Batman Begins (2005) – Movie Review


It sickened me in the past to see the Batman movie franchise slowly digging it’s way to an early grave. After the quality Tim Burton films, the series pretty much went down the toilet, beginning a horrifically campy age of ‘Bat credit-cards’ and an armored Arnold Schwarzenegger tossing cringe-worthy puns at a Batman who seemed to be trying not to be embarrassed by the fact that his costume had nipples. So what could Warner Brothers producers hope to do to resurrect the franchise? Pretend it never happened, and start the whole series over again with a talented director, compelling story and capable cast.

Enter Christopher Nolan, the mastermind behind 2000’s ‘Momento’, widely praised as one of the most innovative films of the decade. As director/co- screenwriter, Nolan creates a richly dark, atmospheric world for Batman to inhabit, similar to that of the Burton films, but less cartoony. The film’s screenplay, written by Nolan and David S. Goyer is quality stuff, it’s true that some of the dialog exchanges can seem kind of contrived, particularly between Wayne and Liam Neeson’s character, Ducard, but it sounds so classy you tend not to care.

Nolan also puts a lot of trust in his audiences to stay put while the first hour of the film comprehensively explores Bruce Wayne’s backstory, with no cape donning and few fight sequences. Nevertheless, the pace never slows, and the story is so unexpected and fascinating (who would have expected a Batman film to begin in a prison in Tibet? only Nolan could pull it off!) there’s little chance of us losing interest. And this way, we really get a sense of who Bruce Wayne is, a trait none of the past movies were able to capture, including the Burton films. We see what drives him, what leads him to become this iconic crime fighter, and the reasoning behind the mask.

Of course, to help the audience get under Bruce Wayne’s skin, it doesn’t hurt to have such a talented lead as Christian Bale. Bale has been emerging as one of the most talented actors of his generation, and he brings that talent to a peak here, playing the darkest of all superheroes. If you were to break down the role of Batman/Bruce Wayne, you would find that it is essentially three characters: Wayne as Batman, behind the mask; Wayne’s public facade as the billionaire playboy; and the real, brooding Bruce Wayne. Bale plays all three of the characters to absolute perfection, and molds them together well enough to make it clear to show they are still the same person. He has been given tons of accolades for his performance already, and needless to say, he deserves every one.

And the sheer quality of the supporting cast is mind-boggling, if for the number of big names only. It’s very hard to find a weak spot in the incredibly strong array of performances here, but if one had to be found, it would have to be Katie Holmes. It’s not that she gives a bad performance, on the contrary, but just she seems too young to be convincing as a district attorney. For me, Michael Gough will always be the definitive Alfred, but Michael Caine does an excellent job of taking over the role, giving a very strong (and often funny) performance. Liam Neeson is sheer class as Ducard, Wayne’s mysterious mentor, as is Morgan Freeman as Lucius Fox, Wayne’s arms manufacturer and provider of the Batman gear. It’s wonderful to see the incredibly talented and much underrated Gary Oldman as Sgt. Gordon, the only decent cop in Gotham, and he truly makes the role his own. Even cult favorite Rutger Hauer makes an appearance as Richard Earle, the ambitious head of Wayne Enterprises. And (surprise surprise!) the villains are also actually menacing for once, as opposed to cartoony and corny. Cillian Murphy just about walks away with the show as the truly chilling Scarecrow (the sequences involving his ‘fear gas’ are surprisingly frightening) Ken Watanabe is mysterious and creepy as guild leader Ra’s Al Ghul and Tom Wilkinson is very convincing as Carmine Falcone, head of the Gotham city mob.

Nolan’s knack for realism also comes as a breath of fresh air in this age of CGI bloated blockbusters – there are next to no computer generated shots in the movie, even a sequence with Batman standing on top of a high building staring down at the city was filmed with a stuntman. And it really works, the Batmobile actually interacts with it’s environment, and looks so much better real than computer generated. But don’t think that the film will come across as too serious and stuffy because of Nolan’s realism – true, Gotham seems too dark and dirty to come across as a fantasy world, but Batman Begins retains that unmistakable sense of fun that seems to only be present in comic book movies. We jeer and fear the villains, and cheer the hero as he lays his life on the line to vanquish evil and save the city. And that is how it should be. There’s even a surprising twist near the end, which is doubly surprising because it actually comes as a shock. What’s not to love here?

(and, further cudos to director Nolan for finally managing to make a swarm of bats actually frightening for once)

Overall, I’d have to label Batman Begins ‘A must see movie’ – it’s a well written, authoritatively directed, impeccably acted (especially by Bale’s powerhouse lead performance and Cillian Murphy’s sickly menacing Scarecrow) and very high quality production. Indeed, most other summer blockbusters could learn a thing or two from Batman Begins. If the Batman franchise died under it’s own gaudiness years ago, let us rejoice this glorious rebirth – Batman truly does begin here.


5 out of 5 stars







The Lone Ranger – Movie Review

A critical and commercial flop in the US, The Lone Ranger arrives here trailing the stink of failure but there’s no need to hold your nose – it’s much much better than you’ve heard. Yes, this $250million reboot for the vintage radio and TV character is overlong, over indulgent and tonally uneven, but it’s also stuffed full of deadpan comedy, breakneck thrills and breathtaking visual spectacle.

It helps, of course, if you’re not allergic to Johnny Depp in wilfully eccentric comic mode. Reuniting with Pirates of the Caribbean director Gore Verbinski, he’s as quirky as ever, his kooky Comanche loner Tonto a near cousin to roguish pirate captain Jack Sparrow.

And it’s Depp’s character who sets the film’s mood and acts as its unreliable narrator, with the story framed as a tale told by the wrinkled and befuddled elderly Tonto to a young boy visiting a Wild West sideshow in 1933 San Francisco – a device that excuses (if you’re feeling generous) the most bizarre touches that follow.

Tonto’s tale explains how upright lawman John Reid (Armie Hammer, who played the Winklevoss twins in The Social Network) came to don the black mask and white hat of the wrong-righting Lone Ranger in 1869 Texas, via brushes with vicious outlaw Butch Cavendish (William Fichtner) and rapacious railroad tycoon Latham Cole (Tom Wilkinson). And Tonto’s tale also explains how he himself came to be an outcast from his tribe and why he became the Ranger’s sidekick.

For some, the sight of a white actor playing an American Indian will be repugnant; some will be repelled by Depp’s face paint, feathers and stuffed crow headdress; others will find his comic shtick of feeding the dead bird crumbs the turn off.

These may be deal-breakers for you; but if you’re happy to enter into the spirit of the enterprise then it’s hugely entertaining. The big action set pieces – including a pair of sequences aboard runaway trains – combine rambunctious sprawling spectacle with a clockwork comic precision. And Depp and Hammer’s double act works like a dream, giving Tonto and the Lone Ranger’s sidekick-hero relationship ironic twists and kinks that acknowledge the change in sensibilities since the duo’s heyday.

But the film doesn’t overdo the irony. There are innocent pleasures to be had here, too. And when score composer Hans Zimmer hands the baton over to Rossini and the rousing strains of the William Tell Overture (theme, of course, to the original radio and TV series) appear on the soundtrack, ready to spur the heroes to another impossible feat of derring-do, it’s hard not to be stirred and swept away.


7 out of 10