The Protégé

ProtegeThe Protégé, 2021, 109 mins, Amazon Prime

Enlivened only by the winning performances of both Maggie Q and Michael Keaton, The Protégé is a typically nonsensical action flick that becomes increasingly preposterous as it goes on. It really makes me wonder where action movies go from here on, as they all seem to be becoming increasingly daft – The HItman’s Bodyguard films seem to be self-aware enough to be mocking their own silliness, but films like The Protégé, which seem earnestly serious, are in a celluloid dead-end now. For how long can we expect to see spies and killers and hitmen and thugs managing superhuman feats more suited to DC and Marvel heroes, and for how long can we suspend our disbelief watching wafer-thin beauties beating the shit out of gigantic assassins?

These action films seem to have become caught for several years now in an endless cycle of bigger and ever-more sophisticated stunts and feats of astonishing skills and its really in the arena of the superhuman now: indeed they have, I think, been infected and ruined by the comicbook capers dominating the box-office. Which is perfectly fine if you have a DC or Marvel logo at the head of the film, because at least then you know what you’re going to see is hyperbolic nonsense, but otherwise… well maybe a reset is in order.

I should at this point describe the plot of The Protégé, but its so unrelentingly stupid and even generic that it feels pointless. A young child, Anna, is saved and raised by an expert killer and naturally becomes a deadly assassin herself, as devastating with her fists, feet etc as she is beautiful… (broken bones and bullets don’t seem to stop her- maybe the bad guys should have tried kryptonite). When the killer that raised and trained her, played by no less than Samuel L Jackson – yes the casting is THAT generic- is murdered, Anna sets off on a mission of revenge and meets a male operative that seems her equal and one that she can respect, but is working for the other side. Dramatic, ain’t it? Okay that’s it, that’s enough of the plot, such as it is, albeit I didn’t mention the clunker of a twist that is possibly one of the biggest wtf moments that I will possibly be forced to stomach all year.

We really deserve better folks.

Party Like it’s 1989: Batman (4K UHD)

Its difficult for me to seperate the memories of that summer of 1989, and how big an ‘event’ film it was, from Tim Burton’s Batman itself. Its all wrapped up in the same thing- Batdance playing in the charts, Prince’s Batman album, the news reports about its release Stateside, all the marketing/tee-shirts/toys etc. I don’t know what the marketing budget was, but Batmania was huge that summer, with the Bat-logo seemingly everywhere. In some ways the film was a corporate juggernaut, from the casting choices to the use of Prince etc; it’s a testament to Burton’s efforts that the film still feels like it has a singular voice and vision in spite of the demonstrably hands-on studio behind him. 

Batman was the first film I saw in a cineplex, when the Showcase opened up nearby and consigned the old dilapidated ABC cinema in town to history forever (and eventual closure). So Batman remains more a memory of time and place than just a movie that could ever be judged on its own terms- it’s the quintessential ‘event’ movie, in the same way as Star Wars was and Jurassic Park was. Some films are never ‘just’ films.

Its also worthy to note that Batman wasn’t influenced by Frank Miller’s Dark Knight Returns, as later versions were (Miller’s opus cast a long shadow over Nolan’s Dark Knight trilogy and Snyder’s Batman v Superman). Instead, it definitely appears more focused on the very first comic books prior to Robin featuring- something evidenced particularly by its oddly 1940s ‘look’ which seems to set the film in some strangely timeless world, a curious mix of period fashions and art deco sets and futuristic gadgets mixed will all sorts of retro stuff. In this respect, it’s a lot more like Richard Donner’s Superman: The Movie, which itself had a very dreamy, almost lost-Americana feel in which even the films ‘present day’ had a strong sense of early-1970s kitsch even in 1978. Both films of course are commended for taking the original sources very seriously indeed- thanks to endless re-runs on tv of the camp 1960s show, Tim Burton’s film in particular had a big weight around its neck in this regard which is possibly hard to envisage now, all these years later.

The production budget for the film was $35 million, which in today’s money would equal something around $75 million- not as high as might be expected in this age of $150 – $200 million budgets, perhaps indicating the surprisingly smaller scale of the Burton film compared to the later versions (Batman Begins was budgeted at $150 million in 2005, about $198 million in today’s money). The scale of the film is also impacted by the technology of the time. The CGI of the post-Matrix era has really enabled film-makers to open up the possibilities and trickery in superhero films, leaving Burton’s film rather dated with its matte paintings and model shots.

But of course films are always of their time, and I recall even in 1989 being underwhelmed by some of the visual effects and opticals; Batman was always an old-school, overwhelmingly analogue film even in 1989, with obvious nods to German expressionism in film and Citizen Kane and Vertigo. In this respect it remains a certain achievement and a curiously beautiful artifact.

Indeed, it looks damn gorgeous on this amazing 4k release- I’m really quite astonished at how beautiful this film looks now in 4K. Sure much of the fakery still looks fake, but some of the matte painting extensions of Gotham are just breathtakingly beautiful to look at, with new detail and colour breadth. And the sets. Good grief the sets. The interiors are pretty astonishing in detail and lighting (the HDR really benefiting the shadow detail) and the exteriors are really a wonder (the Gotham streets built on the Pinewood backlot and shot at night really impress here with all the added detail). In some ways this Batman is one of the most impressive catalogue 4K UHD discs I’ve yet seen- the HDR isn’t distracting (you’re not blinded by bright lights etc like you can be in some rather revisionary remasters) but simply increases the sense of depth and detail throughout. Its really tastefully done, clearly retaining the intentions of the original film-makers but looking, frankly, better than it ever has, even during its original theatrical presentation in 1989.

An interesting thing rewatching this film after so many years (I really can’t recall when I last saw it, but it was possibly on DVD) is the casting- after seeing Heath Ledger’s Joker, I expected Jack Nicholson’s version to pale in retrospect, but Nicholson’s Joker still impresses, surprisingly still perhaps the definitive Joker so far. There’s something real and fascinating and gritty about him- of course Nicholson is a great actor with real charisma in front of the camera- it’s almost magical here. Jack Napier is clearly a Bad Guy, a self-centered criminal working his way up the crime-syndicate ladder who becomes distinctly unhinged once he becomes the Joker, with what I assume are Nicholson’s ad-libs elevating the movie in just the same way as Robin Williams Aladdin several years later. His Joker is mean and scary and funny in a really fine performance, and yeah, he actually kills people in this- I was surprised when watching this again to see both Joker and Batman kill people. Its a surprisingly violent film considering it also lacks some of the CGI hysterics/stunts etc that later contemporary superhero films are afforded now. Burton actually wanted to cast Brad Dourif as the Joker- boy would that have been a different movie.

Jack Palance of course is brilliant, the only problem with his Carl Grissom is that he’s not in the film enough, Palance having a huge weighty gravitas in the few minutes of screentime he has. Kim Basinger and Jerry Hall remind us just how old the film is/when it was made, Basinger reduced to just screaming damsel in distress most of the film and Hall simply a trophy moll, it’s clearly all stuff they wouldn’t get away with today (Basinger replacing Sean Young as original choice for Vicki Vale, how weird would that have been for me as a Blade Runner fan). I always liked Robert Wuhl as reporter Alexander Knox, a finely tuned comic performance that is quite measured and successful considering its in the same film as Nicholson’s Joker. Wuhl has always been one of the things I liked most in this movie.

Batman is curiously dated- as I have said, it was dated even in 1989 in some ways, and hasn’t ageed well since, but I did enjoy rewatching it. The saddest thing is that so much was dropped/changed when the sequel was made, and while many seem to think Batman Returns is superior I really don’t like it. I preferred the originals big Pinewood exteriors and interior sets, and really hurt by how much of the cast that we lost (I always thought Batman 2 should have reprised Billy Dee William’s Harvey Dent and featured Two-Face as the villian, it’s such just a lost opportunity). Batman Returns just felt like too different a film, and the title oddly ironic, as it wasn’t the return of the Batman I had so enjoyed in 1989- it actually felt like a reboot.

You will have noticed I haven’t mentioned the biggest issue I always had with this film- Michael Keaton as Bruce Wayne and Batman. His Wayne is okay I guess, but his Batman really seems limited. Maybe it was the suit. It looks okay but it was clearly a bitch to shoot, it looks like he can hardly move in the bloody thing. The cape is almost a funny throwback to the 1960s show how it flaps around much of the time, and any fighting sequence is hampered by the suits inability to actually do anything in it without falling over. I always watch the film thinking about Spielberg’s ordeals shooting the mechanical shark Bruce in Jaws and feel that Burton must have had similar sleepless nights with that damn Batsuit. They managed to light it okay in most scenes, with the film’s expressionistic approach and deep shadows helping hide many of its failings, but it’s not the suit a real crime-fighter would employ without being put to death by the first serious super-villain. Its one of the things that dates the film really, but what the hell, it was 1989 I guess.

And of course, even as a big Prince fan, it really does seem weird, his music featuring in this. With it 1940’s looks it always seems funny to see Joker’s goons lumbering around with a 1980’s boombox and Partyman blasting out of its speakers. But yeah, what the hell, it was indeed 1989 afterall. Party on.

 

Simply Amazing

spider12017.63: Spider-man:Homecoming (2017)

This was brilliant. There’s no-one more tired and weary of reboots than I, but this third attempt at bringing Spider-man to the screen just goes to prove the old adage that yes, sometimes the third time’s the charm. More than that, the gap in quality between this film and Justice League, which I suffered through just a few days ago, is remarkable. If Justice League is a lesson in how not to make a superhero movie, then Homecoming is a lesson in how to do it right. It may not be perfect, but it comes awfully close.

Indeed, after so many Spider-man movies during the past decade or two, this should have felt tired and formulaic, but instead thanks to the expert input of Marvel Studios it’s so fresh you’d be forgiven for thinking this was the very first cinematic outing for our favourite web-slinger.

The pace is great, the characters endearing, the fun-quota high, there’s plenty of laughs, plenty of drama, some brilliantly staged action sequences with high-quality visual effects, and it even manages to throw in a decent villain with a great character arc of his own (without making him a tragic villain or something).  And yes, there’s an ending high on action but low on frenzied CGI with a dramatic confrontation between two characters. Yes, no CGI monsters or huge explosions or armies of bad guys, simply exalting instead in a face-off between two characters. So refreshing to see a superhero film dialing it down a little – sometimes less is more.

tinkererIn tieing the events of this film with the aftermath from the New York battle in the first Avengers movie, the writers pull off a fine trick of explaining the origins of two of my favorite Spidey villains, the Vulture and the Shocker, without them feeling dated or silly. And if my eyes don’t deceive me, was that guy re-engineering the alien tech the Tinkerer (he’s an alien disguised as a human way back in one of the very earliest issues of The Amazing Spider-man)?  The way that explains how the bad guys manage to adapt the alien tech and create the Vulture’s wings and the weapons etc, whilst also nodding to the origins of the comic from way back in the early 1960s, is just sheer genius.

There is such a sense of internal logic to this film and its character arcs. Michael Keaton almost steals the film as the Vulture, but of course Tom Holland more than holds his own as Peter Parker and Spider-man (contrast this with DC fumbling the job of portraying both Clark Kent and Superman in the last few DC films). I sincerely hope they don’t bring the Green Goblin into this series and instead bring back the Vulture (particularly as he knows Peter’s secret identity and now has a grudge to settle).

The funny thing is, although everything works so well, it’s telling how different this film is from the original comic. Back in the 1960s comic, Peter Parker was a nerd ostracized by his classmates and nothing ever really seemed to go right for him, every issue ending on a downer, whether it be Spider-man being hated by the public and hunted by the law, or Peter himself failing to get the girl or falling deeper into money problems. Homecoming‘s Peter Parker has a date with a girl, has a close buddy who stumbles upon his secret identity and assists him,  and has a ‘hot’ Aunt instead of the elderly Aunt of the comic. Maybe I should be yelling out “heresy!” but I think all the changes from the comic actually work. It also helps distance this film from the previous films that may have been more faithful to the comic.

Logan Marshall-Green; Photographer select; Tom HollandAt any rate, this film was great fun, the very opposite of Justice League and I really can’t wait for further instalments if they manage to maintain this balance of fun, sophistication and sheer, well, joy.  Not all superhero films have to be dark and serious, and  while I’ve no doubt those future installments will lessen the humor and heighten the drama, Holland’s tenure is off to a great start.  But now I’m starting to sound like a fanboy (I do love the 1960s Spidey comics) so I’ll pack this in. This film may not be high art, but it is great fun though.