Chock full of blunt exposition, awful logic and bad character choices… but that’s kinda what it’s going for?
It wants you to be yelling at the screen, wants you to be engaging with its trashiness—it’s explicitly stated in the opening sequence that this ain’t “elevated horror”, this is schlock.
Still, for all its pseudo-meta commentary, its not especially clever, nor does it really bring anything new to the franchise other than waving its hands around and pointing out things it knows about itself.
Probably best for a drunk watch with low expectations and heckling.
This might be the best cinematic incarnation of Batman ever. More Noir crime thriller in the vein of se7en or Zodiac than your standard action blockbuster fare.
That’s likely to turn some people off it, but when that Batmobile roars to life like a godsdamned demon or The Bat walks down a black hallway lit by only the gunshots of the goons he’s taking on, it’s hard not to pick up what it’s putting down.
Pattinson’s Bat is brooding and serious, but he also recognizes he is supposed to help people. He’s also a brilliant detective — something often overlooked in favour of grander spectacle. The Batman takes place almost exclusively at night, over the span of about a week on the trail of a serial killer loose in Gotham City. It’s long and it’s slow and it’s deliberate.
The city itself feels like a strange hybrid of not quite New York, not quite Chicago, all gothic architecture and constant, miserable rain.
The Batsuit, Batmobile and all his detective gadgets all have a handmade, reappropriated feel that really adds to the grounded tone.
Soundtrack is great. Performances are all excellent. Cinematography is understated, but frequently impressive.
Could probably have been trimmed down a bit, since the final act feels a bit superfluous after a big string of satisfying resolutions, and there’s an unnecessary cameo right by the end that feels like a studio note.
Still, this feels like an absolute step in the right direction. Doesn’t quite have the big punch of the Nolan films, but I actually kind of prefer this style. Very, very promising for sequels.
Classic Wes Anderson, in the sense that it’s unlike his other films while still being quintessentiallya Wes Anderson film.
More a series of loosely connected stories hung on a bookend framing device than a singular narrative. Each section is portrayed with Anderson’s distinctive flair, immaculate set design, quirky characters and deadpan delivery.
The cast is perhaps the most stacked of any of his (which is really saying something), and each of the vignettes comes packaged in black and white with only occasional shots of vibrant colour for impact. Likely as close as he’ll come to doing a full feature in black and white, his shot composition is nonetheless striking even drained of colour.
The set design and staging execution is fantastic, especially in the repeated motif of tracking shots that move from scene to scene, with actors holding pose as though in a still life painting.
Offbeat and weird. If you like Wes Anderson, you won’t be disappointed. If you can’t stand his style or the way he shapes performances, this isn’t likely to change your mind.
Great cast, and a director I usually love, but this didn’t do anything for me.
Seems like it’s aiming to be a throwback to old-school classic zombie tropes, but doesn’t bring anything new or interesting to the table. Doesn’t even strike a compelling tone, or wring distinct performances out of anyone.
Plot just sort of meanders from one scene to the next, there’s no apparent stakes, and everything is playing so straight and flat that it almost seems like it’s supposed to be satire?
Impossible to tell what it’s trying to say, in that case.
Starts out interestingly enough, but the instant it becomes so meta that you expect it to elevate into something wild, it just… stops evolving.
The rest of the (very extensive) runtime is filled with dull exposition and mediocre action. Familiar characters return, with some of them swapped out for younger counterparts (with wobbly in-world explanations) since it seems unlikely Hugo Weaving or Lawrence Fishburne were going to get back into fighting shape for another go around the block.
Action films have come a long way since the original Matrix, and it’s disappointing that there’s nothing here that comes even remotely close. It’s unremarkably shot, and there’s not a single iconic setpiece, which is odd in a franchise that exploded to fame on the back of its iconic setpieces. We all thought, apparently foolishly, that the return of The Matrix meant some grand, mind-bending new evolution of action films again. Hell, Keanu’s still on his A-game with the John Wick franchise.
Instead, Resurrections chooses to go down this strangely self-aware and self-referential path, but then doesn’t really capitalise on the ideas at all. One of the earliest bits of dialogue in the film literally goes: Our parent company, Warner Media, was going to make another Matrix anyway, at least this way we get to do it on our terms.
Kind seems like “on our terms” meant taking everyone’s interest in the franchise out the back and shooting it.
Your standard Adam McKay biting satire that’s so uncomfortably close to reality as to hardly qualify as satire.
This time around, it’s a comet headed for Earth with a 100% guarantee of a planet-wide extinction event, and the absolute trainwreck of a circus that ensues from the media parade of misinformation, disinformation, corporate interest and general political fuckery.
It’s frequently infuriating in its accuracy, playing for comedy what could be modern headlines with only a few small tweaks.
If the pandemic hasn’t yet completely soured your appetite for laughing at this sort of thing, then it’s a solid comedy with a stacked cast and a black heart.
A brilliant conclusion to the Tom Holland/Jon Watts “Home” trilogy, that is almost impossible to discuss without severe spoilers for the back half of the film.
Best appreciated knowing as little as possible beforehand, but I’ll still keep from spoiler discussion until after the click-through below.
The shortest spoiler-free review is: it’s bloody great, go and see it.
Fundamentally, this is taking MCU Spidey and directly addressing the criticisms levelled at this incarnation (Iron Boy Jr, a lack of Uncle Ben, too many advantages compared to the traditional depiction) and playing hardball with them to set up what may well prove to be the most wonderully accurate cinematic Spider-Man we’ve ever seen. Personally, I’ve always loved this Spider-Man, but to see how they’ve maneuvered the franchise into what it will be going forward is an absurdly impressive feat. Everyone gets their cake.
Some CG is a little wonky, but it’s balanced out by some fantastic Dr Strange sequences (Multiverse of Madness hype!) and wonderful character work. I genuinely believe Tom Holland will win over a lot of his haters with this one.
Look, spoilers are all over the internet, try and get out to see it as soon as you can. Otherwise, I’ve barricaded spoilers behind the jump.