie was licensed music really grated on me.
One thing I did like in the movie is the changes they made to Ozy's plans at the end. The "space monster" is a bit goofy these days, and it would have conflicted with the tone of the movie. I think the alternative they found made a lot of sense.
@Ralizah
Watchmen is an inherently violent story - in depiction and tone; the film is only as gratuitous as the comic.
I agree a lot of extensive slow motion effects can grate in some instances. I felt with Watchmen it served to frame the scene as a panel - just in a slightly less literal way as Ang Lee's Hulk, but with something so closely framed, scene by scene to what was on the page, it works rather well.
I think the music was an important part of dating the period. The comic is littered with cultural references for the same ends. I don't mind it - but it's a nice contrast to the reverent 80s settings of many current projects.
Regarding the writing - well, if some things aren't condensed or omitted, you risk becoming verbose or at the very least a slave to exposition. OK in a book, not so much a film of this type.
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"Fate: Protects fools, little children, and ships named Enterprise." - Cmdr William T. Riker
@KALofKRYPTON Untrue. Read the GN again: it's not filled with gore and bones snapping through flesh. The violence in the original is very understated, which makes sections like Rorshach's backstory all the more shocking. The movie is so brutal throughout that that scene barely even stands out. And I believe this would have been Moore's deliberate choice even if he hadn't needed to worry about censorship, because the violence in ordinary life is usually under-the-surface as well. Same with the sex in the GN: it was there, but the movie amps up the graphic nature of it in an almost juvenile fashion. It's Watchmen as directed by a 12 year old boy.
Some licensed music is fine, but music (and the sound design as a whole) is an important aspect of a film's feel and identity. It's also uniquely connected to human memory. The lack of a unique soundtrack for this movie robs it at least partially of its identity.
And, with regard to writing, it's all about learning what is crucial and what can and should be omitted. Zack Snyder could have devoted less time to his ridiculous slo-mo acton and sex scenes and used some of that time to add back in some of the foreshadowing he removed, or to not remove themes that were crucial to the story and helped inform the direction it went.
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