Tagged: Batman Begins

MARC ALAN FISHMAN: Fantastic Flop – How I’d Reboot Marvel’s First Family

So I found myself with a bit of time to kill while my wife and mother-in-law went out and about for lunch. My week-old son and I decided it was time to enjoy a bit of cable TV goodness. A quick surf left with me few options. Food Network was showing yet-another cupcake show… USA was playing that episode of Everybody Loves Raymond where his wife is a shrew and his mother annoys him, and TBS was on Tyler Perry’s Black People Watch Everything I Put Out, Not That It’s Good. And FX? Callooh-Callay! They had on the Fantastic Four movie from a few years back. Given that I was still sporting half a nerd-boner for the Super Bowl Avengers spot, and the recent web-release of The Amazing Spider-Man trailer, FF seemed like the perfect way to wet my whistle for a bit of comic goodness.

Granted, I’ve seen the movie a few times. Saw it opening weekend, and didn’t hate it. Didn’t love it either, but somehow, it was one of those guilty “Hey, if it’s on, it’s really not that bad is it?” pleasures. A few hours later, my favorite ladies returned to a house with both their boys rife with a case of the cranky pants. I’m pretty sure my son Bennett had pooped himself. I didn’t have a mess in my trousers, but I had a tear in my eye. Seems I crossed that threshold where the movie stopped being “worth” the free cable viewing, and slid right into “Good lord, people paid money for this crap?” zone.

I could spend the remainder of this column dissecting how putrid the FF movie ended up being. But it’s old-hat, right? So, why not make this a turn for the positive. I’d like to outline four things Marvel can do to reboot the familial franchise into something… dare I say… more fantastic.

1. Explore the emotional origins as well as the basic plot points. We all know the bullet points by now, don’t we? On an outer space adventure… they got hit by cosmic rays. And that moment changed forever… in the most fantastic ways. No need to fear, their here… just call the four! Sorry, it was a damn catchy theme song. Suffice to say, the rocket ride with Kirby dots isn’t ALL that the origin of the FF is. You have romance between Sue and Reed. You have Ben, the stalwart pilot. Johnny, the joker, and comic relief. While these points were hit on in the last iteration, we miss the history. Use flashbacks (ala Batman Begins) to enhance our emotional ties to the characters. It’s not a race to the whiz-bang-special effects, when you have solid characterization. And each of the Four present a solid opportunity for fun beats.

2. Ditch the “We’re learning to use our powers until it matters at the end” montage. Face it. What killed Green Lantern (OK, one of the things that killed it…) was the age-old power development plot line. A solid 45 minutes of the last FF movie spent time building the revolvers it would later shoot at the movie’s climax. It’s just not needed. When you cross over into the sci-fi, plausibility takes a backseat to adventure. If we took time to dissect the fact that Luke Skywalker was able to get a shot into a teeny hole on a battle station that decimated nearly all of his backup (who were all far more experienced fighter pilots)… we’d go mad. Once you accept that “Comic Rays” can turn one man into a walking pilot light, and another into silly putty, you don’t need to spend an hour back-peddling to make us “believe” they’ll know what to do when it’s clobbering time.

3. The big villain? Mole Man. Follow me down the rabbit hole if you will. Batman Begins took a venerable B-Lister in Ra’s Al Ghul as its first antagonist. It was a smart choice. As Nolan said in countless interviews, the villain suits the arc the hero takes across the movie. In Spider-Man 2 (easily the best of Raimi’s Marvel contributions), we got a brilliant update on a pretty mort-worthy villain. And because Peter was learning to have balance in his life during the course of the movie, Doc Oc was a perfect foil. The Fantastic Four have a pretty decent rogues gallery. It’s easy to want to jump immediately to Doom or Galactus. But the first in a franchise needn’t aim so high. In both cases, those villains would outshine the stars of the film. First and foremost, it’s the FF that people should be ooohing and aaahing over. With Mole Man you have an obvious foe who will test the Four and their ability to become this odd family unit of world-savers. The villain fits the arc, as it were. Plus, it gives us a chance to recreate that iconic first issue cover on the big screen. And you know that’d be the bee’s knees.

4. Casting. Most every comic book film lands an amazing cast… even if they don’t get utilized properly. I didn’t hate anyone in the last FF iteration per say, but let’s be honest – Ioan Gruffudd looked OK but lacked the cockiness-by-way-of-supreme-intelligence. Jessica Alba was there for eye-candy only. Chris Evans stole the show, Michael Chiklis looked the part, but had no Yancy Street swagger. Ole’ Blue Eyes needs have a definitive balance between boisterous banter and tragic pathos. Some of this could easily be the scripting, but let’s say I was a casting agent? I’d cast accordingly: Jon Hamm as Mr. Fantastic. Uma Thurman as Sue Storm. Breaking Bad’s Aaron Paul as Johnny Storm. And Brendan Fraser as Ben Grimm. Hamm can pull off “the smartest man in the room, with ease. Thurman is equally weighted when on screen (and can pull off shorter hair, and heroic). Paul can sling insults, and certainly could look the part… And Fraser, who I know most would say is a stretch, is built big, can pull off a New York accent, and has more potential than most nerds give him credit for. And as my Mole Man? Paul Giamatti. He’s damn good in everything.

So there you have it. I know a new FF movie is already in the works… here’s hoping someone over at Marvel is trolling my articles, and a few of my hopes and dreams gets swept into the pre-production fracas. What do you think? Voice your opinion below, true believers!

SUNDAY: John Ostrander

Monday Mix Up: “Batman: The Animated Series” and “Arkham City”

Monday Mix Up: “Batman: The Animated Series” and “Arkham City”

A scene from Batman: The Animated Series

It’s been almost twenty years since Batman: The Animated Series hit the airwaves and kicked off the doors of what could be done with the character and with animation in general and television animation in particular, in the wake of the successful Michael Keaton movies.

Ever wonder what it might be like if they made The Animated Series today, in the wake of Batman Begins and The Dark Knight? Perhaps it would be something like this…

[youtube]http://www.youtube.com/watch?v=1OhPwY8Xfwk[/youtube]

Just imagine if he made this using the Animated Series skins for [[[Arkham City]]]…

The Dark Knight Rises Teaser Poster Unveiled

Warner Bros. has sent us the teaser poster to next July’s The Dark Knight Rises, the third and final Christian Bale-starring film. Directed by Christopher Nolan, the film wraps up the story that began in Batman Begins. The first eight minutes will be shown in selected IMAX theaters this month, attached to Mission: Impossible – Ghost Protocol.

We’ll let the image do the rest of the talking.

Batmobile Raider

Batmobile Inspires British Tank Design

Batmobile RaiderIn the movies, Batman fights crime with a collection of, to quote Jack Nicholson, wonderful toys. Hisham Awad, project leader of defense company BAE System’s future protected vehicles group, liked some of those ideas so much he used them to build an assault vehicle:

While Awad was showing one of his team’s concept vehicles, the unmanned skirmisher known as Raider, another of the assembled journalists gave a low whistle.

‘I like that,’ he said. ‘Looks like the Batmobile.’

‘Ah!’ Awad replied, with a grin. ‘Glad you said that. That’s what we based it on.’

Pardon?

‘Yes, we liked the look of that, so we designed something similar.’

What, the Batmobile in Batman Begins and The Dark Knight?

‘Yes, that one. You see, it turns like a motorbike and it has the same wheel configuration.’

Yes, yes, but you’re basing a future fighting vehicle on something you saw in a film?

‘Well, why not?’ Awad replied. ‘In all seriousness, we decided that we didn’t have a monopoly on inspiration, and if we saw something in a film that we thought might be a good idea, why not take a look at it and see if there’s something practical we can develop?’

Looks like Mr. Earle didn’t push sales hard enough. No wonder Bruce Wayne replaced him with Lucius Fox.

Hat tip (I can’t believe I’m saying this): FoxNews.com.

Chris Nolan to Assist Superman Reboot

Chris Nolan to Assist Superman Reboot

According to sources at Deadline Hollywood, Chris Nolan, director of Batman Begins, and The Dark Knight, has been tapped by Warner Brothers to “Godfather” the reboot of the Superman franchise. While it’s known now that Nolan, his brother Jonah, and David Goyer are presently working on the script for their next Batman film… Warner Brothers appears to want Nolan to help guide the next Superman film for the studio, to help bring back the fans that exited after Bryan Singer’s Donner-esque Superman Returns. Nolan is thought to be able to help give birth to a darker (“more mature”) version to DC’s flagship character for the big screen.

Warner Brothers wants a fresh take on the Kryptonian super star, hopefully shedding the production nightmares attached like a yoke on the neck of the franchise as a whole. Lest us nerds forget Kevin Smith’s penned draft featuring giant spiders, and a Jay and Silent Bob cameo… to the countless other scripts that turned up on the internet prior to Singer’s Returns, which ranged from the insanely bad to completely ludicrous. It’s hoped that Nolan, who brought the Bat-franchise out of the land of nipples and neon, can lend his hand to crafting a Superman movie that draws from the comics in the same way his Batman did from books like Frank Miller’s Year One, and Alan Moore’s Killing Joke.

But, is all this movement for nothing? According to attorney Marc Toberoff (representing the families of Superman’s creators Siegel and Schuster) the rights to Big Blue will come back to the families in 2013. This puts a stigma on DC and the WB to get production moving by 2011, or they may be forced to come crawling to the families to get the license back. And with Nolan currently putting the finishing touches on his newest non-comic flick, Inception, and the aforementioned third Batman film to be directed…it seems like his dance card is filling up fast.

So, let’s turn it out towards you Comicmix fans. What do you want to see in a Superman movie reboot? What books should Nolan be using for inspiration? Is it time for a new franchise villain to debut? Let us know what you think below!

Batman sequel on hold until 2011

Batman sequel on hold until 2011

According to E! Online, a sequel to The Dark Knight is two years away. At least.

Director Christopher Nolan has inked a deal with Warner Bros. to helm Inception, based on his own screenplay. The sci-fi action film "set within the architecture of the mind" aims to begin shooting this summer and hit theaters in summer 2010, according to the studio.

This probably shouldn’t surprise anyone, though. It was three years between Batman Begins, and last year’s The Dark Knight. In between, Nolan made The Prestige, starring Christian Bale and Hugh Jackman as rival magicians.

The only potential problem, of course, is if they want to do another Terminator sequel for 2011, which would keep Bale’s schedule very filled and could conceivable dilute the impact of each film in theaters.

Review: ‘The Dark Knight’ DVD

Review: ‘The Dark Knight’ DVD

The Dark Knight stunned movie audiences by taking the mature themes and tone of its predecessor, [[[Batman Begins]]], and amping things up by a factor of 10. The movie was hailed by critics for around the world and theatres packed in the crowds to the tune of $1 billion in box office (or thereabouts).

In rewatching the film on DVD, now out from Warner Bros., the film remains very strong thanks to terrific lighting, set design, and riveting performances from Heath Ledger and Aaron Eckhart.  Yet, the story doesn’t hold together as well. 

First of all, Gotham looks and feels different from the first film from director Christopher Nolan. The city had been a character all on its own, with the architecture and monorail but now it just looks like, you know, Chicago. We don’t know how long its been since the first film, but since it ends with the Joker’s calling card, it can’t have been that long for a remake, and yet Batman’s legend is such that people are already out there being bat-masked vigilantes.

We know [[[Batman]]] is a presence, so much so that the criminal operations are suffering.  Enter, the Joker, a force of nature. The performance by Ledge is riveting because he makes you forget all about Cesar Romero and Jack Nicholson and creates something totally fresh. His desire to spread chaos in opposition to Batman’s sense of order becomes the film’s spine.

But, once you examine what happens next, things take an odd turn.

As the UK’s [[[Guardian]]] put it, when they named the film as having the most ridiculous plot of the year: “Wait, so the Joker really orchestrated that big truck chase just so that he could get caught and go to prison, then he could kidnap that guard and grab his phone to make the call to set off the bomb he’d previously sewn inside the henchman in the next cell? That would kill the guy who stole the mobsters’ money, thus enabling him to … er, what? Heath Ledger’s Joker may have been a psychopath, but he had a nerdish capacity for forward planning.”

(more…)

‘Phantom Legacy’ Writer Says New Film a Reboot

‘Phantom Legacy’ Writer Says New Film a Reboot

Garth Franklin at Dark Horizons chatted briefly with Tim Boyle, the man charged with writing the just announced The Phantom Legacy.

“First up this is a reboot ala Batman Begins and not a sequel to Simon Wincer’s 1996 feature film as has been previously reported,” Franklin wrote.

“There are two main villains in this – one from the comic, the other an original but as to which ones they can’t be disclosed for now. The Phantom himself and Diana Walker will be in it of course, ‘oh and their kids… he adds.”

"It will have some elements of the original comic, but we are making it work for the screen" Boyle said.

"Like Batman Begins, where he takes a high tech spelunking suit and turns it into the basis of his costume – we’re looking at making it a real world costume. Think of what Bryan Singer did with the blue and yellow Wolverine costume – that’s what we have to do. Make it accessible to the public without annoying the fans too much."
 

‘Dark Knight’ Score Wins Academy Reversal

‘Dark Knight’ Score Wins Academy Reversal

In a reversal that recognized modern day sensibilities, the executive committee of the Academy of Motion Picture Arts and Sciences’ music branch has decided to allow the score to The Dark Knight be considered for Best Original Score. Initially, they disqualified the score, as they did Batman Begins, citing too many names attached to the documentation.

The November 10 decision was revered, according to The Hollywood Reporter after it decided that Hans Zimmer and James Newton Howard were the main composers.  Ballots had yet to be mailed to the Academy’s voters so the film is not being adversely affected.
 

Academy Disqualifies ‘Dark Knight’ Score

Academy Disqualifies ‘Dark Knight’ Score

Hans Zimmer and James Newton Howard collaborated on the score for The Dark Knight and now both men are being notified their efforts are being disqualified for consideration as Best Score by the executive committee of the Academy music branch. This matches their collaboration and disqualification for Batman Begins in 2005.

Zimmer, Howard, music editor Alex Gibson, ambient music designer Mel Wesson, and composer Lorne Balfe all were listed on the music cue sheet, the document judged by the Academy. They all signed an affidavit stating that the score was primarily the work of Zimmer and Howard but that was not good enough for the Academy. A different document provided to the Academy indicated more than 60%, but less than 70% of the score came directly Zimmer and Howard.

According to Variety, the Academy has spent hours and hours on the issue since the use of multiple composers is on the rise throughout theatrical production and this is not an isolated incident.

Zimmer told the trade “that listing multiple names on the cue sheet was a way of financially rewarding parts of the music team who helped make the overall work successful.”