Tag Archives: Tom Hardy

BFI’s Greatest Films of All Time 2012 List Revealed; I Feel Like a Know-Nothing

If you consider yourself a movie buff like I do, you probably make an effort to see the films noted by critics and filmmakers as the best.  In the last few years, I’ve made great strides in expanding my horizons in that regard.  As of my most recent count, I’ve seen 248 of the 1,001 Movies You Must See Before You Die (albeit the now slightly outdated 2005 edition), and I feel like I’m relatively educated on the subject of cinema.

That is, of course, until I saw the British Film Institute released their once-a-decade Top 50 Greatest Films of All Time list yesterday.  Looking at the top 10, I felt I’d done pretty well.  I’ve seen Vertigo, Citizen Kane, La Regle du jeu (The Rules of the Game), 2001: A Space Odyssey, and 8 1/2.  Quibbles about the worth of La Regle aside (Maybe I’m a dumb American for not appreciating it, but I think Robert Altman did a far more interesting version of the rich-people-and-their-servants-stuck-together-in-a-big-house story with Gosford Park — “BLASPHEMY!” I can hear you all yelling at me), I felt pretty good about myself.  Then I read choices 11 through 50.  In total, I’ve seen a meager 16 films on the list, and haven’t even heard of a large portion of the entries.  Once again, I’m humbled, and for the umpteenth time in my life, I feel this is appropriate.

What should you take away from this?  I guess it would be the un-profound, “Don’t be a know-it-all, because you don’t.”

And now, I’m left wondering what my own top 10 would be.  I’m too indecisive to rank them by worth, so it will have to be of the “in no particular order” variety.  This is something that could change by the hour, and some of these don’t necessarily reflect my feelings on the “best” cinema has to offer; rather, they are the ones I most enjoy and can watch multiple times.  Entertainment value plays a huge role.  So, here is my list of favorite movies (Thank you, Josh, for the formatting idea).

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb – dir. Stanley Kubrick.  I could really go with 2001, The Killing, Paths of Glory, or The Shining here, but this one is the funniest, so it makes the cut today.

Boogie Nights – dir. Paul Thomas Anderson.  This is the movie that made me say, “I want to make those.”

Ghostbusters – dir. Ivan Reitman.  It’s both sentimental — when I was a toddler, it served as my babysitter while my mom took care of my little sister — and still really funny.

Raiders of the Lost Ark – dir. Steven Spielberg.  This week, it edges Close Encounters of the Third Kind.  Ask me again next week and it’ll probably be the opposite.

Ran – dir. Akira Kurosawa.  This is the newest addition, as I only saw it a week and a half ago; see what I mean by the evolving nature of this list?

Goodfellas – dir. Martin Scorsese.  Like Kubrick and Spielberg, this could be any number of Scorsese’s films, particularly Taxi Driver and Raging Bull.

The Treasure of the Sierra Madre – dir. John Huston.  Bogart goes unhinged and gets desperate while Huston explores the depths of human greed without neglecting entertainment.

Bronson – dir. Nicolas Winding Refn.  This is my generation’s (improvement on (here come the “BLASPHEMY!” charges again)) A Clockwork Orange and features Tom Hardy’s portrayal of an earthquake of a character.  Perhaps the finest film of the last five years.

Chinatown – dir. Roman Polanski.  A movie without fault.  Its story, characters, and themes create one of the greatest stories ever put to celluloid.

Fargo – dir. Joel and Ethan Coen.  In this, the Coens show a rare affinity for a character — Marge — and play with noir conventions in an Elmore Leonard way.  I watch it every six months or so, which is what helps place it above Miller’s Crossing and Barton Fink on my list.


Leave a comment

Filed under Movies, Music

I Don’t Need No Stinkin’ Film School: Christopher Nolan’s ‘The Dark Knight Rises’

Welcome to I Don’t Need No Stinkin’ Film School, my weekly article to prove that I have it in me to go from movie buff to film critic.  Each week I’ll cover movies I’ve heard feature prominently in film school, films I believe are worth exploring deeply, classics I’m ashamed to have never seen, and occasional new releases if they strike me.  As these are longish discussions, spoilers follow.  For more from me, check out the rest of Defeating Boredom or follow me on Twitter, @Rob_Samuelson.

I had planned for this week’s post to be a discussion of Jim Jarmusch’s debut feature, Stranger than Paradise.  However, laziness and a weekend trip combined with my seeing The Dark Knight Rises last night to push Jarmusch’s artistic statement back a week in favor of Christopher Nolan’s not insignificant summer entertainment.  I doubt anyone will complain.  And, while I’m sure I’m one of very few people to have waited this long to see it, I know there are others who haven’t, so be warned: spoilers follow.

The Dark Knight Rises is the first of Nolan’s Batman trilogy to feel truly comic book-y for significant portions of its run time.  I know that complaint sounds absurd considering how we’re talking about Batman adaptations.  But Nolan’s grim realism previously only gave way to outlandish conceits in the climax of Batman Begins, with the steam device barreling down an elevated railway to spell doom for Gotham.  The majority of that film and all of The Dark Knight had bigger ambitions, though.  They were about grander concepts; the power of symbolism, cultural decay, post-9/11 paranoia, and testing society’s limits, among other things.  True to form, The Dark Knight Rises features many heady ideas, but unlike its predecessors, it then sets them aside in favor of a sewer lair, catchy banter, and a literal ticking time bomb.

Don’t get me wrong, that ticking time bomb is one of the best I’ve seen at the movies, and it is part of a breathtaking series of set pieces that signify the highest of stakes for Gotham City.  Its payoff is operatic, successful, and moving.  It features wonderful performances by Christian Bale (as a part of a whole that marks his best work in the series), a converted-to-the-cause Anne Hathaway, and especially the film’s secret weapon, Joseph Gordon-Levitt, whose impassioned and ill-fated pleas for help from his fellow police officers elevate an already great performance.  It is in the comedown from this high in which the film’s comic book twist ending weakens the climax’s emotional impact.


To fully execute its series-long character arc, Batman should have died when his aircraft carried the nuclear device out over the Gotham bay.  The entire film had built toward that inevitability.  Alfred tells a war-scarred Bruce he won’t make it if he resumes his vigilante ways after eight years in seclusion.  Bruce is already recovering from a broken spine at the hands of Bane, weakening him further.  In the run-up to the climax, Catwoman pleads with Batman to run away with her because he has already given Gotham everything.  “Not everything, not yet,” he says, resigned to what should be his fate.  And yet, be it Warner Brothers’ corporate nervousness refusing Nolan his preferred ending, or Nolan himself pulling back from a truly final resolution, there Bruce is at the end, raising a glass to Alfred, his death faked and everyone safe and sound.

Why is it so important for the hero to die?  Because guilt and sacrifice are what drive Bruce.  His almost sociopathic need to exact justice on an unjust world would never allow him to give up Batman forever, even if he got to come home to Selina Kyle every night.  It’s not in him to stop living the righteous life.  There is no happily ever after for Bruce Wayne.  Furthermore, while nobody but Alfred and Selina knows the truth about his “death,” keeping Bruce alive cheapens for the audience the ascension of Gordon-Levitt’s John “Robin” Blake.  Yes, Batman’s remark to Commissioner Gordon about Batman being a symbol and how anyone could be beneath that mask is true.  However, without Bruce’s real death, inspiring Blake to take up the cowl means nothing from a storytelling standpoint.  There is no true sacrifice, and therefore no true inspiration for Blake; he’s an imitation of Batman rather than the next iteration.

It’s a testament to Nolan, his screenwriter brother Jonathan, and the actors involved that I enjoyed the film as much as I did despite being as bothered as I am with the ending.  After the dynamic action sequences of The Dark Knight and Inception, Nolan has fully grown into his own as a big budget crowd pleasing director.  He is less successful here in marrying those action sensibilities to his big ideas as he was in those two pictures, but he does include them.  He shows plenty of skepticism toward the stock market’s and big business’ abilities to run themselves unchecked, while utilizing Bane as an example of how radical attitudes towards them might be even worse than the things themselves.

Perhaps not to the extent of Heath Ledger’s legendary Joker in The Dark Knight, the acting is superb in this installment.  As I mentioned above, Bale is great as Bruce.  His injuries add a vulnerability not seen in the last two films, and it complements and fuels the rage he feels as he can only watch from afar while his city burns.  Anne Hathaway’s coy, tough-as-nails approach imbues Catwoman with a playfulness different from Michelle Pfeiffer’s take in Batman Returns, and her bravery at film’s end shows the complexity of the character who had usually only been utilized as a villain in filmed adaptations.  Tom Hardy’s Bane, while tasked with the thankless job of succeeding Ledger as the villain, does a good job of providing a fascistic menace totally different from his series predecessors.  Gordon-Levitt’s acting is the best in the film, and in some ways he is the main character.  His progression from “hot head” cop to future Batman replacement is a fascinating one to see; he has gone from an “actor to watch” to full-blown must-see in the last few years.

A lot of The Dark Knight Rises works.  The things that don’t — an unearned romance between Bruce and Marion Cotillard’s mysterious Wayne Enterprises executive, an unnecessary expository hallucination cameo by Liam Neeson, the underutilization of Michael Caine and Morgan Freeman, the aforementioned ending — are enough to make this film good instead of great.  But Nolan’s virtuosic direction and magnetic performances by the other actors ensure that it’s not a debacle, either.  I’d long worried this could become another example of second-sequel-itis (Superman 3 and Spider-Man 3 being the worst offenders), but I’ll take good-not-great any day over retroactively ruining the other movies in the series.



Filed under Movies

Can’t Wait: Christopher Nolan’s ‘The Dark Knight Rises’

While my other movie series, I Don’t Need No Stinkin’ Film School, looks back, I figured I should place at least one foot in the here and now of giddy anticipation.  Therefore, Can’t Wait focuses on upcoming movies I, well, can’t wait to see, along with a few reasons why.

I know everyone is writing this week about director Christopher Nolan’s Batman series finale, The Dark Knight Rises.  But the excitement surrounding the film wouldn’t be so high if Nolan hadn’t made the single best superhero film yet with 2008’s The Dark Knight.  And with his last go-round in the Gotham City playground about to premiere this Friday, of course I’m anxious.

There was never a chance I would refuse to see the movie in a theater, but that new trailer has made The Dark Knight Rises my most anticipated summer movie in years, perhaps since its franchise predecessor.  There are plenty of reasons for this — Tom Hardy disappearing into another role, Anne Hathaway playing a Catwoman who appears to be more soldier than crook, and the utter destruction of Gotham seemingly imminent — but the most interesting notion put forth by the trailer is Batman’s mortality.

In it, you can see Bruce Wayne (Christian Bale) walk with a cane.  A lot of time has passed since the last film and that time has not been kind to Batman.  He’s a recluse, having given up his vigilante mantle (“You’re not Batman anymore.”).  When Bane arrives and Bruce is forced to be a hero again, he’s overmatched.  Bane is stronger, both physically and in the number of followers he amasses.  You feel Batman will fail.

That’s the kicker.  Knowing this is indeed the end of the line for this story and these characters, anything can happen.  Warner Brothers can simply reboot the series to allow this trilogy (started by 2005’s Batman Begins) to stand on its own.  Nolan can take his dream of making realistic Batman films to its logical conclusion: Bruce Wayne’s death.

If I’m right and Nolan does kill Batman, I will applaud the decision.  Batman’s humanity should be explored in every way possible.  We’ve already seen him stand up to great evil and forces of chaos.  He has lost almost everyone he loves.  He has sacrificed his home, his family, and his reputation in search of some kind of greater good.  Now it’s time to stick the landing and give this series — the finest of its kind — the beginning, middle, and end it deserves.

Batman needs to sacrifice the rest.

Leave a comment

Filed under Movies

Can’t Wait: John Hillcoat’s ‘Lawless’

While my other movie series, I Don’t Need No Stinkin’ Film School, looks back, I figured I should place at least one foot in the here and now of giddy anticipation.  Therefore, Can’t Wait focuses on upcoming movies I, well, can’t wait to see, along with a few reasons why.

I don’t think Guy Pearce has it in him to let me down.  Whether he’s the unimpeachable-boy-scout-who-must-break-his-code Edmund Exley in the flawless L.A. Confidential, a king-to-be who wants nothing to do with his throne (The King’s Speech), or a brain-scrambled neo-noir detective trying to solve his own mystery in reverse (Memento), he has always shown he knows a thing or two about acting.  Now, in Lawless, he reteams with his The Proposition and The Road director, John Hillcoat, priming himself to add another memorable role to his resume.

Clearly, Pearce is not the only reason to be excited for the movie.  Shia LaBeouf seems elated to abandon the nonsensical action and sexism-a-paloozas that are the Transformers franchise in order to try a more mature role.  Tom Hardy looks to solidify his movie star credentials as a bourgeoning southern booze magnate.  Jessica Chastain has a mischievous glint in her eye not seen (by me, at least) in any of her performances to date.  Oh, and Gary Oldman strutting his acting titan stuff.

The great cast aside, Hillcoat is an interesting director poised to take the leap to “must see” with Lawless.  While The Road remains one of those “I’d watch it if I didn’t keep forgetting to shoot it to the top of my Netflix queue” films, I have seen his very good Australian western, The Proposition.  In that, Hillcoat displayed a keen sense of tone and an eye for interesting, stylized violence reminiscent of one of my favorite filmmakers, Nicolas Winding Refn.  Pearce’s role — a prisoner tasked with killing his criminal older brother in order to save the life of his slightly-more-innocent younger brother — in The Proposition is reason enough to get me to see anything else these two do together.

A period setting? Gangsters? Violence? Count me in.

I cannot wait to see what Hillcoat does with the Prohibition-era South, a time in American history that can’t help but be fascinating.  I’m glad to see him strip away the folk hero aspects of these booze runners and instead slather grimy true-crime details on the flick.  I’m excited to see the nitty gritty of how these mom and pop liquor rackets blossomed into criminal enterprises, with all the familial jealousies and toe-stepping on rival gangs that go along with it.  I fully expect captivating performances from all the principle cast members — especially the disturbingly eyebrow-less Pearce — and a smattering of ultraviolence to sweeten the pot.  If these things happen, Lawless could go from simply being a bright spot of late-August film doldrums to a year-end awards contender.

Leave a comment

Filed under Movies