A Reel Preview: The Year in Film 2022 - Episode IV

The empty month of March is mercifully behind us, and we can finally start looking forward to full months and hopefully full movie theatres. Here are the notable releases for the month of April: 

 

 

 

MORBIUS – Sony Pictures brings us this adaptation of the Marvel Comics character who is a living vampire. Jared Leto dons the fangs, and he is joined by Matt Smith, Adria Arjona, Jared Harris, and Tyrese Gibson. It is directed by Daniel Espinosa. 

 

 

THE CONTRACTOR – Chris Pine reunites with his co-star Ben Foster from the magnificent HELL OR HIGH WATER in this war film. Pine plays a veteran who takes on private special-ops work to support his family. The cast includes Kiefer Sutherland and Eddie Marsan. 

 

 

 

AMBULANCE – Director Michael Bay (THE ROCK, ARMAGEDDON), returns to the big screen with this action film about two adoptive brothers turned bank-robbers, who find themselves stealing an ambulance with a patient during a getaway. It stars Jake Gyllenhaal and Yahya Abdul-Mateen II (Black Manta from AQUAMAN). 

 

 

SONIC THE HEDGEHOG 2 – The sequel to the 2020 video game adaptation. This time Sonic (voiced by Ben Schwartz), takes on new enemies while making new allies. Jim Carrey returns as Dr. Robotnik, Idris Elba voices Knuckles, and Colleen O’Shaughnessey voices Tails. James Marsden (X-MEN), also returns. 

 

 

FATHER STU – Mark Wahlberg plays a priest turned boxer in this true story of Father Stuart Long. Jacki Weaver and Mel Gibson co-star. 

 

 

FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE – The third installment of the FANTASTIC BEASTS franchise; spun-off the HARRY POTTER series. This time the magical world deals with a pending World War, and a possible war in their own borders. Eddie Redmayne reprises his role as Newt Scamander, and he is joined by Jude Law, Ezra Miller, Dan Fogler, Alison Sudol, Katherine Waterston, and Mads Mikkelson. It is directed by David Yates, who has been helming magical-world movies since the 5^th HARRY POTTER film. 

 

 

THE BAD GUYS – In this DreamWorks animated film, a criminal gang of anthropomorphic animals try to go straight. It has the voice talents of Sam Rockwell, Marc Maron, Anthony Ramos, and Awkwafina. 

 

 

THE NORTHMAN – Stylistic and acclaimed director Robert Eggers (THE LIGHTHOUSE, THE VVITCH), directs this epic historical film where a Viking prince seeks to avenge his murdered father. It stars Alexander Skarsgard, Nicole Kidman, Anya Taylor-Joy, Ethan Hawke, and Willem Dafoe. 

 

 

THE UNBEARABLE WEIGHT OF MASSIVE TALENT – Nic Cage plays himself in this comedy where he is offered a million dollars to attend a super-fan’s birthday party. It stars Pedro Pascal (TV’S THE MANDALORIAN), Tiffany Haddish, and Neil Patrick Harris. 

 

 

MEMORY – Liam Neeson stars in another shoot-em-up, this time playing an expert assassin who becomes the target. It co-stars Guy Pearce and Monica Bellucci. It is directed by Martin Campbell, who helmed the James Bond films GOLDENEYE (1995), and CASINO ROYALE (2006). 

 

*

 

Next month, Reel Speak previews the month of May. 

 

 

 

Reel Facts & Opinions: Oscar Night - The Good, The Bad, & The Glorious

The 94^th Academy Awards were last night, honoring the best achievements in film from the year that was 2021. It was an evening of history, a night of firsts, and a moment of shock. Here’s how it all landed in The Good, The Bad, and The Glorious. 

 

 

THE GOOD

-Having three hosts felt like overkill when it was announced, but for the most part it worked. Co-hosts Amy Schumer, Wanda Sykes, and Regina Hall were very funny. The skits were a hoot (although some dragged on too long), and they lit up the stage every time they appeared. It felt great to have hosts back, and to be back in the Dolby Theatre. It was familiar, welcoming, and a feeling of long-overdue, desired normalcy. 

 

-The musical numbers were done with some stunning stage design and rotating musical elements. Beyonce doing Be Alive from Best Picture nominee KING RICHARD at the top of the show was inspired and looked great. The In Memoriam was fantastic as it celebrated lives instead of mourning them. 

 

-This Blogger has been saying for years that the Academy doesn’t embrace its own history enough. Last night it seems they finally listened to me. Cast reunions were done for PULP FICTION, WHITE MEN CAN’T JUMP, THE GODFATHER, and CABARET. And the reunions weren’t just time-killers. They were there to present awards. Logical, sensible, fun. 

 

 

THE BAD

-As good as the tributes to past films were, having a trio of extreme-sports guys (Shaun White, Tony Hawk, Kelly Slater), intro the James Bond segment made absolutely no sense. Especially when there were three past Bond cast members right there in attendance (Judi Dench, Javier Bardem, Rami Malek). 

 

-In an effort to appeal to younger audiences, the Academy put out two fan-voting, non-award categories…which were hijacked by overzealous Zack Snyder fans. Stupid and embarrassing. It’s like the Academy doesn’t know how the internet works. 

 

-Disney’s smash-hit song We Don’t Talk About Bruno was not nominated (never submitted for consideration), but was performed live as an acknowledgement of the song’s popularity. Unfortunately, the performance was a departure from the tune, and it kinda sucked. 

 

-In an effort to cut the running time down, eight awards were given out pre-show and then edited into smaller bites during the show. Problem one was that the winners were leaked on Twitter early which took away a ton of drama and fun. Problem two was the show still pushed four hours. 

 

-The biggest shock of the night came when nominee Will Smith walked up on stage and smacked presenter Chris Rock…who had just made a joke at the expense of Jada Pinkett Smith, Will’s wife. The joke was in poor taste, and Smith was way the hell out of line. The worst part about it is the incident has marred what was an overall terrific evening. BUT: much credit to Diddy for breaking the tension in the room. 

 

 

THE GLORIOUS

-The Awards are the most important thing to talk about, so let’s get to it. It was a night of firsts: Kenneth Branagh took home his first Oscar for BELFAST (Best Original Screenplay), Jane Campion’s win for Best Director for THE POWER OF THE DOG marks the first time a woman has won that category two years in a row, Ariana DeBose’s Best Supporting Actress win for WEST SIDE STORY marks the first time an openly gay woman has won the category, and Troy Kotsur’s Best Supporting Actor win for CODA makes him the first deaf actor to win. 

 

-Denis Villeneuve’s magnificent DUNE was the most awarded of the night, taking home six Oscars. 

 

-Although it came as no surprise to This Blogger, CODA bested the heavily favored THE POWER OF THE DOG for Best Picture. The little indie film became the first film distributed by a streaming service and the first starring predominantly deaf actors to win. CODA is a step forward for cinema and by far…the right film won. And that is what matters most. 

 

 

A Reel Opinion: Oscar Picks, Part 2

The 94^th Academy Awards, honoring the best in film from the year 2021, are this Sunday. Earlier this week, Reel Speak made selections in the acting categories (HERE), and will now attempt to pick the winners in the elemental “top of the line” categories leading to Best Picture. 

 

Picking winners every year often comes down to stats and trends, momentum, and good old-fashioned gut-instinct. Watching the precursor awards is vital; the Screen Actors Guild (SAG), Producers Guild (PGA), Writers Guild (WGA), Directors Guild (DGA), Golden Globes, and the British Academy of Film and Television Arts (BAFTA). The Oscars can often be a monkey-see, monkey-do thing, and whoever wins early and often can be considered the favorite. 

 

This year, the race has funneled down to two films: the feel-good family drama CODA, and the Old West tragedy THE POWER OF THE DOG. Both films have fared well in the precursor events, and both have merits and demerits when analyzing their Oscar chances. Stats favor both, and one way or another this could be the year of some normal routines being broken. 

 

 

So, let’s pick some winners…

 

 

 

 

BEST EDITING

A vital category that is often overlooked. About two-thirds of all Best Picture winners have also won for film editing, including a streak of 33 consecutive years (1981-2013), where the Best Picture winner had at least the Editing nomination. That is a major knock against CODA which is absent here. This category has been won by KING RICHARD at the American Cinema Editors this year, while NO TIME TO DIE won at BAFTA. But every year there seems to a film that is heavy on the technical achievements and sweeps the tech awards, and this year that film is DUNE. This is one of many coming for the sci-fi epic. 

 

Winner: DUNE

 

 

 

 

BEST ADAPTED SCREENPLAY

CODA won this category at BAFTA and the WGA awards this year, but at WGA it was not up against POWER OF THE DOG due to an ineligibility issue. But if DOG doesn’t have support of the Writers Guild block of voters, then CODA is in the driver’s seat. 

 

Winner: CODA

 

 

 

 

 

BEST ORIGINAL SCREENPLAY

Very competitive category with BELFAST, KING RICHARD, and LICORICE PIZZA all with a strong chance to take this. Kenneth Branagh’s semi-autobiographical film BELFAST won this at the Golden Globes, while Paul Thomas Anderson’s coming-of-age LICORICE PIZZA bested BELFAST and KING RICHARD at BAFTA. The WGA went with the end-of-the-world satire DON’T LOOK UP for Best Original. BELFAST is the real darling, earning several nominations in the major categories, and this is likely the only one that it can win. 

 

Winner: BELFAST 

 

 

 

 

 

BEST DIRECTOR

Practically a no-contest. Jane Campion for THE POWER OF THE DOG has so far won here at the Director’s Guild, BAFTA, and the Globes. It’s rare that a sweep is not completed. 

 

Winner: THE POWER OF THE DOG

 

 

 

 

BEST PICTURE

This Blogger called CODA for Best Picture way back in August of last year, but some stats and trends do not favor it. The lack of an Editing nomination is a red flag, as is a lack of a nomination for Directing. But…CODA has a huge swing of momentum right now, having won Best Film at the Producer’s Guild, Best Ensemble at SAG, and a vital win with the Writer’s. THE POWER OF THE DOG remains the favorite, as its 12 overall nominations including four for acting are GODFATHER-like stats. But DOG is not without its red flags. Going home empty-handed at SAG was a huge one (when in doubt, follow the actors), and considering the cold and distant style of DOG…compared to the uplifting and warmth of CODA…it’s clear which film voters would feel better about. CODA’s win at PGA may be the dealbreaker, as the winner of Best Film there has gone on to win Best Picture 8 of the last 10 years. There are other stats say DOG, but this Blogger is sticking with the gut-instinct from day one. 

 

Winner: CODA

 

*

 

The 94^th Academy Awards are this Sunday, the 27^th. 

 

 

 

 

 

A Reel Opinion: Oscar Picks, Part 1

The 94^th Academy Awards are less than a week away, and in this first part of Oscar picks, Reel Speak will attempt to pick the winners in the acting categories. 

 

Picking winners every year often comes down to stats and trends, momentum, and good old-fashioned gut-instinct. Watching the precursor awards is vital; the Screen Actors Guild (SAG), Producers Guild (PGA), Writers Guild (WGA), Directors Guild (DGA), Golden Globes, and the British Academy of Film and Television Arts (BAFTA). The Oscars can often be a monkey-see, monkey-do thing, and whoever wins early and often can be considered the favorite. 

 

But there is always an X-factor, and this year that factor is Jane Campion’s heralded THE POWER OF THE DOG. Her Western has earned 12 Oscar nominations with four for acting, which are GODFATHER-like stats. However, the film has come up short in some of the Guild Awards; going home empty-handed at SAG and PGA. But the film has won big at BAFTA, the Globes, and with the Directors. The shutout loss at SAG says a lot, but with four chances in the acting categories it feels like it should and could steal at least one of them. 

 

So here are Reel Speak’s picks for the Actors and Actresses: 

 

 

ACTRESS IN A SUPPORTING ROLE 

Ariana DeBose for Steven Spielberg’s WEST SIDE STORY is the heavy favorite here, having already won this category at BAFTA, SAG, and the Globes. It is rare for anyone to not complete a sweep, and this is likely the only category WEST SIDE STORY will win,. 

 

Winner: Ariana DeBose

 

 

ACTRESS IN A LEADING ROLE

Jessica Chastain’s stunning transformation into televangelist Tammy Faye Baker has so far earned her a win here at SAG, however she lost here to fellow nominee Nicole Kidman at BAFTA for her portrayal of Lucille Ball in BEING THE RICARDOS. Kidman has been here four times now and won once (2003 for THE HOURS), and this is Chastain’s third trip down the red carpet, having come up short in 2012 and 2013. The Academy does love those first-time winners, and when in doubt, follow the actors (SAG). The X-factor here is Kristen Stewart for her role as Princess Diana in SPENCER, but that film hasn’t seen much love from anyone. 

 

Winner: Jessica Chastain

 

 

ACTOR IN A SUPPORTING ROLE

This one belongs to Troy Kotsur, who has the chance to be the first deaf male actor to take home the Oscar. His role in CODA as a deaf father has so far earned him wins at SAG, BAFTA, and helped his film take home Best Ensemble at SAG. This will be the emotional moment of the evening. 

 

Winner: Troy Kotsur

 

 

 

ACTOR IN A LEADING ROLE

This year’s Best Actor race may seem a wrap on paper, but this is the category that is ripe for a surprise. Will Smith has so far taken home wins at SAG, BAFTA, and Globes for his part as the father of tennis legends Venus and Serena Williams in KING RICHARD. Smith has been here three times now and this could be his first win. But lurking in the background is Benedict Cumberbatch for his role in the heavily-nominated THE POWER OF THE DOG. As said above, DOG feels like it can win one acting award, and this would be the place for it as his three co-stars (Jesse Plemons, Kodi Smit-McPhee, Kirsten Dunst), would not likely be the ones. If the vote is too close, the door could be open for Andrew Garfield to sneak in for his part in TICK, TICK…BOOM! This is a tight race, but sweeps happen often, and with the strategy of following the actors, it feels safe to bet that the Fresh Prince will finally earn his crown. 

 

Winner: Will Smith

 

 

 

 

 

 

A Reel 50: THE GODFATHER

“I’ll make him an offer he can’t refuse.”

 

This month marks the 50th anniversary of THE GODFATHER.

In the late 1960’s, the movie industry was not in the best of health. Most of the major motion picture studios, including Paramount Pictures, were desperate for a big hit would keep them afloat while re-installing confidence in the American movie-going public. Part of the problem was a stale environment for filmmakers. Frustrated by such a stifling creative atmosphere, a group of experimental filmmakers which included Francis Ford Coppola and his friend George Lucas, founded their own independent studio which would inspire creative and unconventional approaches to filmmaking. 

Approached by Paramount to direct an adaptation of Mario Puzo’s novel, Coppola initially refused the offer. With THE GODFATHER being a violent story of mafia crime bosses, Coppola, an Italian American himself, did not want to paint his heritage in a negative light. However, Coppola was convinced by Lucas to take the plunge. Desperate for a money-maker, Paramount put immense pressure on Coppola during casting and filming, and the director was nearly fired serveral times. However, Coppola eventually won out on many important decisions, including the casting of Marlon Brando and setting the film in the correct time period, 1945 to 1955. 

With a now historic ensemble cast which included Brando, Al Pacino, James Caan, Robert Duvall, Diane Keaton, Talia Shire, and Abe Vigoda, THE GODFATHER was a hit and eventually became a milestone in movie history. It was nominated for eleven Oscars, winning three, including Best Picture. It was selected for preservation in the United States Film Registry in 1990, and is regarded as the second greatest film in American cinematic history; second only to CITIZEN KANE. THE GODFATHER brought greatness back into cinema, virtually saving the industry and serving as the model for all future crime dramas; GOODFELLAS, THE DEPARTED, and the TV series THE SOPRANOS can all trace their roots back to THE GODFATHER. 

*

As a wee-lad, this Blogger spent most of his youth around fun movies such as STAR WARS and RAIDERS OF THE LOST ARK. Movies like THE GODFATHER always felt too adult, too scary, and too dark. It wasn’t until college when I discovered the film as part of a film class, and it was a film I could no longer refuse. It would be dismissive to merely label it as a gangster film, as THE GODFATHER weaves in stories of organized crime with themes of family, betrayal, loyalty, and the chasing of the American dream. It is a slice of American history just as much as it is fiction, and its many layers cannot possibly be explored in a single blog. This was one of many films in the 1970’s that saved cinema, and its legacy of greatness for half-a-century is well-deserved. 

 

 “I believe in America…”

 

A Reel Opinion: Ranking the Live-Action Batman Films

All the movie talk in the world this month leads to the Caped Crusader, as Matt Reeves’ THE BATMAN has landed in theatres as a trifecta hit; with fans, critics, and the box office (read Reel Speak’s review HERE).  The film is being hailed as one of the best Batman movies of all time. Where does it fall for this Blogger? Read on…

 

Created by Bob Kane and Bill Finger, Batman had his comic book debut in March of 1939. Four years later, the character would hit movie screens as a 15-part serial with Lewis Wilson becoming the first to don the cap and cowl. Since then, the character has seen many ups and downs on the silver screen; ranging from hits, misses, box office champions, massive flops, cultural mainstays, and Academy Award glory. The character has also seen success in animation, with MASK OF THE PHANTASM (1993), and THE LEGO BATMAN MOVIE (2017), earning top honors. Similar to James Bond, Batman has been reinvented many times for the big screen, and has appeared in a total of 12 live-action films. For this list, this Blogger will take into consideration every live-action appearance the Bat has made, even if it was just a cameo. 

 

 

 

Now…to the Batpole! 

 

 

 

 

 

 

12. SUICIDE SQUAD (2016)

Ben Affleck’s second appearance as Bruce Wayne/Batman came in this pile of nonsense that was doomed from the start. Directed by David Ayer, SUICIDE SQUAD gathered together Batman’s greatest enemies…and then relegated Batman to a small cameo. Although Affleck’s version of The Bat was excellent, his show-stealing short scene just showed how much better the movie could have been, which wound up as a critical and box office bomb. How bad was it? So bad that parent studio Warner Bros. rebooted the whole thing just a few years later. But still no Bat. 

 

 

 

11. JUSTICE LEAGUE (2017)

Ben Affleck’s third appearance as the Bat resulted in this embarrassment which was later recut into a four-hour version that landed on HBO MAX (notice the trend?). Affleck’s Bruce Wayne works to gather the world’s finest heroes to counter an incoming cosmic threat in a decent plotline, but a troubled production led to a theatrical release that felt like half-a-movie. To make matters worse, the four-hour version was basically the same film, just a lot longer. 

 

 

 

10. BATMAN AND ROBIN (1997)

 

Just keep scrolling. 

 

 

 

9. BATMAN FOREVER (1995)

Joel Schumacher directed two consecutive Batman films which are both considered to be two of the worst superhero films of all time. For FOREVER, Val Kilmer took on the role of the Bat and acted like a plank of wood stuck in the mud. Two years later George Clooney entered the franchise in BATMAN AND ROBIN and seemed lost. Both movies also suffered from over-the-top humor and action, headache-inducing setpieces, and an atmosphere that made the Batman cartoons look like LAWRENCE OF ARABIA. 

   

 

 

8. BATMAN (1966)

Based on the popular television series with Adam West as Batman and Burt Ward as Robin, this was the first full-length theatrical try at the character. Today, it is just as ridiculous, campy, and fun as the TV series, but it knows it…and doesn’t pretend to be anything more than that. This was a Batman movie that knew its own business. 

 

 

 

 

7. BATMAN V. SUPERMAN: DAWN OF JUSTICE (2016)

Ben Affleck’s first appearance as Batman came in this dour and overlong mess which later had (sigh, again), an extended edition released to try and iron out the many issues. This Batman’s debut had some of the best moments ever for the character on film; ranging from a spooky first-appearance, a mighty warehouse fight, and yes…his big dustup with the Man of Steel. DAWN OF JUSTICE tried to be epic by throwing in a lot, and felt like 16 movies crammed into one with plotlines involving Wonder Woman, Lex Luthor, Doomsday, politics, ethics in journalism, a photograph, bizarre dream sequences, kryptonite, CIA spies, a dead Kryptonian general, and let’s not forget Martha. A mess, which was a shame because Affleck’s Batman was excellent in and out of the suit. 

 

 

 

6. BATMAN RETURNS (1992)

Tim Burton returned to the directing chair and Michael Keaton reprised his role as Batman in this follow-up to their 1989 hit. RETURNS was the first superhero film to start piling on the villains, with Danny DeVito coming in as the Penguin, and Michelle Pfeiffer as Catwoman. Burton turns up the stakes and balances the ridiculous with the darker elements of Gotham City, and over the years the holiday setting has made the film a favorite to revisit every December. 

 

 

 

5. THE DARK KNIGHT RISES (2012)

Christopher Nolan’s third and final film in his DARK KNIGHT TRILOGY, which sees Gotham City under siege by Batman’s beefy big-bad, Bane (Tom Hardy). Hardy turns in a chilling performance, and the scope and scale of this one trots the globe and puts Bruce Wayne through all kinds of hell. Anne Hathaway comes in as an excellent Catwoman and is paired nicely with lead actor Christian Bale. The film is bookended by two massive action setpieces; starting with a breathtaking air hijacking and ending with an all-out war. 

 

 

 

4. BATMAN (1989)

This Blogger has always found this one to be grossly overrated, but there is no denying the film’s massive popularity even after 33 years. Tim Burton directs, Michael Keaton plays the Bat, and Jack Nicholson puts on the purple suit of the Joker in this rollicking dust-up that has become a cultural hit in more ways than one. 

 

 

 

3. THE BATMAN (2022)

Matt Reeves directs and Robert Pattinson dons the cowl in this stunning presentation that turns the tables on how we have perceived the character, while staying true to its comic origins and paying homage to films of the past. Batman takes on the Riddler (a chilling Paul Dano), in a psychological game that has far-reaches into the bowels of Gotham, and our caped crusader is put under the microscope in new and refreshing ways. Time will tell how THE BATMAN will hold up, but for now it deserves a high ranking. 

 

 

2. BATMAN BEGINS (2005)

Christopher Nolan’s tremendous reboot of Batman that reinvented the character and flushed the stink of the 1990’s films down the drain for good. Christian Bale takes on the lead role in the first of three films that explores the deep roots that made the Bat become the Bat. For the first time in ages, a comic book movie was shot and treated like serious cinema, and the world took notice. 

 

 

1. THE DARK KNIGHT (2008)

And it was the Academy who took notice of Christopher Nolan’s sequel to Batman Begins, by nominating it for eight Oscars and awarding the late Heath Ledger Best Supporting Actor for his jaw-dropping role as the Joker; making this Bat-film the first of the comic book films to take home a win in a major Oscar category. The win was well-deserved, as this Joker dug below the cockles of Gotham, concocting schemes that would challenge of the ethics of Batman, Commissioner Gordon (Gary Oldman), and District Attorney Harvey Dent (Aaron Eckhart). THE DARK KNIGHT would be a game-changer for superheroes on film and for blockbusters, and set a standard that every Bat has been chasing since. 

REEL SPEAK'S RANKING OF THE LIVE-ACTION BATMAN FILMS

1. THE DARK KNIGHT
2. BATMAN BEGINS
3. THE BATMAN
4. BATMAN (1989)
5. THE DARK KNIGHT RETURNS
6. BATMAN RETURNS
7. BATMAN V. SUPERMAN: DAWN OF JUSTICE
8. BATMAN (1966)
9. BATMAN FOREVER
10. BATMAN AND ROBIN
11. JUSTICE LEAGUE
12. SUICIDE SQUAD

A Reel Review: THE BATMAN

Roger Ebert, the famed late great movie critic, often said that it is not what a movie is about that matters, it’s how it’s about it. This rule is often applied to films that tell an old story in a new skin; classics such as THE MAGNIFICENT SEVEN (1960), big money-makers such as TITANIC (1997), and AVATAR (2009), and most of the Quentin Tarantino film catalog. And it is the approach for director Matt Reeves and DC Comics’ newest version of the Caped Crusader, THE BATMAN. 

 

Batman/Bruce Wayne (Robert Pattinson), working together with police lieutenant Jim Gordon (Jeffrey Wright), has been fighting crime on the streets of Gotham City for two years, when a new serial killer called The Riddler arrives (Paul Dano). 

 

Directed by Matt Reeves, THE BATMAN is a twisting and turning detective-noir story that takes our favorite dark knight through a maze of mystery and murder. The plot is thick and keeps on coming, as the story shifts gears often…taking Batman down corridors of his past, corrupt city officials, and mob bosses. The Riddler is playing an intricate game of leaving codes and cyphers, using Batman as a pawn to expose rotten mayors and lawyers who have ruined the integrity of Gotham. There is a lot to keep track of, and although it isn’t difficult, it’s a lot and nearly exhausting. 

 

THE BATMAN is done in a realistic and grounded style and is one of those rare superhero films that actually feels like it could have taken place in our reality. Even classic Bat-characters such as Catwoman/Selina Kyle (Zoe Kravitz), and Penguin (Colin Farrell), manage to stay on Earth despite their flamboyancy. There’s a lot to love here as THE BATMAN is saturated in Batman lore, drawing on ages of comic pages and even borrowing from past films. The dark knight himself is perfectly realized; intimidating, striking fear into street thugs, and using just as much brains as he does brawn. 

 

Matt Reeves and cinematographer Greig Fraser film a movie with a unique touch that separates THE BATMAN from his own catalog of films. The film is gorgeous; shot in magnificent lights, shadows, and abstract framing. The action is tremendous, ranging from brawls to shoot-outs to thunderous car-chases. Our social media culture is put under the spotlight, and a citizen-uprising near the end is stunning…especially since the film was shot before the events of January 2021.  Michael Giacchino’s score adds to the thick atmosphere. 

 

Robert Pattinson is terrific as Batman and Bruce Wayne. He spends most of his time under the cowl which is something new and exactly what fans would prefer. He plays the role cold and distant which may be off-putting, but here it works. He is matched nicely with Zoe Kravitz, who nearly steals the show. Colin Farrell is unrecognizable under layers of makeup, but he acts through it and is a blast. Andy Serkis comes in as Bruce’s butler Alfred and is a delight, although a little underutilized. Jeffrey Wright is excellent, as always. John Turturro comes in as mob boss Carmine Falcone and is a force to be reckoned with. Paul Dano is absolutely chilling. 

 

Any film fan will realize right away that THE BATMAN borrows a lot from past films such as ZODIAC (2007), SE7EN (1995), the infernal SAW movies, and even the last two Batman films directed by Christopher Nolan. It’s familiar, but in this new skin it works and works very well...and it is unique which goes a long way. At nearly three hours and a ton of plot, including a final sequence that feels never-ending, THE BATMAN will likely bash audiences into exhaustion, but the overall experience sticks. For THE BATMAN, everything old is new again. 

 

BOTTOM LINE: See it 

Read Reel Speak's ranking of the live-action BATMAN films HERE

A Reel Preview - The Year in Film 2022: Episode III

The one and only box office story for the month of March will be the return of The Bat. With little to no competition after the first weekend of the month, expectations for big dollars are high, and there is little room for excuses. With that, here are the notable releases for the month of March…The Bat and not much else. 

 

 

 

THE BATMAN – DC Comics returns to the big screen with their third version of the caped crusader since 2005. Robert Pattinson (TWILIGHT, THE LIGHTHOUSE), dons the cape and cowl of Bruce Wayne, and Zoe Kravitz stars as Catwoman. The rest of the cast includes Colin Farrell as Penguin, Paul Dano as Riddler, Jeffrey Wright as James Gordon, and John Turturro as mob boss Carmine Falcone. It is directed by Matt Reeves, who brought us the last two PLANET OF THE APES films. 

 

 

AFTER YANG – Colin Farrell and Jodie Turner-Smith star in this sci-fi drama where robotic children are purchased as live-in babysitters. 

 

 

GREAT FREEDOM – This Austrian film won a Jury Prize at the 2021 Cannes Film Festival. Set in post WWII Germany, it centers around a man who is imprisoned for being gay, and develops a relationship with his cellmate. 

 

 

GOLD – Zac Efron stars in this dystopian-future thriller about a man who discovers gold in the desert. 

 

 

UMMA – Sandra Oh stars in this horror film where a woman discovers that her mother’s ashes contains a vicious spirit. 

 

 

THE LOST CITY – Sandra Bollock plays a romance novelist who is kidnapped by an eccentric billionaire, played by Daniel Radcliffe, who wants her to take him to a lost city filled with treasure. Channing Tatum co-stars. 

 

*

 

Next month, Reel Speak previews the month of April.