Category: Movies

When I first read that they’d honour Heath Ledger pusthumously for playing The Joker in The Dark Knight, I frowned. Sure, Heath Ledger’s a wonderful actor and undoubtedly he went before his time, but oscar talk before a movie gets released? That’s pushing it a bit, in my opinion. Boy was I wrong: after having seen this movie, not only am I sure that Heath Ledger deserves this oscar, I actually believe he will get it.

The Dark Knight is not your average “Iron Man” superhero movie – all about special effects and GLORIOUS METAL MUSIC playing in the background while people in shiny armour fly around the screen spouting one-liners. In fact, The Dark Knight is nothing like that, in so far that it actually starts to feel very unlike a superhero movie at all. We get offered a dark story about a normal person who happens to wear a latex suit, and we get it with such sense of realism that Gotham City doesn’t quite seem like Gotham City, but like New York. Christopher Nolan did a superb job at making this city one of “our very own”. It all seems very, very real – even the two featured villains get a realistic overhaul, in which for one less is more (the case for The Joker) and one where more psychology… is indeed more as well (Two-Face).

Which brings us to the inevitable point every Dark Knight review has to tackle: Heath Ledger as The Joker. While The Dark Knight undoubtedly is a superb movie, Heath Ledger makes is an even better one: his way of acting out this psychotic madman, aided of course by the wonderful script, is the best thing since Hannibal. He takes the Joker and lifts it up beyond what we know and love about The Joker and delivers an unforgettable experience on his own. I immediately felt intrigued by this Joker, whereas this character never intrigued me before. The poorly done make-up, the greasy hair, the rolling of the tongue, the psychotic laugh that always sounds different… You kind of get the impression Heath Ledger isn’t acting anymore, that he became his role. Which is kind of scary, considering the man’s dead.

Behind this stellar performance (ever second of Joker time is simply breathtaking), it’s easy to forget about those “other actors”. Like Batman himself. Christopher Bale once again brings us a solid, two-faced batman: on the one hand there’s the careless spender called Bruce Wayne, on the other hand there’s Batman who is torn apart by insecurity. This typical superhero complex gets done really well in The Dark Knight, once again due to brilliant acting and a great script. Harvey Dent, also known as Two-Face, is also performed wonderfully by Aaron Eckhart, who can be seen slowly sinking down the abyss and being confronted by the limits of his own sense of justice. Great acting performances, aided by a superb script.

That last sentence pretty much sums it all up: this is a terrific movie where every little piece (Heath Ledger, Christopher Bale, Aaron Eckhard, Morgan Freeman…) is really good, but where the script is the one thing that makes the experience complete. Where Batman Begins felt like a superhero movie, The Dark Knight feels like a really good action drama. I can’t quite pin down where the difference between the two lie – “silly superhero” elements like the Batmobile or the Batsuit feature in both films – but you can sense it the moment the movie starts: this is something else, this is something really, really good. Maybe it’s the continuous testing of the border between good and evil that does it?

Favourite Quote: The Joker: Come on, I want you to do it, I want you to do it. Come on, hit me. *Hit me!*

Last Saturday, I went to go see the movie adaptation of what is the first part in the best story of the year (except LOST’s third season), The Golden Compass. I devoured the books, loved them, hated them, and went completely along this emotional roller coaster ride through different worlds. So, with high expectations which I tried to repress, I went to go see the movie, which came out last week.

And, just like most movie adaptations of complex novels, it’s pretty much a mixed bag. This is one of those rare occasions where I would wish that they had shown us less plotline, and a bit more in-depth analysis. And that is my greatest critique: the whole thing felt unbelievably rushed. Oxford! London! Ship! North! gyptians! Witches! Bears! Everything came by at the speed of light, slapping new characters and locations in your face; characters which were not always needed either (one of them wasn’t even in the first book yet). Everything came by, but nothing really stuck around – there was just too much info being told.

I reckon the creators tried to fix this problem with the thing I dread most in movie history: the one-line-in-between-of-scenes-recap. “Oh Pan, we have got to go to Bolvangar and save Roger the kitchenboy who was taken prisoner by the Gobblers which are led by Mrs. Coulter and then bring the Alethiometer – or the Golden Compass – to Lord Asriel,
who is my uncle but not really my uncle!” Oh, the horror, the horror.

And I lied, oh I lied. The above wasn’t the worst part of the movie. The part where they left out the showdown between Lord Asriel and Lyra, that’s actually quite a bit worse. And believe it if you will, it gets even more unforgiving from my side: apparently, all those parts of the movie were intended to be in it. In fact, they were shot! But hey, it’s Christmas: people don’t want no sad ending. They want a happy ending with no message, no sense, no cohones whatsoever. My AUTHORITY!

I did like the way the religious undertone of the book (which as actually not that obvious in the first part) got neutered. The only trace – a chat between Coulter and Lyra about “the authority” and “impurity” – felt like a blissful insider. Really, I don’t think I would mind if the movies stayed this way: leaving the religion as a bit of information for people who read the books. Then stupid people would have no reason to shout heresy were there is none.

I’m sorry for sounding a bit harsh – I did really like the movie. There are so many things done perfectly right. For example: the cast was simply wonderful. All of them were great actors, and Dakota (who played Lyra) simply rocked. Too bad Daniel Craig’s best scene got cut out – making you wonder what he still had to do with the plot – but when he was around, he was all about kicking ass and taking names. The daemons were credible, as well. Not astonishing, mind you – the execution of an etherial, poetic concept is always a bit dumbed down when put into movie – but still well done. Esther (Lee’s hare) was great, as was Pan, who made an exceptionally cute bobcat. The golden monkey was more like a golden collectible wookie statue, though – totally unlike the cuddly bear ready to rip out your guts, not scary at all (especially when compared to Nicole Kidman).

The bottomline: go watch this, but prepare to be annoyed. And then some more.

Dagen Zonder Lief (for non-natives: Days without a girlfriend) is the new Felix van Groeningen movie. For those in the dark: he’s that guy that made Steve+Sky, one of those “young and hip”movies everyone keeps talking about. Well, rest assured, after seeing Dagen Zonder Lief, no one will ever be talking about Steve+Sky again!

Without going into detail, one could say that the story revolves around old friends getting back together, with mixed feelings this might involve. On top of that, the only female characters are called Kelly (refered to as Blonde Kelly and Zwarte Kelly – even though the latter ironically dyed her hair blonde) and you know you’re in for one crazy ride. The movie’s not big on events – just like Steve+Sky, by the way – but gives you a certain mood, a feeling of times long gone.

About halfway through the movie, it hit me. I’m not sure whether I ever said so on this blog, but the tragic comedy genre seemed long gone to me. It appeared dead, and I wanted Vlaams Filmpje to bring a nice salute to that dinosaur of a genre. Emotional stories, not high on exciting events, but very recognizable to everyone. One laughs along with the characters, one cries when they cry, one bleeds when they bleed (metaphorically speaking, I hope)…

But it’s not dead. Dagen Zonder Lief proved that the genre still lives on, and I’m happy that I’m not the only one trying to find balance between the world of exciting, fast-paced thriller stories and the world of dramatic “my husband stole my child that happens to have autism (because child autism is the most lovable handicap!)” saturday night TV movie. Van Groeningen balances this quite nicely through a fancy, artsy way of filming, and a nice, relaxing yet dramatic storyline. You won’t regret spending your money to go see this one.