Quick Review: "The Batman"

Written by: Keaton Marcus

Aggravated and aggressive in a deeply depraved and unsettling manner, but never losing its cool, calculated, and eerily deliberate exterior of detachedness. In sleek and sexy fashion, Matt Reeves takes this violent and depressed iteration of the titular character and posits him in a contrasting world too, say, Nolan’s setting, cleverly reflecting modern society. With Nolan intentionally designing Gotham to be a New York-type location in response to 9/11 and the war on terror, Reeves designs it as a hellish purgatory, lacking glamorization and grand cityscapes, and on the path to imminent destruction. It’s an unreal world where greed and corruption have taken over in full, and no one is representative of a “good guy.” Even Bruce’s tower feels decrepit and torn apart.

The comic book genre is changing. Reflecting on the massive success of Todd Phillips’ Joker in 2019, Reeves follows in similar footsteps. Phillips used the iconic character as merely a platform to examine American violence and disillusionment, with Reeves doing something alike; and as Joker owes to Scorsese a great deal, this does to several works from David Fincher, especially Zodiac and Se7en. It’s kinda funny that this hasn’t gotten the same amount of misguided hate for *plagiarism* but whatever. As Joker most definitely is, this is a very original work that wishes to do far more thematically than what meets the eye.

This is, in essence, a serial killer movie more than anything, with little reassurance in its delve into our largely digitized community today. Incel and Reddit culture are big ideas thrown around here with Paul Dano’s the Riddler. Reeves fundamentally understands this character, diluting the goofy cliches and stripping him down to some loner who doesn’t give a fuck about redemption. This character isn’t a joke anymore, and it’s terrifying.

Here, The Riddler doesn’t believe in hope for societal reformation as Batman does, and certainly doesn’t have anything to lose, so why not destroy it all? That’s the key difference between Bruce and the Riddler as characters. They both detest corruption and political masquerades, but the former seeks to mend the city while the latter wishes to see it burn. It’s a challenging and rewarding experience watching Reeves’ portrayal, and it’s no doubt heavily inspired by Spacey’s in Se7en in both characterization and screen time or lack thereof.

Examining this film from a critical standpoint, the frames feel textured here, clearly made by someone with genuine artistic integrity. Reeves goes full throttle here, with significant help from Greg Fraiser, a total upcoming Roger Deakins. What most MCU films lack is a singular aesthetic and approach in general, and that’s where the DC so often succeeds. Snyder’s depictions aren’t flawless for sure, but he has a unique vision, and sometimes that’s just enough for me. Otherwise, Pattinson and Kravitz are magnetic together, full of a genuine sensuality that Bale and Hathaway so disappointingly lacked in The Dark Knight Rises. Their chemistry is full of yearning and desire, and it does more for superhero films sexually than whatever Eternals (among so many more) have attempted to. 

It’s beautifully made, doesn’t feel like three hours at all, and despite its largely grim attitude, full of heroic optimism by the conclusion. This is what comic book cinema needs to be, in my IMO.

Quick Review: "Top Gun: Maverick"

Written by: Keaton Marcus

“Turn and burn.”

The original Top Gun has always been one of my favorite movies. The unapologetic cheese and shirtless (gay) men embracing the beautiful sunset, the summery aesthetic was one thing — but the guilty pleasures combined with the complex, practical and visceral action sequences from Tony Scott’s masterful hand wooed me just as effectively when I first saw it five years ago. It’s fun and breezy as hell, but it’s also a very well-made action movie — regardless of the loveably bad performances and ridiculous premise.

Tom Cruise, like it or not, is one of the most important voices in our modern cinematic landscape; particularly in the action genre. When watching Top Gun Maverick in an IMAX theater, I realized that the only action films that made my jaw drop consistently starred this man. Disingenuous, computer-generated destruction in the MCU and DCEU gives some good thrills to a selective crowd — but the sentiment remains mostly cheap to me. To truly thrill me, I need to feel immersed — and in this case, like I’m up there with Cruise’s Pete Mitchell in a fighter jet. Take Mission: Impossible - Ghost Protocol, a thrilling revitalization of an inconsistent series. When Ethan Hunt climbed and swung from window to window on the top of the Burg Khalifa (and Cruise did this), my fear of heights kicked right in at full force. My jaw: dropped, my palms: sweaty, my heart: beating like a drum. I was bursting with this electrifying anxiety, and it all came from some maniac climbing the tallest building in the world in some fun blockbuster.

In Maverick, Cruise taught the entire cast how to fly these jets. Armed with cameras, the crew, and visionary director Joseph Kosinski, took this thing to a whole new level of immersion and realism. I felt that G force. The film pays tribute to the cheese and brevity of Scott’s masterful classic in full without sacrificing a greater and essential emotional core. Beautifully captured and the edge-of-your-seat action paired with a therapeutically enjoyable beach football scene; you only get that in a Cruise picture. 

150 million dollars were spent here — and for once, every cent was worth it (aka - fuck you Marvel) Cruise continues to push boundaries in cinema and I’ll go broke just to see what’s in store for him next. 

I dunno…there’s something magical about going to the cinema and not seeing, but witnessing one of this actor’s movies. I can’t fucking wait for the next Mission: Impossible film. Maverick is going straight to the faves.

Quick Review: "Elvis"

Written by: Keaton Marcus

Baz Luhrmann is one of my favorite directors working today. Understandably controversial, his style puts cinematic in the word cinematic—stuffing his movies with flourishes of color and wall-to-wall needle drops, complimented by his trademark super sonic pacing and wildly entertaining cast of characters. Some may not find this sort of moviemaking their speed, with an (in my opinion) masterful blend of chaos and romanticism—dramatized to the highest degree but with a sense of aggressiveness that keeps audiences (me) invested. Especially with his, as expected (and welcomed), revisionist adaptation of The Great Gatsby, Baz blends the old-fashioned with the modern to showcase an ever-changing world both in the present and past. His first film in almost a decade, Elvis, will not disappoint his die-hard fans.

Dripping with this intoxicating tone and propelled by a soundtrack consisting of a deft combination of both hip-hop music from today’s recording artists and Austin Butler’s versions of classic EP tracks, it’s nothing but anarchy here. Eminem, Doja Cat, and Denzel Curry all have their voices heard; the camera spins and infiltrates every setting—brought to life by stunning sound design and beautiful editing (what’s incoherent to some is just a blast to me). I felt a sense of electricity wash over me watching Butler take over the center stage on-screen, taking Presley’s wiggle to a successfully serious degree and perfecting his distinct voice. His performance is gonzo in all the greatest senses—the work of not only a promising new talent but a future superstar (he’s already been cast in the Dune sequel). It’s epic to witness. Do not snub this man, Academy.

Everyone in the cast is doing a bang-up job. Sure, Tom Banks’ accent is an exaggerated interpretation of the real Col. Parker (I watched interviews featuring him), but this movie doesn’t just celebrate exaggeration, it is an exaggeration. As with all of Baz’s masterpieces, I came for all the classic melodrama. The angst and rebellion in Elvis’ character turned up to the maximum—and all the beautifully schmaltzy romanticism that comes along with it. Cameron does it with Titanic, Mann does it with Heat, and Baz does it whenever he gets the fucking chance. It’s gorgeously over-the-top but not without a sense of intimacy and serenity (followed by destruction) of Elvis and Priscilla’s tumultuous relationship. 

This is a film filled to the brim with dilemmas. The obvious one is the conflict between Elvis and Parker. Baz illustrates an epic tragedy here—a supposed friendship at the beginning getting torn apart by difficulties in business and genuine desire. By the strikingly melancholic conclusion, audiences realize that Parker never truly cared about the heart of the art form—prioritizing major cash over letting Elvis be Elvis. And Elvis, well, being Elvis, didn’t give a shit about what old crotchety men afraid of change thought of him. What I was completely oblivious to before watching was how bold even the movements of Elvis were on television. The US was used to the still and sturdy, and this man was a disruption of a system begging to be torn down. His controversial wiggle earned him the name “Elvis the Pelvis”—conventionally stoic masculinity was in a crisis watching this make-up-clad, greased-up, flamboyant musician get a rise out of the nation. It’s stunning how Baz illustrates the rebel inside of him—and the takedown of barriers that he was.

Additionally, Baz’s incorporation of Black culture—and how Elvis popularized it to the world, was perfectly sentimental (I felt it needed even more screen time). Elvis grew up and hung out around Black musicians more than anyone, learning and growing as a listener, and eventually, as an artist himself. They bettered him so he could educate the world about new and inspiring aspects of music. Because Hound Dog was originally sung by a Black woman, I loved that Baz let Doja Cat sing a revisionist version of the original, which drops in the first act of the film. This movie is a gorgeous blend of culture old and new, faithful to the musician yet adding calculated hints of revisionism in style and substance.

Elvis is a work of a seasoned master. 2 hours and 40 minutes went by like half an hour. Musical biopics as a genre have fallen off the deep end lately, and Baz brings his distinctive, auteur voice to the mix. See it in theaters.

Quick Review: "Men"

Written by: Keaton Marcus

I left the theater showing Alex Garland’s deliciously provocative third feature, Men, with a root beer still 3/4ths full and a packet of M&Ms barely touched. The only films where I don’t dive into a soda or candy or popcorn by the end are the ones that really, truly get to me. Jaw agape throughout the last 30 minutes, I felt confused and disturbed by the grotesque conclusion, as I had been in the shoes of Jessie Buckley’s Harper for 100 minutes. The discourse around this film is disappointingly lacking, to say the least, and I couldn't help but disagree with all the one-liner popular reviews on Letterboxd that read along the lines of “men bad.” 

(a whole other issue that I will not discuss with modern film discourse is the prioritization of nice-sounding blurbs ready to get spam liked over reviews that have something cool to say.)

Compared to Edgar Wright’s Last Night in Soho frequently, both admittedly explore toxic masculinity, but Wright’s movie is so shallow and focused on pretty visuals and neat editing while this does have more than “men and nostalgia bad” on its mind. It’s Garland for crying out loud. Now the film is still gorgeous looking, with an idyllic location and some gnarly, impressive make-up in the final act. Props to the entire crew—it’s a technical marvel. The performances are there, with powerhouse work from Buckley (I mean what else do you expect from her now) and particularly Kinnear, who takes the Vicar and Geoffrey to another level of terrifying. Both actors have such malleable faces so prone to genuine human reaction and chemistry. It’s always awesome watching two performers who know what the hell they’re doing on-screen.

Now, it’s far from perfect. Garland, especially in the 3rd act, has a lot to say. I interpreted it as this final sign of generational residue when it comes to toxic masculinity; a reproduction of misogyny passed on with more feeble results each time around. The poisonous bigotry remains, however. I feel as if the execution often becomes too mired in pretentiousness and incoherent, albeit dazzling visuals. So much is there that it inevitably becomes two fascinating tales; one of remembering and coming to terms with a past trauma fueled by gaslighting and pain with a lover, and how what came before translates into Harper’s present. 

Ari Aster’s Midsommar followed similar footsteps, but more satisfyingly with its connective tissue in between the timelines. The correlation between the constant flashbacks here and these scary clone men attacking Harper at random moments felt too flimsy and unconvincing. If tightened up, this really could have been something to be reckoned with. Still, at its best, it’s a very scary and riveting cat and mouse thriller infused with commentary about the generic, carbon copy aspects of modern toxic masculinity and how it results in female trauma—it’s just messy, unfortunately. 

I always give Garland and other modern directors in horror props for giving me something to ponder over the next day. I love a good ride from someone like James Wan, but on occasion, I prefer a film that I’m able to dive deep into on the ride home, scouring the internet for explanations on what I just watched instead of relishing in fleeting jump scares.

Alex Garland is an undeniable talent, and although his newest is also his most flawed and incomplete, it's just as fascinating as Ex Machina and Annihilation.

*bonus points to the elderly woman next to me who kept screaming “fuck yeah” every time Buckley did something cool*

"Everything Everywhere All At Once" is a well-acted, gloriously insane, masterfully crafted dose of multiversal madness

“Everything Everywhere All At Once” Film Review

100/100 “sweet”

By Quinn Marcus

So I had very little idea what this movie was leading up to its release date. I’d seen ads for it scrolling through Instagram, but it wasn’t until recently that I started to get excited about it. You know, I love A24. I remember explaining in my Green Knight review last year that this studio has always dared to push the boundaries of the cinematic medium, and bring talented indie directors into the spotlight. Is the quality of their films released a tad varying, yes, but I’m glad that a studio like this exists, and I think Everything Everywhere All at Once completely solidified that fact. To put it simply, this film is everything I adore about A24, and frankly, movies, in general, tightly and skillfully packed into a single, mind-blowing experience. Trust me, I am not overselling this one bit, Everything Everywhere All at Once is beyond phenomenal. I haven’t seen innovation or originality at this level in a long time, it’s a gem amongst the rubble of an increasingly generic market of film that kept me entertained consistently and without fail, never once holding back, always managing to push the concept of the film to its limits the whole way through.

Logically, there’s no way this movie should have worked; it's overstuffed, nonsensical, whipping through the vastness of the multiverse at almost incomprehensible speeds, and yet it succeeds with flying colors. Why? Well, to tell the truth, I might need a second viewing to come up with a final answer, but it does achieve something I haven't seen in cinema, and that's managing to truly, seamlessly pull off everything, everywhere, ALL. AT. ONCE. It's one of the most visually creative films I've ever seen, ambitiously insane without ever losing sight of its heart or themes. Grounded, but elevated, untamed, but also constructed with care. Stylistically, it makes callbacks to the works of filmmakers such as Wong Kar-wai and Quentin Tarantino, but Daniel Kwan and Daniel Schienert (the Daniels) aren't messing around, they’re smashing through the rules of Hollywood, the structural norms, fully committing to their ideas. Essentially, it feels like the script was conceived at random, but in the best way possible.

Normally, a film that includes talking rocks, ominous floating bagels, and sausage fingers (all of which are utilized to their maximum, hilarious potential) could easily become ridiculous and a mess, but the thing is, Everything Everywhere All at Once isn’t a failed mess, in fact, it thrives within its own mess, achieving perfection amongst the chaos if that makes any sense. What I’m trying to say is that I didn’t anticipate something constructed around imperfection, but managed to find a transcendent beauty in its own madness. I sound pretentious, but when you see it, words fail to describe the brilliance and ambition of such a project. The cast was 100 percent believable, and I bet it must have been hard choosing the performers, because honestly, they could make or break a film like this, all it takes is a faltering of character to shatter the imaginative atmosphere; thankfully, I couldn’t ask for a better ensemble.

I hope Michelle Yeoh, and many of the excellent supporting cast receive Oscar recognition next year. Jonathan Ke Quan was a standout, Jamie Lee Curtis was fantastic, everyone pulled off top-notch scenes of comedy, drama, and action to the best of their abilities. Speaking of the action, it was choreographed marvelously and edited to perfection, often reminiscent of Kill Bill or the original Matrix in terms of style and rhythm. I’m not kidding when I say this, but there were four segments of applause from the crowd during a combat scene involving a fanny pack, that’s how well the action was executed. What was awesome about this viewing experience was unexpectedly the audience. There were MCU level cheers, laughs, and clapping throughout, sometimes during singular scenes (as mentioned previously), and to have a lively crowd like this during an A24 film on a Thursday night put the biggest smile on my face.

Maybe it’s because everyone was simultaneously in a positive mood, I don’t know, but this audience enhanced the experience greatly, and it might take the top spot as my favorite theater experience. Everybody was having fun, and there was this undeniable vibe in the room that we were all witnessing something truly special, and that feeling is what the cinematic experience is about, it’s what studios should be striving to produce, and ultimately what movie theaters need, especially right now. Anytime I thought the film couldn’t possibly have another trick up its sleeve, it surprised me constantly, I struggle to pinpoint any exact issues with it. Admittedly, the emotion of the film isn’t as profound as the rest of the movie, but it still packs a powerful punch about family and forgiveness in a gorgeous finale that left me speechless and satisfied. Guys, when this film hits a theater near you, I’m begging you to support it, art like this deserves your attention, and I’m excited to watch it again.

"The Batman" is a boldly executed, beautifully shot rendition of the Dark Knight featuring an excellent cast and a fully realized atmosphere

“The Batman” Film Review

98/100 “sweet”

By Quinn Marcus

So yes, I’m back to reviewing movies. I took quite a long break since my Licorice Pizza review at the end of 2021, but I knew that no matter what, I had to come back for The Batman. I usually have two most anticipated films of the year, one for the first half, and one for the second, and The Batman was absolutely mine for the first half of 2022, I was counting down the days until I could see it, hoping for an absolute masterpiece of filmmaking, a triumph for the superhero genre, the Batman movie I always knew could be done, and I’m happy to say that I got all of that and more, A LOT MORE. When the trailer first came out, my younger brother asked me a question: 'is Batman a villain?' Yes, he wears eye shadow, dresses in all black, and speaks in a low, gravelly voice, but it's something I've pondered over up until the release of this movie, and now that I've finally seen it, in my personal opinion, he is neither hero nor villain nor antihero. The Batman is an entirely different breed of a comic book character. He is the shadows of his corrupt city. He is a manifestation of trauma and suffering, he is fear, and yes, he is vengeance. Bruce Wayne and the mask he wears are the same, he's become a recluse by day, consumed by the loss of his parents and a guardian by night, but equally tortured by his past.

Matt Reeves takes this character down a more than fascinating path, exploring his failures as much as his victories, which even his greatest triumphs are often meaningless in the greater context of the Riddler's plan, and leaning into Bruce Wayne's inner turmoil about his role in Gotham more than any interpretation of the Dark Knight I've ever seen. It’s dramatic, moody, epic, pretty much everything I could have possibly wanted out of another Batman film. I love Bruce Wayne’s character so much because there can be a large variety of thing’s done with his story from a filmmaking standpoint, and Reeves somehow managed to produce exactly what I wanted, a film that actually feels like a Batman detective story. As much as I love Nolan’s trilogy, his work lacked a necessary aspect that gives this film a slight edge on his interpretation in my opinion: the atmosphere.

Look, The Dark Knight is a masterpiece as well, and Heath Ledger’s Joker is arguably the best villain of all-time, but I can’t deny the protruding fact that it’s essentially set in New York under a different name, and that Nolan didn’t handle action quite as well as Reeves, utilizing more shaky cam and a far blockier execution than Reeves’ sleek direction, particularly in the hand-to-hand combat. However, I don’t want to spend this whole review comparing this movie to earlier versions, because I have a lot I want to talk about. Since we’re on the subject though, let’s continue with Reeves’ directing. Everything related to tonality is pitch-perfect in this film. As I said before, Reeves captures the Batman atmosphere with flying colors, the way this film was helmed is phenomenal. Everything from how Batman enters a room and presents himself, the neon, gothic, grimy aesthetic of Gotham city, to how bone-chilling the Riddler was goes to show that Reeves was in no rush while executing this film, setting up his shots in meticulous, tension-filled fashion.

He lets the audience in on exactly what they need to know with every passing scene, cautiously solving this intricately constructed, Se7en-esque mystery that had me in suspense thoroughly, holding the final reveal until an explosive third act. Don’t get me wrong, I’m a big fan of what Reeves accomplished with his Planet of the Apes films, but what he did here is on another level of badass, and I hope he gets to direct potential sequels. On a technical level, The Batman is also excellent. The cinematography by rising talent Greig Fraser (D.P. Rogue One, Dune) is infused with dark, contemplative visuals. Many may accuse the film of being under-lit, but I’d say it fits the point of this film entirely, to showcase this world of shadows that is Gotham city. There’s this breathtaking car-chase featured heavily within the trailers that caught my attention particularly because car chases are used so often in film nowadays, yet Fraser and Reeves managed to bring something fresh and beautiful to this common action scene, and there are bits and pieces throughout The Batman just like it that kept my jaw dropped constantly due to the craft on-screen.

Michael Giacchino's score was riveting, and maybe no one noticed this, but my dad pointed out that this fittingly tragic, manly, and gorgeous Batman theme felt reminiscent of a twisted Darth Vader theme, or are we crazy? Seriously though, the soundtrack and the cinematography complemented each other unbelievably well, both drenched in this certain aggressive, but melancholic mood. The detective, noir style taken was the right way to go. It’s refreshing to see a far more grounded and gritty take on the Dark Knight that strikes a balance between horror, drama, and mystery. Reeves dives deep into the mind of Batman, how he solves crimes, the way he walks, talks (or often doesn’t), much of this has to do with Robert Pattinson, whom my dad, brother, and I all agree was amazing in this role, unexpectedly so. I can’t believe I’m about to say this, but I prefer Pattinson over my previous fav, Christian Bale for one reason alone, I haven’t seen this type of Bruce Wayne before.

This is a damaged, depressed, and wounded Bruce Wayne that can barely distinguish himself from his alter ego, describing himself as a “nocturnal animal” at one point. He doesn’t have the nicest cars, he doesn’t buy banks, or show off his wealth, and his company is falling through his fingertips without the proper care. You can feel the conflict and despair emanating from Pattinson’s nuanced take on this character. His emotion and quiet physicality are devastating to watch, especially as Bruce Wayne. There’s this fantastic scene between Pattinson and a terrific Andy Serkis as Alfred in a hospital that served as one of the most poignant moments of the film, and where both shined tremendously. Zoë Kravitz was another standout, and her magnetic chemistry with Pattinson provoked this electric duality and romance between the two. Colin Farrell was unrecognizable as the penguin, I had no idea it was him half the time, his voice, the makeup, I would have never expected a performance like this from him, and yet he delivered.

Paul Dano has essentially made his career off of playing psychopathic weirdos (Prisoners as an example), but his Riddler gave me legit goosebumps, he was clearly inspired by Kevin Spacey’s role in Se7en, and the Zodiac killer, and I loved his clever riddles, and his manic, terrifying personality. Jeffrey Wright as Chief Gordon was magnificent, pretty much the entire cast was picked without a weak link, and that’s incredibly difficult to pull off. I have no issue with the runtime, it’s a three-hour, consistently entertaining drama/action thriller that felt a lot shorter than it was, and I found everything that was included in the film to be necessary and intense, though I’m a tad on the fence about this final cameo that happens near the end. I guess I appreciate how ambitious this film turned out to be, and how it gets all of what a Batman masterpiece needs down to the tiniest details in the production design, the script, etc. I heard that the shooting process had a lot of challenges, but I couldn’t tell in the slightest, I left the theater completely satisfied and in awe of how this film turned out to be, and I’d highly recommend it.