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Cartoon Brew speaks with the Brothers Quay about Christopher Nolan's documentary, their exhaustive Blu-ray collection, and the challenges of finding funding for new projects.
BBC Culture did something pretty fun today, as they released their list of the 100 Greatest American Films, as determined by a poll of 62 international film critics.
How did they define what made an “American film”? If it got its funding from an American source, it was eligible to be selected.
Here’s the full, very Billy Wilder-heavy, list:
100. Ace in the Hole (Billy Wilder, 1951)
99. 12 Years a Slave (Steve McQueen, 2013)
98. Heaven’s Gate (Michael Cimino, 1980)
97. Gone With the Wind (Victor Fleming, 1939)
96. The Dark Knight (Christopher Nolan, 2008)
95. Duck Soup (Leo McCarey, 1933)
94. 25th Hour (Spike Lee, 2002)
93. Mean Streets (Martin Scorsese, 1973)
92. The Night of the Hunter (Charles Laughton, 1955)
91. ET: The Extra-Terrestrial (Steven Spielberg, 1982)
90. Apocalypse Now (Francis Ford Coppola, 1979)
89. In a Lonely Place (Nicholas Ray, 1950)
88. West Side Story (Robert Wise and Jerome Robbins, 1961)
87. Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)
86. The Lion King (Roger Allers and Rob Minkoff, 1994)
85. Night of the Living Dead (George A Romero, 1968)
84. Deliverance (John Boorman, 1972)
83. Bringing Up Baby (Howard Hawks, 1938)
82. Raiders of the Lost Ark (Steven Spielberg, 1981)
81. Thelma & Louise (Ridley Scott, 1991)
80. Meet Me in St Louis (Vincente Minnelli, 1944)
79. The Tree of Life (Terrence Malick, 2011)
78. Schindler’s List (Steven Spielberg, 1993)
77. Stagecoach (John Ford, 1939)
76. The Empire Strikes Back (Irvin Kershner, 1980)
75. Close Encounters of the Third Kind (Steven Spielberg, 1977)
74. Forrest Gump (Robert Zemeckis, 1994)
73. Network (Sidney Lumet, 1976)
72. The Shanghai Gesture (Josef von Sternberg, 1941)
71. Groundhog Day (Harold Ramis, 1993)
70. The Band Wagon (Vincente Minnelli, 1953)
69. Koyaanisqatsi (Godfrey Reggio, 1982)
68. Notorious (Alfred Hitchcock, 1946)
67. Modern Times (Charlie Chaplin, 1936)
66. Red River (Howard Hawks, 1948)
65. The Right Stuff (Philip Kaufman, 1965)
64. Johnny Guitar (Nicholas Ray, 1954)
63. Love Streams (John Cassavetes, 1984)
62. The Shining (Stanley Kubrick, 1980)
61. Eyes Wide Shut (Stanley Kubrick, 1999)
60. Blue Velvet (David Lynch, 1986)
59. One Flew Over the Cuckoo’s Nest (Miloš Forman, 1975)
58. The Shop Around the Corner (Ernst Lubitsch, 1940)
57. Crimes and Misdemeanors (Woody Allen, 1989)
56. Back to the Future (Robert Zemeckis, 1985)
55. The Graduate (Mike Nichols, 1967)
54. Sunset Boulevard (Billy Wilder, 1950)
53. Grey Gardens (Albert and David Maysles, Ellen Hovde and Muffie Meyer, 1975)
52. The Wild Bunch (Sam Peckinpah, 1969)
51. Touch of Evil (Orson Welles, 1958)
50. His Girl Friday (Howard Hawks, 1940)
49. Days of Heaven (Terrence Malick, 1978)
48. A Place in the Sun (George Stevens, 1951)
47. Marnie (Alfred Hitchcock, 1964)
46. It’s a Wonderful Life (Frank Capra, 1946)
45. The Man Who Shot Liberty Valance (John Ford, 1962)
44. Sherlock Jr (Buster Keaton, 1924)
43. Letter from an Unknown Woman (Max Ophüls, 1948)
42. Dr Strangelove (Stanley Kubrick, 1964)
41. Rio Bravo (Howard Hawks, 1959)
40. Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943)
39. The Birth of a Nation (DW Griffith, 1915)
38. Jaws (Steven Spielberg, 1975)
37. Imitation of Life (Douglas Sirk, 1959)
36. Star Wars (George Lucas, 1977)
35. Double Indemnity (Billy Wilder, 1944)
34. The Wizard of Oz (Victor Fleming, 1939)
33. The Conversation (Francis Ford Coppola, 1974)
32. The Lady Eve (Preston Sturges, 1941)
31. A Woman Under the Influence (John Cassavetes, 1974)
30. Some Like It Hot (Billy Wilder, 1959)
29. Raging Bull (Martin Scorsese, 1980)
28. Pulp Fiction (Quentin Tarantino, 1994)
27. Barry Lyndon (Stanley Kubrick, 1975)
26. Killer of Sheep (Charles Burnett, 1978)
25. Do the Right Thing (Spike Lee, 1989)
24. The Apartment (Billy Wilder, 1960)
23. Annie Hall (Woody Allen, 1977)
22. Greed (Erich von Stroheim, 1924)
21. Mulholland Drive (David Lynch, 2001)
20. Goodfellas (Martin Scorsese, 1990)
19. Taxi Driver (Martin Scorsese, 1976)
18. City Lights (Charlie Chaplin, 1931)
17. The Gold Rush (Charlie Chaplin, 1925)
16. McCabe & Mrs Miller (Robert Altman, 1971)
15. The Best Years of Our Lives (William Wyler, 1946)
14. Nashville (Robert Altman, 1975)
13. North by Northwest (Alfred Hitchcock, 1959)
12. Chinatown (Roman Polanski, 1974)
11. The Magnificent Ambersons (Orson Welles, 1942)
10. The Godfather Part II (Francis Ford Coppola, 1974)
9. Casablanca (Michael Curtiz, 1942)
8. Psycho (Alfred Hitchcock, 1960)
7. Singin’ in the Rain (Stanley Donen and Gene Kelly, 1952)
6. Sunrise (FW Murnau, 1927)
5. The Searchers (John Ford, 1956)
4. 2001: A Space Odyssey (Stanley Kubrick, 1968)
3. Vertigo (Alfred Hitchcock, 1958)
2. The Godfather (Francis Ford Coppola, 1972)
1. Citizen Kane (Orson Welles, 1941)
No Coen Bros? No Paul Thomas Anderson? No Wes Anderson? Egad! I will say that I applaud any list that tosses Citizen Kane back in its rightful spot at the top. Back when Sight and Sound did their poll a few years back, Vertigo had crept over Welles’ masterpiece. I love them both, but the greatness of Citizen Kane is indisputable, particularly when you compare it to other, stagier, classics of the same era.
But, to not bury the lede as it concerns the interests of The Beat, The Dark Knight is the only comics based film to make the cut. An interesting choice, and for my money it’s easily the best superhero film (any capes and tights offering that takes a visual page out of Michael Mann has a little more going for it than, say, your average X-Men movie), but is it one of the Top 100 American Films of All Time? I don’t even think it’s Christopher Nolan‘s best film, so probably not. But, it’s nice to see our favorite medium get a little bit of respect in this part of the critical community.
I’d have replaced it with American Splendor myself.
9 Comments on The Dark Knight makes BBC’s list of the 100 Greatest American Films, last added: 7/22/2015
The Dark Knight is a legitimate classic and Nolan’s best film. None of his other movies to date, save for Inception, will be talked about 30 years from now outside of film snob circles. The Oscars were officially completely out-of-touch when they didn’t award it Best Picture.
Pete said, on 7/21/2015 3:50:00 PM
You know as long as we’re taking down Confederate flags how about we also stop including “The Birth of a Nation” on greatest film lists. Alternate suggestion: anything by Pixar.
Joseph said, on 7/21/2015 4:24:00 PM
Interesting list. And not to create a firestorm or anything, but I don’t think Star Wars really belongs on any Best Movies list. Has anyone actually watched Star Wars lately? It’s not a good film. Viewed through the glowing haze of nostalgia I still enjoyed it, but at the same time was surprised at how it really doesn’t hold up. Half the time I felt like I was watching a movie that would be parodied by the MST 3000 guys.
horatio weisfeld said, on 7/21/2015 5:14:00 PM
98. Heaven’s Gate (Michael Cimino, 1980)
>>
Heavy drinking before this vote ?
David said, on 7/22/2015 8:34:00 AM
Forrest Gump made the list? Haha wow…
Steve said, on 7/22/2015 10:45:00 AM
They put “Groundhog Day” as one of the greatest? I like the movie and all, but really? I don’t think I can trust this list.
Johnny Memeonic said, on 7/22/2015 11:39:00 AM
You know as long as we’re taking down Confederate flags how about we also stop including “The Birth of a Nation” on greatest film lists.
It’s on lists like this because of what it invented, not the actual content of the film. Trying to cover up old art, film, historical information, etc due to modern sensibilities is intellectually dishonest.
Has anyone actually watched Star Wars lately? It’s not a good film.
It’s still an excellent film and you’re definitely in the minority view not liking it. I’m not sure what you hate about it. Is it the acting, writing, special effects?
horatio weisfeld said, on 7/22/2015 12:07:00 PM
Has anyone actually watched Star Wars lately? It’s not a good film.
>>
It is a good film .. as long as George doesn’t decide to add much more to it.
majorjoe23 said, on 7/22/2015 12:20:00 PM
“They put “Groundhog Day” as one of the greatest? I like the movie and all, but really? I don’t think I can trust this list.”
If you had the day off yesterday, we hope you had a lovely Presidents Day! Here are a few of the big headlines of interest making the rounds this morning…
– There’s a Deadpool Casting Call that appeared on Casting247, under the fake-title of “WHAM!”, and has led to speculation as to which roles these place-holder names represent. As I’ve said before, my X-Men knowledge is awful, but people better in the know think that “Ridge” is at least Garrison Kane, the villain of the film.
– The Dark Knight trilogy director Christopher Nolan sat down with Looper and Star Wars Episode VIII director Rian Johnson for a 30 minute interview regarding last year’s Interstellar at the Aero Theater in Santa Monica. It’s a pretty great, lengthy chat for anyone interested in the art of filmmaking. (recording made available via SoundCloud user TheBigKahoona)
– Robert Downey Jr. was interviewed by Empire regarding Captain America: Civil War, and states that the lead-up to the new Captain America sequel is in Avengers:Age of Ultron:
The clues are in Ultron about where we might find [Stark] next, but what would it take for Tony to completely turn around everything he’s stood for, quote-unquote, because he was the right-wing guy who could still do his own thing. The idea of Tony being able to march into Washington and say, ‘I’ll sign up’, wouldn’t have made sense if the political climate in the real world hadn’t shifted the way it has. It’s a little bit of things following a real world continuum in, ‘What would you do?’ You have to figure, ‘Were you to ask the question, what would the American government do if this were real? Wouldn’t it be interesting to see Tony doing something you wouldn’t imagine?’
– Bryan Singer has posted another tease for the upcoming X-Men: Apocalypse, this time a piece of production art that shows…something. If you’re on Instagram, it’s worth following Singer’s posts, as he shares a ton of info via his account.
Have you seen the movie Interstellar? Director Christopher Nolan (pictured, via) wrote a comic to reveal a back story for two characters: Dr. Mann (played by Oscar winner Matt Damon) and his robot SKIPP.
Wired posted “Absolute Zero” in its entirety on the magazine’s website. The 7 page comic will also appear in the print edition; Nolan is serving as the guest editor for this issue which focuses on themes of time, space, and multiple dimensions. Animator Sean Gordon Murphy created the artwork for this project.
Here’s more about the comic book: “Before Cooper left his daughter to find humanity a new home in space, there were the Lazarus missions. Led by Dr. Mann, this was NASA’s first attempt to locate a hospitable exoplanet. So what happened to Mann on the other side of the wormhole? We teamed Christopher Nolan with award-winning comic-book artist Sean Gordon Murphy to tell Mann’s story.” (via The Hollywood Reporter)
For several days now, I've been debating with myself whether Interstellar is a bad film that does several things quite well, or a good film that has had the misfortune of having to shoulder, and justify, its creator's reputation. At some point in the last half-decade, popular culture decided--erroneously, if you ask me--that Christopher Nolan is a purveyor of Deep, Serious entertainments. And
The “titles” of Batman Begins showed the symbol of a bat formed in a swarm of bats, the titles of The Dark Knightshowed it in fire, now The Dark Knight Rises shows it in ice. The bats in Begins were a symbol of fear, the titles a metaphor for an identity forming out of shadows. The fire of The Dark Knight was like a wall of fire for that bat, that symbol, pushing through the chaos inflicted by the Joker. Now, the bat is, literally, the cracks in the ice formed by the isolation of Gotham City at the hands of Bane.
11 Comments on The Dark Knight Rises: Batman’s Third Act, last added: 2/12/2013
What evidence do you have that Bush was a billionaire from a family of billionaires? USA Today shows the total wealth of both Presidents Bush as $43 million, slightly more than Bill Clinton.
Your analysis is great and very detailed, but the politics and economics that pervades it leaves a lot to be desired.
This synopsis demonstrates what I found so frustrating about Dark Knight Rises: there are many thematic ideas present which at different timesseem to overlap or work against each other. Partly this is due to so many characters playing dual roles or having hidden identities, but it prevents seeing the story with a clear “diagram”. This frustration only comes up in retrospect. While in the theater I found it enjoyable and was able to overlook jumps in logic.
One of my favorite elements was the gradual transformation of John Blake. He starts off in a beat cop uniform, drops the blues to become a plain clothes detective, throws away his official gun after accidentally killing a suspect, then throws away his badge with disgust. After disposing of all his official police identity, he rises in the Batcave to become the new Batman. But I find it hard to believe Gordon wouldn’t know he he was the first time they meet at the Bat signal!
Al™ said, on 2/10/2013 5:52:00 PM
I found the movie long and depressing.
I wondered why Batman, having had his back broken and so on, would try to fight Bane in the street. Why not just shoot him? Oh, because it is against his oath or something.
I looked around in the theatre, bored with watching Batman getting beaten to death, and found myself wondering what people were reading and texting on their phones.
I like smart heroes and smart movies. But not smart phones at movies.
Jesse said, on 2/10/2013 6:34:00 PM
This reads better than the movie watches. I am on a bitchy DC hating kick right now but a snow storm left me with no other option but to watch this. I could not get round the terrible pacing of the film, also the prison what? where are we? what country are we in? Oh wait we are back in Gotham? Nolan is a wonderful film maker, Momento I am talking about you, but I feel he never really embraces the superhero. The fantastic-ness of it is never embraced, the child-like wonder and awe is nowhere to be found. Whedon and Donner have both captured superhero lightning in bottles, Nolan caught a tremendous performance by Ledger but everything else seems ponderous and the fantastic is always held at arms length.
Mark said, on 2/10/2013 9:42:00 PM
I loved DK and BB and was sooo excited for DKR but it was a complete fizzler. The mistakes are almost to many to chronicle: Batman being retired for 7 years, the whole Talia thing, Bane, Catwoman, the nuclear bomb, the action sequences, every scene with grodon in it, keeping the cops in prison underground . Dud, Dud Dud. There were some interesting possibilities, like Bane holding the whole city hostage, but none of it was developed. Strange for such a long movie.
Jimmie Robinson said, on 2/11/2013 10:19:00 AM
An analysis this long is a clear indication that the story was overwrought for a guy who dresses up at a bat to fight a criminal / terrorist. Don’t get me wrong, I liked the movie… but many of analysis / reviews that I’ve read on this movie spends a good deal of time filling in blanks, motives and the various subplots.
Todd Alcott wrote a good piece and surmised the points well, but the fact that he has to cover *so much nuance* speaks volumes about the execution of the film.
Bryan L said, on 2/11/2013 12:44:00 PM
The detailed synopsis just reminds me of why I didn’t enjoy this movie. The gaping plot holes made it impossible for me to “let go” and watch the movie. I’m generally okay with plot holes as long as they’re not distracting, but throughout this movie I kept thinking “Wait, what now? That’s not how (stock markets, leg braces, fusion reactors, fill in your own) work.” Granted, some of the things that bothered me are obscure and wouldn’t bother anybody else, but EVERYBODY balked at the magic leg brace. I heard people muttering about it in the prison scene.
Finally, and possibly more importantly, Hathaway was the only one who seemed to enjoy her role. Bale, Levitt and Oldman seemed bored, and Hardy was muzzled.
Brian Jacoby from Secret Headquarters Tallahassee, said, on 2/11/2013 1:58:00 PM
Thanks for another great piece!
I am amused by all of the “Understanding nuance is HARD” comments.
Aaron said, on 2/11/2013 8:46:00 PM
Reading this reminded me of how great some of the scenes were in the movie, and how muddled down the whole thing actually ended up feeling as a whole.
What I wonder is why they didn’t start the movie with the reactor/bomb being hijacked? That’s what sets up some of the film’s most compelling ideas — Gotham being taken hostage, criminals being set free, etc — but it ends up all being tremendously rushed through, and never feels tangible or all that believable. That set-up also arrives so late in the film that it feels wearying.
Scott N said, on 2/12/2013 1:03:00 PM
I just got finished watching the Batman: The Dark Knight Returns pt. 1 & 2. Now that was a batman movie.
I've been thinking for some time about how fandom reacts when its beloved auteurs fail. When someone like Aaron Sorkin produces something as preachy, self-satisfied, and misogynistic as The Newsroom, fandom reacts with dismay, but is that surprise justified? In Sorkin's case, all of these flaws were baked into his work going back as far as Sports Night, and they were ignored, excused, and
Have you done your homework for the next Batman movie? We’ve uncovered one free (and unexpected) eBook you should read to prepare for the release of The Dark Knight Rises next week (movie trailer embedded above).
As he created his third epic Batman adaptation, director Christopher Nolan was inspired by Charles Dickens‘ classic novel, A Tale of Two Cities. His screenwriting partner (and brother) Jonathan Nolanexplained in an interview:
I was looking to old good books and good movies. Good literature for inspiration… What I always felt like we needed to do in a third film was, for lack of a better term, go there. All of these films have threatened to turn Gotham inside out and to collapse it on itself. None of them have actually achieved that until this film. ‘A Tale of Two Cities’ was, to me, one of the most harrowing portrait of a relatable, recognizable civilization that completely folded to pieces with the terrors in Paris in France in that period. It’s hard to imagine that things can go that badly wrong.
Legendary Pictures has released the third trailer for its upcoming Batman comic book adaptation, The Dark Knight Rises. We’ve embedded the trailer above–what do you think?
According to Comic Book Resources, Titan Books will publish the official movie tie-in novel by Greg Cox. Both the book and the movie will be released in July 2012.
Here’s more from E! Online: “[Anne] Hathaway gets lots of screen time in the new trailer as both [Selina] Kyle and her feline alter ego Catwoman. She appears to be taking Batman’s side and has no problem getting in on the action. There’s plenty of Jordon Gordon-Levitt‘s mysterious new cop John Blake looking all emotional. We also get to see franchise stalwarts like Commissioner Jim Gordon (Gary Oldman), Alfred Pennyworth (Michael Caine) and Lucius Fox (Morgan Freeman).”
Follow this link to watch the trailer–what do you think? Nolan collaborated on the screenplay with his brother, screenwriter Jonathan Nolan. The movie will hit theaters in July 2012. The trailer highlights the infamous Batman villain Bane as he wrecks Gotham City.
Here’s more from Movies.com: “[The trailer revealed] some enticing dialogue from Anne Hathaway, playing Selina Kyle (aka Catwoman). Naturally her chat with Bruce Wayne (Christian Bale), as they dance close together at a masquerade ball, falls somewhere between seductive and threatening, but that’s what we expect from her character. Will she be a villain? A romantic sidekick? Both? Other brief glimpses of Marion Cotillard, Joseph Gordon-Levitt, Gary Oldman, Michael Caine and Matthew Modine are exactly that — brief glimpses.”
After months of speculation we now know that Christopher Nolan isn’t giving up the Batman franchise without going into the sexy feminine side of the myth: Anne Hathaway will play Catwoman in The Dark Knight Rises — and yes that sounds pretty dirty. And the previously announced Tom Hardy will play back-breaker Bane, an escaped criminal who gets super strength after getting jacked on drugs. (Bane was responsible for breaking Batman’s spine in a 90s comics storyline.)
Hathaway joins a storied list of Catwomans, from Julie Newmar through Michelle Pfeiffer. (Let’s not mention Halle Berry…oops…) She doesn’t have much action star vibe, but that’s what CGI is for…and she would definitely look adorable in kitten ears. Somehow, we doubt Nolan’s vision includes kitten ears, however.
We’re big Tom Hardy fans here, so as long as he gets good and pumped up to play Bane, we’re all on board.
With two of Batman’s most important nemeses in the third film, Nolan looks on track to break the “third film curse” — if all goes as well as it could, this will be one easily the best superhero film trilogy of all.
15 Comments on Hathaway is Catwoman and Hardy is Bane in Dark Knight Rises., last added: 1/19/2011
“…as long as he gets good and pumped up to lay Bane…”
Freudian slip, Heidi?
Steve Flack said, on 1/19/2011 10:40:00 AM
With those lips, Tom Hardy would have made a better Catwoman.
Joe Lawler said, on 1/19/2011 10:44:00 AM
Dang, I was hoping Crispin Glover would play Bane AND Catwoman.
Robert Stanley Martin said, on 1/19/2011 11:13:00 AM
Anne Hathaway will play Catwoman in The Dark Knight Rises — and yes that sounds pretty dirty
Well, it is supposed to be a tentpole movie.
Da Fug said, on 1/19/2011 11:18:00 AM
Inception = good, therefore TDKR = bad. Simple formula. Nolan can’t hit everything out of the park. +, Bane = BLECH! no matter who plays him.
Nathan Aaron said, on 1/19/2011 11:22:00 AM
Tom Hardy. MMM!
I thought the first movie was boring, boring, boring. But the second was amazing! Here’s hope for the third!
Joe Lawler said, on 1/19/2011 11:30:00 AM
“Inception = good, therefore TDKR = bad. Simple formula. Nolan can’t hit everything out of the park. +, Bane = BLECH! no matter who plays him.”
Is there a Nolan even/odd number rule similar to Star Trek flicks? I don’t think three good movies in a row would be breaking any kind of director record for success.
Madarc said, on 1/19/2011 11:53:00 AM
Tom Hardy is an amazing choice. Bronson was great.
Maclaine said, on 1/19/2011 12:01:00 PM
What a terrible name for the movie! I am usually not one to be a knee jerk hater like lots of nerd fanboys out there, but why on Earth does every damn nerd friendly movie lately have to have “rise” in the title? T3: Rise of the Machines, G.I. Joe: Rise of Cobra, Fantastic Four: Rise of the Silver Surfer. “Rise” is the “smarm brow” of Hollywood blockbusters.
Cary Coatney said, on 1/19/2011 12:50:00 PM
Can’t Nolan find to make room for Deadshot, Black Mask, Hugo Strange, or Talia?
I want hard core elitism in my bat movies. I want villains that the average joe schmoe movie goer has never heard of.
Bane already had his shot in Batman & Robin, and he sucked.
~
Coat
Jimmie Robinson said, on 1/19/2011 1:16:00 PM
There must be cat ears. We need the cat ears. If Batman can have *ears* — not a prominent characteristic of a bat — then Catwoman can have some — which *are* iconic for a cat.
She doesn’t need a tail, though. That’s pushing it.
tekende said, on 1/19/2011 1:59:00 PM
If Batman can have *ears* — not a prominent characteristic of a bat
Actress Anne Hathaway will star as Catwoman in the next Batman film, The Dark Knight Rises. The movie is set for a July 2012 release. If you don’t want to wait, follow Michelle Phan’s video tips (embedded above) for wearing Catwoman’s signature style.
Christian Bale will reprise his role as Batman, following his blockbuster success with The Dark Knight. Director Christopher Nolan will helm the project once again.
Here’s more from Deadline New York: “Hathaway [will] play Selina Kyle, who has a double identity as Catwoman. Nolan has also acknowledged that his Inception star Tom Hardy will play the villain role of Bane, an escaped prisoner who became abnormally strong after being pumped full of drugs. Bane is known as ‘the man who broke the Bat’ after he broke Batman’s spinal cord in the comics storyline.” (Via Jason Pinter)
It’s called “Batman and the Giant Pile of Box Office Receipts”.
Okay, it’s really called THE DARK KNIGHT RISES. Everyone has surely made a Viagra joke by now, and there was ours.
In an interview with Geoff Boucher of the LA Times, director Christopher Nolan also reveals that the big villain will not be ….The Riddler! So that’s Mr. Freeze and Riddler crossed off, then. Our own suggestion? Olga, Queen of the Cossacks!
Other things we do know: The story is by Nolan and David Goyer with a script by Nolan and brother Jonah Nolan.
Female casting is underway, suggesting that maybe Catwoman will be involved somehow.
Tom Hardy will be in it somehow, giving us many chances to post photos of him.
And it will NOT be in 3D.
Nolan was most eager to talk about the fact that Warner Bros. had agreed with his argument that the film should resist the current 3-D craze and instead use high-definition approaches and IMAX cameras to strike out on a different cinematic path than the stereoscopic technology that, for better or worse, has become the dominant conversation in the blockbuster sector.
14 Comments on Batman 3 title revealed, details emerging, last added: 10/29/2010
I’m not saying I’m pulling for Zsasz, but I could see Tom Hardy paying Zsasz, as he’s previously stomped around in the nude in BRONSON (if he is the villain, of course. He could be anyone).
That said, I’m not surprised that the villain won’t be the Riddler. I’m very interested to see who they pick, but anyone’s guess is as good as mine.
EJ said, on 10/27/2010 1:50:00 PM
I was incredibly underwhelmed by the ending of The Dark Knight so Nolan is going to have to step it up big time for me to care about the third batfilm.
I’m sure it will do huge numbers and be ultra successfull like the first 2 were. But I honestly can’t remember the last time I was bothered so much by the last 10 to 20 minutes of a movie.
JH said, on 10/27/2010 1:58:00 PM
Tom Hardy sort of resembles Vincent Price, y’know.
Rich Johnson said, on 10/27/2010 1:59:00 PM
“Our own suggestion? Olga, Queen of the Cossacks!”
I was kind of hoping for Egghead or maybe The Book Worm. I’d love to see what Nolan would do with one of the old TV villians.
Serhend Sirkecioglu said, on 10/27/2010 6:11:00 PM
This is my glorious moment to say “I told ya so” and im sticking my guess: the return of Ras Al Gul and Tom Hardy as Ras a la the “Lazarus Pits”. Talia Al Gul will superficially fill in the void of rachel while the ventriloquist is running the mob as a sort of copy-cat joker.
Tom Spurgeon said, on 10/27/2010 9:11:00 PM
Orca! Orca! Orca!
Charles Skaggs said, on 10/28/2010 6:15:00 AM
With Jeph Loeb’s THE LONG HALLOWEEN influencing Christopher Nolan’s THE DARK KNIGHT, it wouldn’t surprise me at all if Tom Hardy is portraying Hush.
Perhaps with Talia al Ghul as the love interest/additional villain, which would bring the Nolan films full circle.
Jeff P. said, on 10/28/2010 7:57:00 AM
I enjoy Christian Bale as Bruce Wayne, but his Batman just doesn’t work, as the above photo shows. The costume’s headgear is too round and gives his mouth and surrounding area the look of a cat’s. It makes me chuckle. And then he starts in w/ that “gruff” voice, I actually laugh out loud.
Richard J. Marcej said, on 10/28/2010 8:11:00 AM
Who the hell is Hush?
(pretty stupid name for a character, IMO)
Jeffrey said, on 10/28/2010 8:58:00 AM
For some reason I am sensing a Hugo Strange inclusion in the movie. Someone very unJoker. Though Hush or Scarface would work as well.
Dave Hackett said, on 10/28/2010 9:25:00 AM
Adapting Moench’s “Prey” with Hugo Strange, Catwoman and the Night Scourge would make an excellent movie and follow pretty well from the previous two narratively and thematically.
Joseph said, on 10/28/2010 10:58:00 AM
I think a lot of people would argue Bale’s Batman works just fine, to the tune of $1 billion +. And I believe the photo above is from the first film; I think the costume was improved significantly for the second. And I have no problem with the voice, I imagine that is what Bruce Wayne would actually do if he existed in the real world.
Moubius44 said, on 10/28/2010 8:10:00 PM
I will be very disapointed if it would be killer croc giving Tom;s phsique, but i would hope it might be Man Bat, with memories of the Neal Adams Man Bat
rich said, on 10/29/2010 9:57:00 AM
Hugo Strange would be a good villain … or Two-Face, if they decide to do it right this time.
I always wanted to see (or write) a screenplay with Two-Face and Scarface/Ventrilioquist together. It would make an interesting pairing — they could start out as allies — until Batman managed to turn them against each other. A match made in Hell. Two different cases of split personality, with two very different outcomes.
I didn’t care for DARK KNIGHT, but I’ll give the next one a chance just because Nolan has opted to eswchew the 3-D gimmick. By the time this film comes out, people will probably be tired of seeing things fly out of the screen anyway.
My earliest memories are dreams. In the very first I awake up on a beach in China, with snakes coming out of the sand. How could I not love the opening of Inception, Leonardo DiCaprio’s Cobb in the surf with a pagoda in the background?
I’ve been blessed with cinematic, powerful dreams all my life. Sometimes I’ve lived a lifetime in one night – I didn’t know other people had experienced that but, in Christopher Nolan’s film, the characters grow old in the dream, only to wake up young again the next morning. Often, I’ve died in my dreams, so it was good to see that Nolan’s film didn’t promote the popular misconception that if you die in your dreams, you do in real life. In the movie, as in my dreams, it means you (normally) wake up.
Lucid dreaming is having the ability to be aware that you’re dreaming and remain in the dream to control it. The classic conundrum is to know what is the waking state, the “real” world, and what is the dream state. A corollary is to ask which is more important. Read Andre Breton’s Surrealist Manifesto and you may easily become convinced it’s the dream.
In the film the characters carry personal totems so they can tell if they’re dreaming or not. Cobb is never without a small spinning top that apparently only topples in the real world. In dreams it can spin forever. The technique I tend to use is to deliberately look at a scene or view, turn away, turn back and look at it again – if it’s changed it’s an indication I’m in a dream world rather than reality.
When you discover you’re dreaming, the secret is to remember this while staying in your dream. Do that, and you can do anything you want – literally. You become a god, in charge of everything and anything. My first step is normally to fly – there are few things more liberating than swooping across the sky feeling the wind on your face. Sometimes you change your form – if battling a gigantic monster of some description, I reckon I’ll be more successful if growing razor-sharp claws (and just growing).
The Penrose staircase
A slight disappointment of Inception was the lack of “physics”. Near the beginning of the film, new architect Ariadne (played by Ellen Page) asks the question about changing the laws of nature and folds the world in on itself, but that seems to be where it ends. There’s just one later point where Tom Hardy’s Eames magics himself a bigger gun, but that’s all. On the whole, the rules of reality seem to permeate all levels of the dream worlds within the film. A nice touch though, was the inclusion of impossible objects, specifically a Penrose staircase that the characters referred to by name. I’ll be sure to mention it when Sir Roger’s next in my office.
The dream within the dream is a very common by-product for lucid dreamers. Many’s the time I’ve woken up, spent most of the day at work, only to wake up, realize
Some friends and I went to see Inception this afternoon because we had some time to kill and we were all curious about it. For a summer blockbuster, it's not bad at all.
But.
Of course, you knew there would be a "but". For a summer blockbuster, it's not bad at all, is the faintest of praise. It's not like the competition is exactly a pantheon of cinematic glory.
My feelings about the film are similar to those of Dennis Cozzalio, who wrote a long, thoughtful post that relieves those of us who agree with him from having to say a whole lot more. He says, "It’s not a dreamer’s movie, it’s a clockmaker’s movie," and that sums it up well for me. I didn't strain as much to keep up with the background and plot as he did, but I suspect that's just because I'm very familiar with science fiction exposition. (I think Abigail Nussbaum also has a lot of insight into the movie, particularly from the SF angle.) The puzzle aspects of the film are fun, and they keep our brains engaged while watching, which is more than can be said for most summer blockbusters.
But.
It's awfully long. That was the biggest impression the movie made on me. It wasn't as annoying to me as The Dark Knight, a film I thought so extraordinarily bad in many ways that I just couldn't get much pleasure at all out of watching it the first time (it's actually an interesting film to re-watch, I think, once you no longer expect it to be particularly good on the whole, because there are some moments of magic, and the ways that it's bad are, at least to me, interesting). Inception is entertaining. But it's awfully long.
I recently watched Christopher Nolan's first feature, Following. It's clever and enjoyable in that utterly-contrived-puzzle way that is Nolan's forte. It's also 69 minutes long. Just about the right length for its content. I haven't seen Memento for a while, but I remember it feeling more or less economic in its narrative -- or, at least, I don't remember it lasting for forty days and forty nights like The Dark Knight.
That got me wondering...
I looked up the running times of all his feature films on IMDB, and made a chart:
Interestingly, The Prestige is the only film with a significant move downward in length. Further, it's the one Nolan film I hold in really high regard -- it is, indeed, easily one of my favorite films of the past decade. (Some of the reasons are purely personal rather than aesthetic or rational ones -- I've a fondness for stories about stage magicians and for novels by Christopher Priest, and as adaptations of novels go, I agree with Priest that it's an excellent one.)
For those of us who prefer Nolan's less ... prodigious ... work, th
6 Comments on The Lengths of Nolan, last added: 7/27/2010
Length correlates with budget here and it is a more general point that summer blockbusters have increasingly stretched to tortuous lengths. I agree that it would be healthy for Nolan to make a film for the budget of The Prestige (about a quarter of The Dark Knight) but presumably he is about to plunge straight into Batman 3
Ryan said, on 7/25/2010 11:03:00 AM
Hi Matt. I recently discovered your blog & love what I've read so far. It's proving quite the task to catch up (at this rate I never will) but it's well worth it.
Anyway, your length-focused criticism of Inception is one that I've seen applied increasingly more often in the past few years in respect to films in general. Perhaps it's just the venue of analysis your blog provides, but this is the first time I've given the issue much thought, & my stance, for now, is that using length itself as a focal point for criticism is beating a straw dog. After all, 2001: A Space Odyssey & The Godfather are also very long films, but I've never once heard complaints about that regarding the latter, while every person I've spoken to who did not enjoy the former indicated length as the primary reason for their dissatisfaction: my point being, I think additional factors are responsible for a film feeling too long. It actually has very little to do with the run-time itself (though of course a 90 minute film will always feel shorter than a 120+ minute one).
I think the blog post by Dennis Cozzalio you mentioned (thanks for that) contains a better idea of what lies beneath the oppressiveness of the run-time: while far from the only factors, both pacing & tone contribute a great deal to how long a feature feels, as well as how “comfortable” one finds the length. I don’t have the link, but I recall a blog post from back when The Dark Knight came out; its premise was that the frenetic & relentless pace of TDK (as well as its uniformly dour tone) accounted for the length criticism, & that - ironically - extending some shots, lingering on scenes, would have made it feel shorter even if doing so would actually prolong the experience.
For my part, Inception didn’t feel long to me. I think I tend to have more patience than others regarding movie length (I consider 2001 the best film ever made, long or not), but I can still understand where people are coming from. Editing is probably the greatest lost art in film for the better part of the past two decades, perhaps longer, & I think most directors don’t understand how to correctly pace films anymore in respect to their content. It’s a bit baffling. Nolan, in my book at least, covered his ass by having Inception’s form mirror its content: the labyrinthine nature of the narrative structure ties in to the desired architecture of the dreams, & the film seeming too long resembles how more time passes in dreams than in reality. Still, there are plenty of other criticisms to weigh it down, namely how thin most of the characters were. On a side note, I think Cillian Murphy & Marion Cotillard’s work saved this film from being a complete let down.
Thanks, gentlemen, for the great comments -- you're absolutely right about length and budget, Martin. There are lots of reasons, I think, for what feels (I haven't crunched any data) like a general move toward longer films, and I've certainly nothing against length per se (I much prefer the longer version of The New World, for instance). It's a purely subjective sense of what feels justified for the story, and I certainly know various viewers respond in different ways -- most of the audience I saw the short version of New World with seemed to hate it and think it was way too long, and plenty of folks I know thought Inception and The Dark Knight flew by. I filled the post with personal qualifiers because I know there are lots of viewers who feel exactly the opposite of me. I just thought the trend was worth noting.
Ryan's mostly right, I think, that length is an ancillary element of our evaluation of any film. I don't entirely agree that a 90 minute film will always feel shorter than a 120 minute film. While that's certainly mostly true, something like Tarkovsky's My Name is Ivan at 95 minutes probably feels longer to most viewers than Casino Royale at 144 minutes. The first time I saw Public Enemies (140 mins), I was sure Michael Mann had made his shortest movie in ages, and was stunned to find out what time it was when I left the theatre!
My sense of Dark Knight feeling eternal was more from getting more and more angry at the story, cinematography, and editing choices as it went along than from its pace, really. The length just meant my frustrations with the film were going on and on and on...
I'm totally with you, Ryan, on Cillian Murphy and Marion Cotillard. I loved them both, and have loved them in everything I've seen them in -- I was just telling somebody today that he should see Breakfast on Pluto and The Wind that Shakes the Barley to see some more wonderful work by Murphy. I've seen some criticism of Cotillard for her role in Inception, and I don't at all agree with it, but I also thought she was fabulous in Public Enemies, and even some defenders of that film hated her. There's something about her performances in English that seems to really bother some people. I actually thought all the performances in Inception were good -- my frustrations with Nolan are generally not about his actors (though I agree with Jim Emerson that he didn't seem to know what to do with the goldmine that was Heath Ledger's performance). I thought DiCaprio gave one of his best performances in Inception, oddly enough -- it's somewhat similar, as many people have said, to his work in Shutter Island, but I didn't particularly care for him there (I was indifferent to the movie, but have resigned myself to the fact that I am indifferent to Scorcese's films in general). In Inception, he's especially good in silent moments -- he's really learned to use his eyes to convey entire worlds of emotion and possibility. I love Joseph Gordon-Levitt in anything, and Tom Hardy is, I expect, likely to be seen as one of the great actors of our time, if he can keep getting good roles (he has brief moments of wonder in Inception, but to really see what he can do, we have to look at something like Bronson).
I myself have noted a trend toward longer comments on the Mumpsimus...so that sometimes it feels that they extend beyond the length of the original post. But that may be due simply to their differing appearance, which is to say a decrease in the horizontal but an increase in the vertical. I have considered copying the posts and the resulting comments into Word so that I can do an accurate word/letter count, but I will leave that for the true blog aficionados. Now it is on to see what Hal Duncan has to say! --Ralph
The Dark Knight is a legitimate classic and Nolan’s best film. None of his other movies to date, save for Inception, will be talked about 30 years from now outside of film snob circles. The Oscars were officially completely out-of-touch when they didn’t award it Best Picture.
You know as long as we’re taking down Confederate flags how about we also stop including “The Birth of a Nation” on greatest film lists. Alternate suggestion: anything by Pixar.
Interesting list. And not to create a firestorm or anything, but I don’t think Star Wars really belongs on any Best Movies list. Has anyone actually watched Star Wars lately? It’s not a good film. Viewed through the glowing haze of nostalgia I still enjoyed it, but at the same time was surprised at how it really doesn’t hold up. Half the time I felt like I was watching a movie that would be parodied by the MST 3000 guys.
98. Heaven’s Gate (Michael Cimino, 1980)
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Heavy drinking before this vote ?
Forrest Gump made the list? Haha wow…
They put “Groundhog Day” as one of the greatest? I like the movie and all, but really? I don’t think I can trust this list.
You know as long as we’re taking down Confederate flags how about we also stop including “The Birth of a Nation” on greatest film lists.
It’s on lists like this because of what it invented, not the actual content of the film. Trying to cover up old art, film, historical information, etc due to modern sensibilities is intellectually dishonest.
Has anyone actually watched Star Wars lately? It’s not a good film.
It’s still an excellent film and you’re definitely in the minority view not liking it. I’m not sure what you hate about it. Is it the acting, writing, special effects?
Has anyone actually watched Star Wars lately? It’s not a good film.
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It is a good film .. as long as George doesn’t decide to add much more to it.
“They put “Groundhog Day” as one of the greatest? I like the movie and all, but really? I don’t think I can trust this list.”
They’re not the only ones:
https://en.wikipedia.org/wiki/Groundhog_Day_%28film%29#Reception