2018 Cannes Marathon: The Go-Between

(Winner of the Palme d’Or at the 1971 Cannes Film Festival)

Based on the novel by L.P. Hartley, The Go-Between is the story of a young boy who is invited to his rich friend’s home where he becomes a go-between for his friend’s sister and a tenant farmer neighbor who are having an affair. Directed by Joseph Losey and screenplay by Harold Pinter, the film is a coming-of-age film in which a young boy discovers love and its many complications as well as the differences of social classes and environments. Starring Julie Christie, Alan Bates, Margaret Leighton, Edward Fox, Michael Gough, and Dominic Guard. The Go-Between is a ravishing and evocative film from Joseph Losey.

Set in the span of a summer in the Norfolk countryside in the year of 1900, the film revolves around a 12-year old boy who becomes a messenger for his best friend’s older sister and a farmer who lives nearby unaware that they’re having a secret affair. It’s a film that plays into a boy dealing with the world around him in the course of the summer as he lives in an estate with this rich family where he befriends a young woman and her family. Harold Pinter’s screenplay is largely straightforward yet it would have bits of flash-forwards as it relates to its protagonist Leo Colston (Dominic Guard) who is given the chance to live in this lavish countryside estate in Norfolk, England for the summer with his friend Marcus Maudsley (Richard Gibson) whose parents (Michael Gough and Margaret Leighton) welcome Colston as they show him around their world. Yet, Leo is interested in Marcus’ older sister Marion (Julie Christie) who is also fascinated with Leo as she helps him fit in with their world as Leo notices Marion talking to a tenant farmer named Ted Burgess (Alan Bates) who lives nearby the Maudsley estate.

Pinter’s script would play into this growing conflict within Colston as he is asked by Marion to run to Burgess’ farm and give him a message and vice versa where he becomes this messenger unaware of the contents of these notes. Yet, Colston would figure out what is going on as Marion is being pursued by an estate owner in Hugh, Viscount Trimingham (Edward Fox) whom Colston meets and actually likes but he relates to Burgess more as they both come from similar backgrounds. Once Colston is aware of this connection between Marion and Burgess, he struggles to keep it a secret as he’s also coping with news within the family that would become troubling as suspicion emerges among family members as well as the news of Marion’s engagement to Hugh.

Joseph Losey’s direction does have bits of style in some scenes yet much of it is very straightforward to capture this posh and lavish world that Colston is surrounded by. Shot on location in various parts of Norfolk including Norwich, the film does play into this idyllic world where everyone is living in this lavish home and relax in open landscapes near farms where harvest hasn’t arrived yet. Losey would use wide shots to capture the beauty of the farmland and gardens while he would maintain an intimacy through the close-ups and medium shots for much of the drama. Notably the scenes where Colston would engage Marion or Burgess in their present environment as Colston would walk or run through fields to be their messenger. Yet, things would intensify during the film’s second act with the presence of Hugh who isn’t a bad man but he’s more of a man that is suitable for Marion in terms of social status.

Since the film also would feature these offbeat flash-forwards as it relates to an old man (Michael Redgrave), it would play into Colston’s own role in this secret affair as he’s also in the world of magic where he would try to infuse his wisdom in magic to help them. Instead, things become complicated as Colston would endure not just disappointment but also ideas of adulthood as it would climax with his thirteenth birthday party hosted by Mrs. Maudsley who has been suspicious of her daughter’s frequent disappearances. The moment wouldn’t just be a loss of innocence for Colston but also a truth that many are forced to face as it relates to the idea of love and the taboos it has in high society. Overall, Losey crafts a majestic yet haunting film about a boy being a messenger for two lovers in a secretive affair in the summer of 1900 in Norfolk, England.

Cinematographer Gerry Fisher does excellent work with the film’s cinematography as it play into the natural beauty of the British countryside in the daytime exteriors with the usage of low-key lights for the scenes at night. Editor Reginald Beck does terrific work with the editing as it is largely straightforward with a few jump-cuts to play into the flash-forwards in the film. Art director Carmen Dillon does brilliant work with the art direction with the look of the estate as well as its interiors as well as Burgess’ farm. Costume designer John Furniss does amazing work with the costume with the look of the dresses the women wore in those times as well as the clothes the men wore in high society in the early days of the 20th Century.

The makeup work of Bob Lawrence and hairstyling of Stephanie Kaye is fantastic for the hairstyles that the women had as well as the scar that Hugh sports on his face. Sound recordists Bob Bremner and Mike Rutter do superb work with the sound as it play into the natural elements of the locations as well as carriages sounded in those times. The film’s music by Michel Legrand is incredible as it is a major highlight of the film with its piano-based orchestral score that play into the drama as well as the sense of longing between Marion and Burgess.

The film’s remarkable cast include some notable small roles such as an early appearance from Jim Broadbent as a cricket spectator, Roger Lloyd-Pack as a family friend in Charles, Amaryllis Garnett as Marion’s friend Kate, Richard Gibson as Colston’s friend Marcus who would invite Colston to live with him during the summer, Michael Gough as Mr. Maudsley who is kind to Colston as they collaborate on things relating to nature, and Michael Redgrave in a small yet terrific performance as an old man in the film’s flash-forwards. Edward Fox is superb as Hugh, Viscount Trimingham as a noble figure and family friend of the Maudsley who would show Colston the ways of the world but is also aware of the class divide as he’s pursuing Marion just to ensure that she’ll be fine. Margaret Leighton is fantastic as Mrs. Maudsley as the family matriarch who runs the estate as she becomes suspicious about Marion’s activities outside of the home as well as what Colston does outside the home.

Dominic Guard is brilliant as Leo Colston as a 12-year old boy who is invited to stay at the lavish estate of his schoolmate where he deals with his surroundings as well as being a messenger between two people as he copes with all of the emotional complications that would lead to this loss of innocence. Alan Bates is amazing as Ted Burgess as a tenant farmer who lives nearby as he’s a simple man that likes to run his farm as he gives Colston some advice on life and love as he’s cagey about his relationship with Marion knowing that it would hurt her socially if anyone knew about it. Finally, there’s Julie Christie in an incredible performance as Marion Maudsley as a woman who is from a posh and respected family that finds joy in Colston as she asks him to be a messenger as she tries not to reveal her own feelings for Burgess as it’s a performance with a sense of restraint but also anguish over what she’s being asked to do and what she wants putting Colston in the middle.

The Go-Between is a sensational film from Joseph Losey that features top-notch performances from Julie Christie, Alan Bates, Dominic Guard, and Margaret Leighton. Along with its gorgeous setting, haunting premise, and Michel Legrand’s sumptuous score, it’s a film that explores a boy being caught in the middle over a secretive affair between two people of different social classes. In the end, The Go-Between is a spectacular film from Joseph Losey.

© thevoid99 2018

The Small Back Room

Based on the novel by Nigel Balchin, The Small Back Room is the story of a research scientist who is asked to take part in a research involving a new German weapon during World War II. Written for the screen and directed by Michael Powell and Emeric Pressburger, the film is an exploration of a man dealing with his role in the world as well as succumbing towards self-destructive behavior that would trouble his relationship with his secretary. Starring David Farrar, Kathleen Byron, Jack Hawkins, Robert Morley, Michael Gough, and Cyril Cusack. The Small Back Room is a gripping yet evocative film from Michael Powell and Emeric Pressburger.

It’s 1943 during World War II as the film revolves a bomb expert/research scientist who is asked to do work for the government on a series of new bombs created by the Germans which had killed a few people including children. It’s a film that follows this man who is reluctant in doing the job as he finds himself dealing with military and government officials who don’t do enough to help him while he is becoming troubled by his dependence on alcohol which is troubling his own relationship with his secretary whom he’s in a romantic relationship with. The film’s screenplay by Michael Powell and Emeric Pressburger wouldn’t just follow the struggle that Sammy Rice (David Farrar) is coping with both at work and at home but also the expectations and demands from his bosses at work in trying to understand what this bomb has done. Rice’s secretary/girlfriend Susan (Kathleen Byron) is aware of the chaos that is looming upon him but also his lack of ambition to do more as he’s hampered by a bad leg as well as his growing alcoholism that would eventually take its toll.

The direction of Powell and Pressburger is visually entrancing not just for some of noir-like visual style but also in the fact that it’s a story that is grounded in reality. Shot largely at various sound stages in Britain with some of the exterior locations are shot in and around Britain including the famous site of Stonehenge. The direction for some of the exterior scenes are simple in terms of the few wide shots in the film as much of it have Powell and Pressburger utilize medium shots and close-ups for many of the film’s interior scenes including the scenes at Rice’s lab with his staff at it has this claustrophobic feel for how small it is compared to a conference room during the film’s second half. The scenes at a nightclub where Rice and Susan go to are quite spacious but also intimate where it also has these unique compositions in where the characters are in the frame as well as Rice’s view when he sees Susan dancing with another man.

The direction also include this very surreal sequence as it relates to the struggle that Rice has in his alcoholism where it involves this bottle of whiskey and a clock as it is this amazing sequence filled with unique camera angles and extravagant set designs. It’s a scene that help play into the drama that would intensify in its third act where Rice’s desperation and fragility come into play. The film’s climax which involves a bomb that Rice is researching is quite intense in terms of its suspense where Powell and Pressburger choose to present the whole thing in a restrained approach. It is a moment in the film that is quite chilling in what is going through Rice’s head as tries to figure out what the creator of the bomb would do as it would also force him to confront himself. Overall, Powell and Pressburger create a riveting and mesmerizing film about scientist’s struggle to maintain his sanity during World War II and battling alcoholism.

Cinematographer Christopher Challis does brilliant work with the film’s black-and-white photography with its emphasis on stylish lighting and moods that play into the drama including Rice’s struggle with his sobriety as well as the soft lights for some of the close-ups. Editors Reginald Mills and Clifford Turner do excellent work with the editing as it is quite straightforward with some stylish shots for the nightmare sequence as well as some rhythmic cutting for some of the dramatic suspenseful moments. Production designer Hein Heckroth and art director John Hoesli do amazing work with the look of the lab and offices that Rice works at in how small it is as well as the look of Rice’s apartment home including the nightmare sequence which is a highlight of the film’s art direction.

Costume designer Josephine Boss does fantastic work with the design of the gowns and dresses that Susan wears at work as well as in the nightclub scenes. The sound work of Alan Allen is superb for some of the sound effects that play into the testing of weapons and such including the conference scene where sounds would pop up every now and then to play into some of the film’s intense moments including its climax where it is used sparingly. The film’s music by Brian Easdale is terrific for its mixture of bombastic orchestral music with some eerie textures with the usage of the theremin to play into some of the suspense and drama that looms throughout the film.

The casting by Madeleine Godar is wonderful as it feature some notable small roles from Bryan Forbes as a dying gunner who had a fatal encounter with a German bomb, Sid James as a bartender at the bar Rice frequents at, Milton Rosmer as a fellow professor, Renee Asherson as a corporal at the beach site for the film’s climax, Leslie Banks as a colonel who is trying to speed things up with the weapons test, and Robert Morley as a minister of war who is trying to use his position of power to get Rice to speed things up. Cyril Cusack is terrific as a stuttering soldier in Corporal Taylor who often guards the building that Rice works at as he is one of the few friends that Rice has. Michael Gough is excellent as Captain Dick Stuart as the person who goes to Rice for help about the bomb as he would take part in the research.

Jack Hawkins is brilliant as R.B. Waring as a military official who is trying to help Rice but also be aware of the many things that are happening behind the scenes. Kathleen Byron is incredible as Susan as a secretary who is also Rice’s girlfriend as it’s a radiant performance from Byron as a woman who is supportive but also not afraid to speak her mind about Rice’s lack of ambition as well as dependence on alcoholism. Finally, there’s David Farrar in a phenomenal performance as Sammy Rice as a bomb expert who is also a research scientist that is troubled by the demands from his bosses about the bomb as he also copes with his alcoholism where Farrar’s sense of anguish is riveting to watch.

The Small Back Room is a sensational film from Michael Powell and Emeric Pressburger that features remarkable performances from David Farrar and Kathleen Byron. Featuring a compelling story, eerie visuals, and a great supporting cast, the film is definitely one of the finest war dramas made about World War II that doesn’t feature any combat as well as an exploration of man’s battle with substance abuse. In the end, The Small Back Room is a tremendous film from Michael Powell and Emeric Pressburger.

Powell-Pressburger Films: The Spy in Black - Contraband - (The Lion Has Wings) - (An Airman’s Letter to His Mother) - 49th Parallel - One of Our Aircraft is Missing - The Life and Death of Colonel Blimp - (The Volunteer) – A Canterbury Tale - I Know Where I'm Going! - A Matter of Life and Death - Black Narcissus - The Red Shoes - (The Elusive Pimpernel) - (Gone to Earth) - The Tales of Hoffman - (Oh… Rosalinda!!!) - (The Battle of River Plate) – Ill Met by Moonlight - Peeping Tom - (They’re a Weird Mob) - (Age of Consent) - (The Boy Who Turned Yellow)

© thevoid99 2017

Ill Met by Moonlight

Based on the book by W. Stanley Moss, Ill Met by Moonlight (Night Ambush in the U.S.) is the story of a couple of British officers who arrive in Nazi-occupied Crete where they abduct the island’s commander. Written for the screen, produced, and directed by Michael Powell and Emeric Pressburger, the film is a dramatic account of Moss’ actual real-life work as a British agent who does whatever he can to win the war as he is played by David Oxley. Also starring Dirk Bogarde, Marius Goring, and Cyril Cusack. Ill Met by Moonlight is a gripping and engaging film from Michael Powell and Emeric Pressburger.

Set in April of 1944 during Nazi’s occupation of Greece, the film revolves around two British officers who are tasked with a mission to kidnap a Nazi general at the island of Crete and bring him to Cairo so that the Nazis would be forced out of the island. It’s a film with a simple plot as it plays to two men planning a mission but also deal with what lays ahead as they’re aided by Greek resistance forces at the island who are fighting a guerilla war with the Nazis. The film’s script play into the mission that Major Fermor (Dirk Bogarde) and Captain Moss would go as they had to make sure things go right and no one gets killed. Even as they have to deal with their hostage in Major General Heinrich Kreipe (Marius Goring) who is a man of great intelligence as he knows what he has to endure. Yet, there is a sense of respect between the general and his captors as it relates to strategy as well as making sure the general isn’t killed.

The direction of Michael Powell and Emeric Pressburger is actually simple as it’s more grounded despite that it’s largely shot at Pinewood Studios with some location shooting in the French-Italian alps and at the Cote de Azur in France. The usage of wide and medium shots play into the vast locations while the latter would also be used for these scenes in campfires and inside the homes of the locals at Crete to showcase a world that Major Fermer and Captain Moss are in. The approach to suspense is slow-building as much of the action in the second half is set in the mountains where the British and Greek resistance fighters are trying to hide from the Nazis as well as hide General Kreipe who will try to get their attention. Yet, there are these moments where Major Fermer and Captain Moss are trying to see what to do as it relates to its climax where General Kreipe would know they would have something up their sleeve as he tries to bribe a young Greek boy to ruin things as it has this battle of wits in some respects but one based on respect. Overall, Powell and Pressburger create a riveting yet compelling film about an abduction mission in World War II.

Cinematographer Christopher Challis does excellent work with the film‘s black-and-white photography to capture the naturalistic look for many of the film‘s daytime interior/exterior scenes as well as some lighting for some of the nighttime interior/exterior scenes. Editor Arthur Stevens does nice work with the editing as it is mostly straightforward to play up the suspense as well as some of the action in the film. Art director Alex Vetchinsky does terrific work with some of the set pieces such as the homes of the locals in Crete as well as the look of the warships the British officers would depart from. Sound editor Arthur Ludski does superb work with the sound to capture some of the action involving a few gun battles as well as the sounds of planes and cars surrounding the mountains. The film’s music by Mikis Theodorakis is fantastic for its music score that mixes some orchestral bombast with traditional Greek music including its percussions to help play into the suspense and action.

The film’s amazing cast include some notable small roles from Michael Gough as a Crete local, Christopher Lee as a Nazi officer attacked at a dentist, Dimitri Andreas as a Crete boy who would help the officers while befriending General Kreipe, and as a trio of Greek resistance fighters helping the British officers in Brian Worth, Paul Stassino, and Rowland Bartrop. Cyril Cusack is terrific in his small role as Captain Sandy Rendel who would also aid the officers in planning the capture as he would later take part in the film’s climax. David Oxley is fantastic as Captain W. Stanley “Billy” Moss as Major Fermor’s partner who would come up with ideas and do whatever he can to make sure no one gets killed.

Marius Goring is excellent as Major General Heinrich Kreipe as the island’s commander who is kidnapped as he realizes what he goes on where would try to resist only to realize the men he is dealing are just as smart as he is where he has a bit of respect for them. Finally, there’s Dirk Bogarde in a brilliant performance as Major Patrick “Paddy” Leigh Fermor as the leader of this operation who tries to ensure everything goes right while dealing with General Kreipe as he knows that he is an amateur in situations like this but does whatever he can to ensure the general’s survival.

Ill Met by Moonlight is a marvelous film from Michael Powell and Emeric Pressburger. While it is a different war film of sorts where there isn’t a lot of violence in favor of planning, character study, and a battle of wits. It is a film that still manages to offer a lot in terms of suspense as well as be a war film that doesn’t exactly play by the rules. In the end, Ill Met by Moonlight is a remarkable film from Michael Powell and Emeric Pressburger.

Powell/Pressburger Films: The Spy in Black - Contraband - (The Lion Has Wings) - (An Airman’s Letter to His Mother) - 49th Parallel - One of Our Aircraft is Missing - The Life and Death of Colonel Blimp - (The Volunteer) - A Canterbury Tale - I Know Where I'm Going! - A Matter of Life and Death - Black Narcissus - The Red Shoes - The Small Black Room - (Gone to Earth) - The Tales of Hoffmann - (Oh… Rosalinda!!!) - (The Battle of the River Plate) - Peeping Tom - (They’re a Weird Mob) - (Age of Consent) - (The Boy Who Turned Yellow)

© thevoid99 2016

Batman Forever

Based on the DC Comics by Bob Kane, Batman Forever is the story of Batman facing new foes as he also deals with his own traumas and identity while taking in a young man who would become his new partner in Robin. Directed by Joel Schumacher with a screenplay by Akiva Goldsman, Lee Batchler, and Janet Scott-Batchler from a story by the Batchlers, the film is the third film of the franchise that began with the 1989 film as Val Kilmer plays the role of the Caped Crusader and Bruce Wayne with Chris O’Donnell in the role of Dick Grayson/Robin while the villains in Harvey “Two-Face” Dent and Edward Nygma/the Riddler are respectively played by Tommy Lee Jones and Jim Carrey. Also starring Nicole Kidman, Pat Hingle, Drew Barrymore, Debi Mazar, and Michael Gough. Batman Forever is an entertaining but messy film from Joel Schumacher.

The film is about Batman facing two new villains as he tries to cope his role as Bruce Wayne and Batman where he also deals with his parents’ death just as a young man named Dick Grayson just lost his parents. While Batman deals with the maniacal Harvey “Two-Face” Dent, who was Gotham’s district attorney until an incident left the left-part of his face scarred as Batman was blamed for it, and a former Wayne Enterprise employee in Edward Nygma who becomes the Riddler. Adding to Wayne’s complicated life is the presence of a psychiatrist Dr. Chase Meridian (Nicole Kidman) who is obsessed with Batman as Wayne goes to her over his own identity issues. In taking the young Grayson, Wayne eventually realizes that he’ll need Grayson to stop Two-Face and the Riddler as Grayson would become Batman’s new sidekick Robin.

The film’s screenplay does create some nice reference to the origin stories of Robin, Two-Face, and the Riddler as they are interesting characters. Yet, the script is much-more lighthearted in its approach to action by infusing some humor into the film as it relates to the Riddler who creates an invention that would extract information from other people’s minds as he would be the one to discover Wayne’s secrets. They’re among some of the elements of the film’s script that works yet there’s some things that don’t work as the characterization of Dr. Meridian is she is this woman whose obsession for Batman makes her somewhat unprofessional as a psychiatrist. Plus, she becomes this damsel-in-distress later on as the writing doesn’t really give her more to do while some of the re-hashing of Bruce Wayne’s past is definitely uninspiring since it’s stuff that audiences already know.

Joel Schumacher’s direction does have some nice moments as the presentation of the film is far more colorful than its predecessors that were helmed by Tim Burton. Even as Schumacher was able to keep things lively in some of the film’s humor and action sequences with some dazzling compositions and moments that are very entertaining. Yet, there’s some moments in Schumacher’s direction that doesn’t work as there is a bit of cheese in some of the dialogue and action sequences where it’s clear that Schumacher wants to create something that is fun but there’s things that feels off since Batman is really a very dark character. One aspect of the direction that is very annoying are the slanted camera angles which are overdone as it makes not sense to some of the visuals in the film. While the film does have an amazing climax, it does get over-the-top at times where it would play into Batman finally accepting his two identities though some of the presentation comes off as very silly. Overall, Schumacher crafts an exciting but dizzying film about Batman and Robin fighting Two-Face and the Riddler.

Cinematographer Stephen Goldblatt does nice work with some of the film‘s extravagant lighting for the look of Gotham as well as creating some shadows and lighting schemes to play into some of the darker moments of the film. Editors Dennis Virkler and Mark Stevens do terrific work with the editing with its use of flashback montages and rhythmic cuts for some of the film‘s action scenes. Production designer Barbara Ling, with art directors Christopher Burian-Mohr and Joseph P. Lucky and set decorator Cricket Rowland, does excellent work with the set pieces from the look of Gotham as well as the secret lair of Two-Face. Costume designers Bob Ringwood and Ingrid Ferrin do some good work with the clothes that Two-Face and the Riddler wear though the look of the Batsuit with nipples and codpieces are just ridiculously bad.

Special makeup designer Rick Baker does amazing work with the look of Two-Face where his left face is badly scarred to play into his unstable personality. Visual effects supervisors Andrew Adamson, Eric Durst, Boyd Shermis, and David Stump do some wonderful work with the miniatures of Gotham and some of the CGI look in some of its action sequences. Sound editors John Levesque and Bruce Stambler, along with sound designers Frank Kniest and Roland N. Thai, do some superb work with the sound from the way Riddler‘s machine extracts information from other people‘s minds to the layering of sounds in the action scenes. The film’s music by Elliot Goldenthal is pretty decent for its orchestral bombast with some triumphant moments but also some humorous pieces while music supervisor Jolene Cherry brings in an eclectic soundtrack that features song by the Flaming Lips, U2, the Offspring, Brandy, and Seal.

The casting by Mali Finn is brilliant for the ensemble that is created as it features some notable appearances from Don “The Dragon” Wilson as a gang leader Grayson encounters, Jon Faverau as a Wayne Enterprise assistant, Rene Auberjonois as the doctor from Arkham Asylum, Joe Grifasi as a bank security guard that Batman saves early in the film, and Ed Begley Jr. as Nygma’s boss who is later killed by Nygma. One small role that isn’t very good is the Gossip Gertie character performed by Bob Kane’s wife Elizabeth Sanders as it’s a very annoying character that serves no purpose to the film. Michael Gough and Pat Hingle are terrific in their respective roles as Alfred Pennyworth and Commissioner Gordon as Gough serves as a father-figure to Grayson while Hingle has Gordon be the man who would bring Grayson to Bruce Wayne.

Drew Barrymore and Debi Mazar are both fun to watch in their respective roles as Two-Face’s assistants Sugar and Spice. Nicole Kidman is alright as Dr. Meridian Chase as this woman who has some charm and sexiness but the writing doesn’t really do any favors for Kidman as her character turns out to be very obsessed with Batman. Chris O’Donnell is excellent as Dick Grayson/Robin as a lost young man wanting vengeance on Two-Face while asking for help from Batman. Tommy Lee Jones is fantastic as Two-Face as this maniacal man who uses a coin to make decisions while wanting to kill Batman at any cost.

Jim Carrey is great as the Riddler as this former Waynes Enterprise employee who wants to get rid of Batman for not accepting his invention and become even richer than Batman as Carrey is just fun to watch. Finally, there’s Val Kilmer in a pretty good performance as Bruce Wayne/Batman as Kilmer does maintain that brooding persona of Batman but doesn’t really make Wayne very interesting while some of the characterization of Batman is off as it includes a shot of Batman smiling. Batman is not supposed to smile.

Batman Forever is a solid film from Joel Schumacher. Thanks to the lively performances of Jim Carrey and Tommy Lee Jones as the villains, it’s a film that is very entertaining but loses a lot of the dark aspects of the Batman character in favor of being more accessible to a younger audience. Especially as Schumacher’s colorful presentation is a bit overwhelming at times where it allows the film and Batman to lose its edge. In the end, Batman Forever is a good but troubling film from Joel Schumacher.

Batman Films: (Batman (1966 film)) - Batman (1989 film) - Batman Returns - Batman & Robin - Batman Begins - The Dark Knight - The Dark Knight Rises - Batman v Superman: Dawn of Justice - The Lego Batman Movie - The Batman (2022 film)

© thevoid99 2014

Batman Returns

Based on the DC Comics by Bill Finger and Bob Kane, Batman Returns is the sequel to the 1989 film in which Batman faces a new foe in the Penguin who teams up with a business tycoon to take down the Batman while a mysterious vigilante in Catwoman also creates trouble. Directed by Tim Burton with a screenplay by Sam Hamm and Daniel Waters from a story by Hamm, the film is a darker story than its predecessor as Bruce Wayne/Batman deals with his new foes as Michael Keaton reprises his role with Michelle Pfeiffer as Selina Kyle/Catwoman, and Danny Devito as Oswald Cobblepot/the Penguin. Also starring Pat Hingle, Michael Gough, Michael Murphy, Cristi Conaway, and Christopher Walken as Max Shreck. Batman Returns is a superbly thrilling film from Tim Burton.

The film is an exploration into Bruce Wayne adjusting to his role as Gotham’s peacekeeper as new enemies emerge during the Christmas holidays to wreak havoc on the city. Among them is a deformed man known as the Penguin who wants to take over Gotham where he kidnaps the industrialist Max Shreck as the two team up to control Gotham. Adding to the chaos is a woman named Selina Kyle who was a secretary of Shreck as she was pushed out of a window and fell many stories to the ground. Kyle would survive the fall as she becomes Catwoman as she becomes a vigilante of her own as she causes problems for Batman where she briefly aligns with the Penguin. Yet, Kyle’s life is more complicated when she falls for Bruce Wayne unaware that he’s Batman and vice versa as it would lead to a very troubling climax.

The film’s screenplay by Sam Hamm and Daniel Waters, with additional work by Wesley Strick, doesn’t just explore Bruce Wayne being this hero for Gotham but also encounter these new forces. The real villain in the film is Max Shreck as he is this industrialist that wants to create a new power-plant for Gotham when the city doesn’t need it. When Kyle accidentally learns what Shreck is doing, Shreck tries to kill her as he would use the Penguin to usurp Gotham’s mayor (Michael Murphy) to become the new mayor so Shreck can build his power plant. Though Penguin had his own plans to create chaos in Gotham, he teams up with Shreck for power while trying to discredit Batman with the help of Catwoman. One of the aspects of the script that is unique is the fact that it’s a film about identity as it relates to Batman, Penguin, and Catwoman.

Whereas Bruce Wayne tries to cope with his dual role as he is also seeking some balance as a man where he wouldn’t need to keep secrets. Though he accepts his role as Gotham’s hero, it’s not one that he easily accepts as he has few allies in the city. The Penguin maybe an antagonist but not a conventional one as the film begins with his birth as he arrives as a deformed baby his rich parents would dump into a sewer just days after his birth. In being this outcast, he wants to destroy Gotham only to become a pawn in Shreck’s plans that forces him to become more determined for Gotham’s end. Then there’s Selina Kyle who starts out as this timid secretary who lives with a cat as her near-death experience in the hands of Shreck has her becoming this unstable woman that not only wants to get revenge on Shreck but her encounter with Batman would create a very complicated relationship as their real-life personas are in love with each other while there’s a strange attraction between the two in their other personas. Catwoman isn’t a villain nor a hero but a true anti-hero who is only in it for herself.

Tim Burton’s direction is definitely more extravagant in some respects but also very offbeat in its mix of dark humor, action, and suspense. Yet, there’s a looseness to the story where Burton is able to make all of these elements fuse together though not all of these moments work. Still, he is able to create some exotic scenes and action sequences that are very exciting as it includes a very memorable moment where Catwoman introduces herself to Batman and the Penguin. The use of close-ups, wide shots, and medium shots gives Burton some room to breathe in the way he creates some of these moments while being able to explore the complexity of identity in the film in shots that are much more simpler. Especially in the romantic attraction between Wayne/Batman and Kyle/Catwoman as there’s an element of sensuality in that attraction.

The direction is also stylish in the way some of the action scenes and in some of the humor that is presented though a lot of its very dark. Especially in the film’s climax as it involves Batman, the Penguin, Catwoman, and Shreck as it features extravagant set pieces as well as a lot of penguins where some of it is real and some are robotic. The usage of animals do add some style to the film where they would aid whoever is needed as its climax is both enthralling but also somber where it would play into Batman/Wayne’s struggle to find a balance in his dual role. Overall, Burton crafts a very exciting and stylish film about Batman coming to terms with his identity and the new foes he faces.

Cinematographer Stefan Czapsky does excellent work with the film‘s cinematography from the look of the exteriors of Gotham as well some of the lighting in the sewer home of the Penguin and his army as well as the shadows in the Batcave. Editors Chris Lebenzon and Bob Badami do nice work with the editing as it‘s pretty straightforward with some stylish cutting for some of the film‘s action scenes as well as some of its humorous moments. Production designer Bo Welch with set decorator Cheryl Carasik and supervising art director Tom Duffield, does amazing work with the set pieces from the look of the city square in Gotham to the Batcave as well as the Penguin‘s lair, and the apartment Kyle lived in. Costume designers Bob Ringwood and Mary E. Vogt do fantastic work with the look of Catwoman‘s costumes as well as the clothes of the Penguin and the suits that Max Shreck wears.

Makeup designers Stan Winston, Ve Neill, and Ronnie Specter do brilliant work with the makeup design of the Penguin as well the look of his band of freaks that he leads. Visual effects supervisor Michael L. Fink does terrific work with some of the visual effects that includes some early ideas of CGI as well as the use of miniatures in some of the action sequences. Sound editors Richard L. Anderson and David E. Stone do superb work with the sound to create some layering of sounds in the action scenes as well as some of the scenes set in Gotham. The film’s music by Danny Elfman is incredible for its mixture of bombastic orchestral pieces to some more serene and enchanting pieces to play into some of the melancholia as the film’s soundtrack also includes a few Christmas pieces and a collaboration with Siouxsie & the Banshees for the song Face to Face.

The casting by Marion Dougherty is great for the ensemble that is created as it features cameo appearances from Jan Hooks as a PR assistant, Vincent Schiavelli as one of the Penguin’s henchmen, Anna Katarina as the poodle lady who works for the Penguin, and in the role of Penguin’s parents, Paul Reubens and Diane Salinger who had appeared in Burton’s first film Pee-Wee’s Big Adventure. Other notable small roles include Andrew Bryniarski as Shreck’s son Chip, Cristi Conaway as the Ice Princess who lights Gotham’s Xmas tree, and Michael Murphy as the city’s mayor. Reprising their roles from the first film, Pat Hingle and Michael Gough are terrific in their respective roles as Commissioner Gordon and Alfred Pennyworth where Gordon becomes one of the few men who trusts Batman while Pennyworth helps Batman/Wayne in uncovering some of the mysteries relating to the Penguin.

Christopher Walken is brilliant as the very manipulative and power-hungry Max Shreck as Walken has this charm that makes him a very unique villain that doesn’t have any personas but is willing to use people for his own means. Danny DeVito is fantastic as the Penguin as a man who learns about his family as he becomes manipulated into becoming a politician only to realize that he is who he is as he wants to destroy Gotham and its hero Batman. Michelle Pfeiffer is phenomenal as Selina Kyle/Catwoman as this woman who despises Shreck for his plans and later trying to kill her as she becomes this very unstable woman that wants to create chaos as she also falls for Wayne/Batman. Finally, there’s Michael Keaton in a superb performance as Bruce Wayne/Batman as Keaton displays more aggression in his role as Batman while still being a bit brooding as he showcases Wayne’s struggle to balance his dual roles as he also has some great chemistry with Pfeiffer in their different personas.

Batman Returns is an excellent film from Tim Burton that manages to be a worthy sequel to its 1989 predecessor. Armed with an amazing cast as well as dazzling set pieces and Danny Elfman’s sumptuous score that includes a song by Siouxsie & the Banshees. While it is a darker film than its predecessor, it is still an engaging one for the way it explores identities and one man’s desire to balance his role as a man and crime fighter. In the end, Batman Returns is a marvelous film from Tim Burton.

Tim Burton Films: (Pee-Wee’s Big Adventure) - Beetlejuice - Batman - (Edward Scissorhands) - Ed Wood - (Mars Attacks!) - (Sleepy Hollow) - (Planet of the Apes (2001 film)) - (Big Fish) - (Charlie & the Chocolate Factory) - (Corpse Bride) - (Sweeney Todd: The Demon Barber of Fleet Street) - (Alice in Wonderland (2010 film)) - (Dark Shadows) - (Frankenweenie) - (Big Eyes) - (Miss Peregrine's Home for Peculiar Children) - (Dumbo (2019 film)) - Beetlejuice Beetlejuice

Batman Films: (Batman (1966 film)) - Batman Forever - Batman & Robin - Batman Begins - The Dark Knight - The Dark Knight Rises - Batman v Superman: Dawn of Justice - The Lego Batman Movie - The Batman (2022 film)

© thevoid99 2014

Batman (1989 film)

Based on the DC Comics by Bill Finger and Bob Kane, Batman is the story about a mysterious vigilante who battles corruption in Gotham City as he deals with a former mob enforcer who would become the Joker who is set to wreak havoc on the city. Directed by Tim Burton and screenplay by Sam Hamm and Warren Skaaren from a story by Hamm, the film is an origin-story of sorts of how Bruce Wayne deals with the loss of his parents in the hands of the man who would become the Joker while falling for a photojournalist. In the role of Wayne/Batman is Michael Keaton while playing the role of the Joker is Jack Nicholson. Also starring Kim Basinger, Robert Wuhl, Michael Gough, Pat Hingle, Tracey Walter, Billy Dee Williams, Jerry Hall, and Jack Palance. Batman is an adventurous yet stylish film from Tim Burton.

The film is about Bruce Wayne and his alter-ego in Batman as he tries to save Gotham from chaos as its bicentennial is approaching. In this role of a vigilante who isn’t accepted by the police, Batman would spread fears into the criminals as he would fight the mob where an encounter with the enforcer Jack Napier at a chemical plant would have some repercussions where Napier falls into a chemical waste as he would survive and become a more psychotic killer in the Joker. The Joker would wreak havoc on Gotham forcing Batman to try and stop him while Wayne would deal with the trauma over his parents death as he falls for the photojournalist Vicki Vale (Kim Basinger) who is helping a reporter in covering a story on Batman. It’s a film that isn’t a traditional origin-story but rather an interpretation into what drives Bruce Wayne into becoming Batman as well as coming to terms with his loss and the man who killed his parents when he was a kid.

The film’s screenplay does subvert a lot of the ideas of the origin story in order to make it a film in not just Jack Napier’s transformation as the Joker but also in how he would get Batman to emerge out of the shadows and save Gotham. When Wayne isn’t Batman, he acts as this reclusive and eccentric billionaire who is sort of aloof to the public including Vicki Vale and her journalist friend Alexander Knox (Robert Wuhl) as it’s just a cover for the fact that he is trying to stop corruption in the hands of mob boss Carl Grissom (Jack Palance). Yet, Grissom would try to kill Napier who had been having an affair with Grissom’s mistress as it would force Napier as the Joker to kill Grissom and take over all of the operations. Yet, the Joker just wants to create chaos and destroy the Batman so he can rule Gotham. This would force Wayne to not only step up against the Joker but also deal with the wounds and trauma so he can gain some peace.

Adding to the dramatic elements of the story is the presence of Vicki Vale as she helps Knox try to find the identity of Batman as she gets close to Bruce Wayne where she and Knox eventually learn about Wayne’s past and his parents death. She would eventually become an object of desire for the Joker who would try to woo her in the most insane ways as it adds to some of the film’s dark humor.

Tim Burton’s direction is very extravagant in some of the set pieces he creates from the Axis chemical plant to the city of Gotham itself as it becomes a playpen of sorts for him. With its emphasis on miniatures and other special effects, Burton creates a film that does have a look that is quite dark but also very offbeat. Much of the staging of the fights and action sequences that is shot at Pinewood Studios in England has Burton going for a world that definitely seems to have a bit of a comic-book look but also a bit of realism. The compositions that Burton creates for those scenes are vast and powerful as it includes the climatic showdown between Batman and the Joker as well as an earlier confrontation at a museum.

The dramatic and humorous scenes are also interesting in the way Burton maintains a certain intimacy in his direction. Especially in the latter as the humor is very dark yet somehow manages to be very funny. There’s an energy to those scenes while the dramatic moments including a flashback scene of the death of Wayne’s parents are quite eerie but also somber in how Wayne tries to cope with that loss. That balance of humor, adventure, drama and suspense somehow manages to create a film that doesn’t have all of the attributes of a great blockbuster film but also something more. Overall, Burton creates a film that does more than what it needed to be while also being a whole lot of fun to watch.

Cinematographer Roger Pratt does excellent work with the film‘s cinematography with its use of shadows and such for some of the film‘s interior scenes at night as well as the elaborate lighting schemes for the parade and some of the exterior settings in Gotham. Editor Ray Lovejoy does brilliant work with the editing with its approach to rhythms that allows each moment to shown while slowing things down in the more dramatic portions of the film. Production designer Anton Furst, with set decorator Peter Young and supervising art director Leslie Tomkins, does fantastic work with the set pieces from the look of Gotham City as well as the places such as Wayne Manor, the Axis Chemicals factory, and other places in Gotham while Keith Short does superb work in the design of the Batmobile.

Costume designers Bob Ringwood and Tony Dunsterville do terrific work with the design of the costumes from the suits of the Joker as well as the costume that Batman wears. Makeup designer Nick Dudman does wonderful work with the design of the makeup that the Joker wears. Visual effects supervisor Derek Meddings does nice work with some of the visual effects that includes some animation and miniatures in some of the designs of the places in Gotham. Sound editor Don Sharpe does some fine work with the sound to create some of the film’s sound effects as well as the chaos that goes on in Gotham. The film’s music by Danny Elfman is great for its bombastic orchestral theme to play into some of the adventure and drama that occurs in the film while the soundtrack features an album of original songs by Prince that plays into the film‘s humor as it‘s mixture of funk and soul music with a bit of rock adds a unique flavor to the film.

The casting by Marion Dougherty is incredible for the ensemble that is created as it features some notable small appearances from William Hootkins as the corrupt Lt. Eckhardt, Lee Wallace as Gotham’s Mayor Borg, Tracey Walter as Jack’s right-hand man, David Baxt and Sharon Holm as Bruce’s parents in the flashback scene, Charles Roskilly as the young Bruce Wayne, Hugo E. Blick as the young Jack Napier, and Jerry Hall as Carl Grissom’s mistress Alicia. Jack Palance is excellent as Jack’s boss Carl Grissom who tries to have Jack whacked only to deal with the more psychotic Joker. Billy Dee Williams is terrific as the new district attorney Harvey Dent while Pat Hingle is superb as Commissioner James Gordon. Alfred Gough is wonderful as the very resourceful Alfred Pennyworth who helps Bruce in all sorts of things. Robert Wuhl is brilliant as the reporter Alexander Knox as he says some funny things while being the guy trying to get Vale not to get too close.

Kim Basinger is pretty good as Vicki Vale as this determined photojournalist who falls for Bruce Wayne while becoming the unwilling object of affection of the Joker. Jack Nicholson is magnificent as Jack Napier/the Joker as a mob guy who likes to take care of business only to become this very strange psychotic who always has some funny things to say while being a complete psychopath as it’s definitely one of Nicholson’s best roles. Finally, there’s Michael Keaton in a marvelous performance as the titular character/Bruce Wayne as Keaton brings this very restrained performance that has this brooding quality to both personas as well as a bit of aloofness in his approach to Wayne while being the badass as Batman.

Batman is a remarkable film from Tim Burton that features outstanding performances from Michael Keaton and Jack Nicholson. Along with a strong supporting cast and great set designs, it’s a film that definitely serves as a standard-bearer for many superhero blockbuster films while it’s also a film that is very fun to watch. In the end, Batman is an incredible film from Tim Burton.

Tim Burton Films: (Pee-Wee’s Big Adventure) - Beetlejuice - (Edward Scissorhands) - Batman Returns - Ed Wood - (Mars Attacks!) - (Sleepy Hollow) - (Planet of the Apes (2001 film)) - (Big Fish) - (Charlie & the Chocolate Factory) - (Corpse Bride) - (Sweeney Todd: The Demon Barber of Fleet Street) - (Alice in Wonderland (2010 film)) - (Dark Shadows) - (Frankenweenie) - (Big Eyes) - (Miss Peregrine's Home for Peculiar Children) - (Dumbo (2019 film)) - Beetlejuice Beetlejuice

Batman Films: (Batman (1966 film)) - Batman Forever - Batman & Robin - Batman Begins - The Dark Knight - The Dark Knight Rises - Batman v Superman: Dawn of Justice - The Lego Batman Movie - The Batman (2022 film)

© thevoid99 2014

Batman & Robin

Originally Written and Posted at Epinions.com on 9/15/05 w/ Additional Edits.

When Tim Burton was selected to do a big-screen version of the Caped Crusader Batman back in 1989, he did his job in creating two successful features with the first one with Jack Nicholson and Michael Keaton as Batman. 1992's Batman Returns with Michelle Pfeiffer, Danny DeVito and Christopher Walken was also successful. When Burton chose to drop out to do more personal projects, he remained an executive producer for the third Batman film entitled Batman Forever with Val Kilmer in the role. Chosen to direct the project was Joel Schumacher who had success with such films as St. Elmo's Fire and The Lost Boys. Also starring Tommy Lee Jones, Jim Carrey, Nicole Kidman, and Chris O'Donnell as Robin, Batman Forever was successful though fans of the comic book hated Schumacher's take on the Caped Crusader. Schumacher was selected again to do a fourth one which to this day, is considered to be the worst of the franchise entitled Batman & Robin.

With a screenplay by Akiva Goldsman, Batman & Robin focuses on the duo's battle with a couple of new villains, Mr. Freeze and Poison Ivy while the duo gets help from Batgirl. With Burton no longer involved, whatever was left of the fear presence Batman has was gone. Instead, it's all about the campy style of 1960s Batman with 1990s blockbuster extravagance as George Clooney takes on the role of Batman and Bruce Wayne. With O'Donnell returning as Robin/Dick Grayson along with two of the franchises' mainstay in Michael Gough as Alfred and Pat Hingle as Commissioner Gordon. The casting would only get worse with Arnold Schwarzenegger as Mr. Freeze, Uma Thurman as Poison Ivy/Pamela Isley, and then-"It" girl Alicia Silverstone as Batgirl. In the end, Batman & Robin provides everything that is needed for spewing commentary when fans watch it as if they're in another episode of Mystery Science Theater 3000.

Mr. Freeze is robbing a museum at Gotham with his gang of hooligans on ice as it's up to Batman and Robin to save the day. Freeze's attempt to steal a diamond nearly goes smoothly as Batman and Robin try to stop him, and a rocket though Robin gets frozen as Freeze succeeds in his mission. Batman learns that Freeze's diamond thefts are for a research to cure a rare disease called McGregor's Syndrome that took his wife Nora Fries (Vendela) away. Freeze has frozen her to work on curing the disease in its stages as he needed more diamonds to steal so he can fund his research.

Meanwhile in a lab, a mad doctor Jason Woods (John Glover) has created an experiment to create a super-soldier named Bane (Jeep Swenson) as a scientist named Pamela Isley sees what Woods does as he attacks her, thinking that she is dead only to be revived as a sexpot with poisonous lips as she takes Bane with her. With Alfred starting to ail, Bruce Wayne and Dick Grayson receives a surprise visit from Alfred's niece Barbara (Alicia Silverstone) who has just left school. While Barbara on the surface might seem like a nice girl, she has a knack for trouble and motorcycle racing which Dick begins to suspect. Bruce unveils a brand new telescope to research space as he is confronted by Isley and during a charity auction, Batman and Robin are introduced to Poison Ivy. That same night, Freeze succeeds in stealing another diamond until being stopped by Batman though Robin's frustration in a lack of equal partnership takes its toll.

Freeze is imprisoned in Arkham Asylum as Ivy and Bane breaks him out to retrieve his diamonds and wife as Batman and Robin learn that he's broken out. Their attempt to capture him fails as they're being seduced by Poison Ivy with Batman realizing her powers. Things at home get worse as Alfred is dying with McGregor's Syndrome as Barbara wants to know a secret that Alfred is keeping. When Ivy tells Freeze that his wife has died from Batman's hands, Freeze decides to take vengeance into freezing Gotham for good. With Ivy disguised as Isley approaches at an opening for the telescope, Bruce learns who she really is as he tries to stop Robin from coming to her. Barbara learns the secret as she becomes Batgirl where she helps Robin and Batman stop Freeze and Poison Ivy. Do they succeed? Will Robin score with Poison Ivy? Will Mr. Freeze find a cure for the rare disease? Do.... we even care at this point?

For many purists and fans of Batman, they know Batman as simply as one thing. A superhero who brings fear to his enemies. This Batman however, doesn't scare you. He doesn't even do anything but make a fool of himself and say the most inane things while carrying a credit card. That is not Batman! Batman doesn't go out, stop for Big Macs, hitting on women, fighting criminals with lame gadgets, and having to breast-feed Robin. NO!!!! NO, NO, NO, NO, NO, NO, NO, NO, NO, HELL TO THE NO!!!!!!

The fault shouldn't just totally be on just Joel Schumacher but also screenwriter Akiva Goldsman, the guy who wrote A Beautiful Mind and Cinderella Man. He also wrote such crap-fest as Deep Blue Sea and Lost in Space. Obviously, this guy has not read a single Batman comic book and really doesn't understand the mystique and dark humor that the Caped Crusader has. There's no depth into what Batman does or says, not even Bruce Wayne does anything except go to parties with his girlfriend, mope on Alfred, and be an overbearing dad to Robin. The dramatics of the script feels contrived and uninspiring as it gets overshadowed by bad puns, one-liners, and worst of all, the lines that the audience will know is coming. This is by far one of the worst screenplays ever conceived.

If the script was bad enough, nothing could get any worse in the film's meandering, bloated direction from Joel Schumacher. Not only does he miscalculate in what the audience wants, he presents things and ideas that shouldn't be on a franchise film like Batman. There's fireworks explosions and slow camera action in every action scene and there's a feeling on what is expected. There's nothing going on in the film and the fighting is just.... yawn. Ok, the campy style of the 1960s TV show was entertaining and all but in this film, it just goes way too far. Do we really need batskates, surfboarding, motorcycles, car chases, and all of this into one film where nothing really happens?

It gets worse as when Schumacher tries to take a break from the action, he aims for drama and comedy where it feels flat. The comedy aspect of the film is just silly and only funny in a very bad way. The drama with the subplot of Alfred dying doesn't give much to the story and we know he's going to live. We just don't care. The childhood image flashbacks that Bruce has is supposed to be sentimental but comes out in a very contrived, cheesy way. Nothing in the story works or directing works. The subplots of Barbara doing her thing, Ivy's attempt to destroy the world for her plants, and Freeze wanting to save his wife is really a distraction. The main story is supposed to be about Batman and Robin trying to find equal footing but there's not much going on. Robin gets all bitchy, Batman gets all possessive, they fight over Ivy, and in the end, decide to become partners. Wow...

When the third act arrives and there's a chance to save the world, whatever intelligence is left in the film has vanished into a contrive moment where Batman tries to get Mr. Freeze to be good. It's pathetic. Schumacher should've been shot after making this film and there's never a moment where the film works in any way, even in the technical area. The production of the film feels like it's shot in a studio where it just feels lifeless. The whole area in the exteriors feels like a cartoon where even in the car chase scenes, it's like watching toy cars chasing each other. The interiors don't work either since it comes off in a bloated way. The film's production design by Barbara Ling is just awful in what Schumacher wanted in got while Stephen Goldblatt's cinematography is just off-the-wall with excessive color lighting that is unnecessary. And the costumes by Ingrid Ferrin and Robert Turturice that features nipples on the Batsuits where Schumacher has an excuse to have butt shots and nipple shots in the suits. Ugh!!!!!!!! Oh, Batman has a new Batmobile, it was like the last one. Lame.

Anyone who watches the film closely will definitely see errors and there's many of them. The sound dubbing is awful on a few parts where throughout the entire film, it's mixed way too loud, even if you turn your TV down. The editing by Dennis Virkler doesn't do anything to the film in its overlong running time of 130-minutes plus a scene that is badly edited where Robin is in a pool and suddenly, the film rewinds as he is stuck in the pool. That is some very bad editing. The film score Eliot Goldenthal really does nothing to the film only to know what's coming along with its lame theme. Then, we have the film's awful soundtrack featuring one of the Smashing Pumpkins' worst songs ever and an awful ballad from R. Kelly for Gotham City. (in singing voice) Oh, I love Gotham City, My body's calling!!!! Please buy my new album!!!!! I need to beat my case!!!

Tracks from R.E.M., the Goo Goo Dolls, Jewel, Bone Thugs-N-Harmony, Moloko, Soul Coughing, Underworld, Eric Benet, and Me'Shell Ndegeocello add nothing to the film at all since it's all merely used for commercial reasons.

Then there's your cast and ok... what else is there to say? They all sucked!!!!! They all should've gotten a Razzie Award for worst ensemble cast. Ok, we have supermodel Vendela being stuck in a tank and Vivica A. Fox as a wannabe squeeze for Mr. Freeze. Next. Oh, we have former pro wrestler turned former Governor of Minnesota, Jesse Ventura in a cameo. There's also Coolio and Nicky Katt in the bike racing scenes. Ok... The worst character to come from this and the previous film Batman Forever was a character named Gossip Gerty played by Elizabeth Sanders who just does nothing but blabs and blabs. Ugh... Bane is just a terrible character who just acts like King Kong without the brains and breaks things. This was Jeep Swenson's last role and months later, he died which is sad but this is what he'll be remembered for? For shame. Elle MacPherson plays Bruce Wayne's new girlfriend and does nothing but look pretty. Ok. John Glover goes overboard as a mad scientist, he's not funny, he's not scary. He's just stupid.

Pat Hingle does nothing but be idiotic as Commissioner Gordon, where's Gary Oldman when you need him? Michael Gough does nothing but acts like he's in constipation throughout the film as he gives a very uninspiring performance. Michael Caine was better as Alfred since he actually makes Alfred not only cool but is the moral guide for Batman and actually gets to kick some ass Just get the kid who played the young Bruce Wayne in Batman Begins in this movie and he'll just out act everyone.

Now we go to the main cast. Ok, Uma Thurman is a great actress but what was she thinking when she did this and The Avengers? Oh, $$$$$. Thankfully, she would redeem herself with Kill Bill but imagine if the Bride was in Batman & Robin and was going up against Poison Ivy and Batgirl. Hell, let's add Halle Berry's Catwoman into the mix. It would be done in five seconds as the Bride wins victorious with her Hanzo sword. Thurman is a walking joke throughout the film with her awful, big red hair, overly-done costumes, and does nothing but say awful one-liners in a bad noir-like female voice. Then in her fight scene with Batgirl, bad, bad, bad, bad, bad!!!!!! Ok, everyone has been found guilty and is forced to live in fear of the new Batman. Uma, since you've done Kill Bill, you're free to go but remind yourself to not do things like this again.

Alicia Silverstone is just awful as Batgirl/Barbara Wilson. She not only gives out bad one-liners but also some horrific acting. I had a crush on her during the Aerosmith video days but when I saw this film on TV, it was over. She does nothing to the film but attract young horny boys but they would be totally disgruntled in the end. After the wonderful Clueless, she was definitely poised to be a star but what has she done since that was relevant? She's done nothing and just became another "It" girl who fell and fast too. Sorry, she is guilty and she should be punished. Chris O'Donnell is annoying as Robin and does nothing but pout and whine and give out some awful one liners including the first line of the film, &#147I want the car, chicks dig the car". Shut up!!!! He went on to do a small part in Kinsey while has done some good early work and stayed out the spotlight. He can go with a bit of dignity but he's going to have to wear the Batman/Robin symbol to remind himself of his sins.

George Clooney may have the chin to be Batman and he's a great actor but he is probably the last guy you would expect to play Batman/Bruce Wayne. He's not bad but the lines he's been given and the way his character is written forced Clooney to pretty much, sleepwalk throughout the entire film. You can tell that he isn't into it and even in some dramatic moments, he comes off in a very lazy way. He does what he can do but he probably doesn't think he was right for the role at all. He at least can walk away with dignity for the fact that he knew that he sucked as the Caped Crusader. The film's worst performance is really no-contest and that honor goes to the current Governor of California, Arnold Schwarzenegger. Arnold just basically brings out some of the worst one-liners and puns that is ever said in any film and when he actually, really tries to act. It's just hilarious because it's so bad. He's not even funny when he tries to be or even when he's trying to be intimidating, he's not scary. He's just a stupid big man wearing a stupid big costume. Sorry but it's time to vote this Governor out!!!!!!

When Batman & Robin was released in the summer of 1997, it was expected to be this massive blockbuster hit but poor reviews and mediocre box office numbers helped sunk the entire franchise. Making things worse just as the film was ready for release, plans for another Batman film was in the works. During an appearance on Late Night with Conan O'Brien, Adam West who played the TV Batman said that he was up for the fifth to play Uncle Batman. Whether it was a joke or not, fans of the Caped Crusader had enough. Warner Brothers in the end decided to give the franchise a break as fans were ready to kill.

To this day, Batman & Robin isn't just regarded as the worst film of the Batman series but a reminder of how idiotic Hollywood can be into handling a franchise. What made things worse when the film came out was the commercialization of it where McDonalds was promoting the film and it really got to the point that Batman had become a joke. If the Batman of now would appear in Batman & Robin, that entire cast would be scared to death while Alfred would die a more horrible death by Michael Caine's Alfred while Gary Oldman's Gordon would beat the living crap out of Hingle's Gordon. Kids shouldn't watch this film because it insults their intelligence. No one should see this film except for camp value. Nothing in this movie works and people will probably say, it's only a movie. No it's not, it's a clip of everything that is wrong with Hollywood films that are still being continued. It doesn't even deserve to be called a film or a movie, it doesn't even go as far as being called a snuff film. It's just an exercise in pure garbage.

Joel Schumacher Films: (The Incredible Shrinking Woman) - (D.C. Cab) - (St. Elmo's Fire) - (The Lost Boys) - (Cousins) - (Flatliners) - (The Client) - Batman Forever - (A Time to Kill) - (8MM) - (Flawless) - (Tigerland) - (Bad Company (2002 film)) - (Phone Booth) - (Veronica Guerin) - (The Phantom of the Opera (2004 film)) - (The Number 23) - (Blood Creek) - (Twelve) - (Trespass)

Batman Films: (Batman (1966 film)) - Batman (1989 film) - Batman Returns - Batman Begins - The Dark Knight - The Dark Knight Rises - (Batman v Superman: Dawn of Justice) - The Lego Batman Movie - The Batman (2022 film)

© thevoid99 2012