Another Pilot Down: The Artwork of George Gonzalez

Friday, July 18, 2008

The Dark Knight

Go, see it NOW!

If already didn't join the rest of us. And for those watching it right now at 4 in the morning, just wait till you get to the end. Don't worry, I will not type any spoilers!

The movie is fantastic. It is an insane, emotional, and almost devastating roller-coaster ride. There are more twists and turns and fucking sucker punches that you won't know what hit you.

Heath Ledger. OMG. What the fuck does somebody say about that performance?! He just set the bar for the next 30 to 50 years. I don't think anybody can play that role for a really long time without looking like a horse's ass. I wish he was around to hear all the positive press because honestly, he was an entirely different animal. That mother fucker was evil. Insane. I honestly hope somebody like that doesn't exist. Cause, that ain't right.

Here, I'll leave you all with a few words from Roger Ebert's review:

Nolan also directed the previous, and excellent, “Batman Begins” (2005), which went into greater detail than ever before about Bruce Wayne’s origins and the reasons for his compulsions. Now it is the Joker’s turn, although his past is handled entirely with dialogue, not flashbacks. There are no references to Batman’s childhood, but we certainly remember it, and we realize that this conflict is between two adults who were twisted by childhood cruelty — one compensating by trying to do good, the other by trying to do evil. Perhaps they instinctively understand that themselves.

Something fundamental seems to be happening in the upper realms of the comic-book movie. “Spider-Man II” (2004) may have defined the high point of the traditional film based on comic-book heroes. A movie like the new “Hellboy II” allows its director free rein for his fantastical visions. But now “Iron Man” and even more so “The Dark Knight” move the genre into deeper waters. They realize, as some comic-book readers instinctively do, that these stories touch on deep fears, traumas, fantasies and hopes. And the Batman legend, with its origins in film noir, is the most fruitful one for exploration.

In his two Batman movies, Nolan has freed the character to be a canvas for a broader scope of human emotion. For Bruce Wayne is a deeply troubled man, let there be no doubt, and if ever in exile from his heroic role, it would not surprise me what he finds himself capable of doing.

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