The Audacity of Repetition, Reinforcement, and Clarity

tdk-rises-1.jpgChristopher Nolan’s The Dark Knight Rises is an incredibly ballsy movie. I don’t mean its scope and ambition, both of which are indeed impressive. I mean the audacity of choices that could have easily backfired: following Heath Ledger’s nuanced, razor-sharp Joker with the nearly blank thug Bane; recycling Batman Begins’ sinister plot, doomsday machine, and League of Shadows; inserting teenage-boy masturbation fantasy Catwoman into a universe largely devoid of sex appeal and camp (and non-Rachel Dawes women, period); crafting a lengthy, convoluted first act made even less comprehensible because of the sound design and score; and relegating Batman to captivity of one sort or another for the vast majority of the movie’s first 115 minutes.

Box Office Power Rankings: July 18-20, 2008

Just how powerful a force is The Dark Knight? Aside from winning this week’s Box Office Power Rankings, it’s breaking a ton of box-office records. But these sorts of milestones are often meaningless because of ticket-price inflation and a record-obsessed movie economy that floods the market with prints. But looking at Box Office Mojo’s comparison of “all-time openers” is instructive.

Why the World Doesn’t Need This Superman

And don't come back!Superman will soon be leaving us, and not a moment too soon. After racking up an impressive opening week with his latest adventure, Superman Returns, he got his ass kicked by some dead men’s chests or somesuch. So let the man go away for a while. Five years at least, maybe forever. We don’t want him around. Lois Lane got it right in her Pulitzer Prize-winning editorial the last time that loser left Earth: The world doesn’t need Superman, or at least this one.

(What’s So Funny ’Bout) Grief, Strife, and Vigilantism?

In Batman Begins, Christopher Nolan uses the superhero mythology to create an epic study of ethics, evil, fear, and justice. It’s a bracing, dark, provocative, and serious work that at last transcends the juvenile roots of the comic-book genre. It’s not just the best superhero movie ever made, but likely also the best mainstream film of 2005.