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Madagascar, Mr. & Mrs. Smith, Batman Begins

capsule reviews

Madagascar

You may know Madagascar better by its working title: "Let's see how many backdrops we can reuse from Father of the Pride". I went to see it on the "love the sinner; hate the sin" approach: I've got nothing against DreamWorks per se, it's just the Shrek franchise that irks me. Shark Tale was clearly cut from the same cloth, but Madagascar looked like something new and that seemed worthy of my encouragement. (Full disclosure: my mom paid for the tickets, anyway. Hands clean!)

The movie is far and away more entertaining than the Shrek series and its knock-offs. Sadly, it's still a product of DreamWorks's assembly line approach, resulting in four main characters who are bland, uninteresting archetypes. (Also, while they've toned down the pointless movie reference in-jokes somewhat, I was still able to count: American Beauty, Chariots of Fire, Fantasia, Peter Pan, and Planet of the Apes – among others, I'm sure.)

Fortunately, many, many scenes are stolen by the film's fantastic menagerie of supporting characters. Erudite chimps, conspiratorial penguins, and dance-party lemurs surprise and delight, making it all feel worthwhile. When the Zebra (voiced by Chris Rock) starts talking "-izzle," you want to crawl, retching, out of the theatre. But when the penguins do their thing, it's a joy. The movie has a vibrant, enjoyable style (design as well as animation) and thanks to the breakneck pace, the dull moments are quickly replaced with more hijinks. One very funny scene consists entirely of spit takes, which is original and entertaining.

Mr. & Mrs. Smith

I was looking forward to this movie very much. As early as December, I declared it my second-favorite movie of 2005, and so far nothing has happened to challenge that assessment. Mr. & Mrs. Smith is the perfect movie. (That's not to say it's the best movie ever; far from it.) Its structure is absolutely immaculate – as though they bought an action-movie framework at the hobby store and then built all-new scenes up from there. Some would characterize that as a criticism; it's not. The plot isn't tired or predictable, it's just comfortable. The characters go through the things you would expect them to, the things you'd expect to go through if you were in their situation. And, at every turn, it's surprising, compelling, and deliciously beautiful to watch.

I like Brad Pitt and Angelina Jolie very much. (Separately and together.) Regardless of their off-screen pairing or lack thereof, both are excellent actors. Pitt in particular has proved his versatility and commitment – bringing something interesting to each role in his varied career. Angelina Jolie is strikingly beautiful and intriguing. I have no problem with the fact that this is an action movie, or that they're expensive stars. The stunts are whiplash-visceral; their chemistry is so effortlessly alluring it'd make me think twice about staying married to Jennifer Aniston. Being a pricey popcorn flick doesn't change the fact that it's damn good.

And the action is amazing. Fresh off The Bourne Identity, director Doug Liman has effectively proven himself as the master of the car chase in the post-Frankenheimer era. And while no film is made in this century without dozens of computer-enhanced visual effects, in Mr. & Mrs. Smith, there's not a single scene that feels computer-generated. Real cars are flipping through the air, real buildings are blowing up, real people are punching and shooting and diving. It's a lot of fun to watch.

The whole movie is a lot of fun to watch. It takes a very tiny moment out of any marriage – the moment in which a relationship that has grown routine is revitalized, when the couple realizes what they love most about one another – literalizes that battle in every way, then intricately explores that moment over two hours. It'll have you caring in one scene, cringing in another, and cheering in the next. It's the very best of slick, Hollywood filmmaking. Slick Hollywood filmmaking gets a bad rap sometimes but, done right, it's awesome. There's a reason slick Hollywood films still put asses in the seats, dammit.

Batman Begins

I love Batman. We all do. There's a timeless appeal to the character, enduring over so many years of retellings and reinterpretations. Often referred to as the World's Greatest Detective, he's the superhero with no super powers – just his crime-solving skills and his gadgets. (And, yes, his outfit.) The powerful appeal of duality (common to all secret-identity superheroes) is amplified in Batman because we can believe that with some training and a bankroll, we could be Batman. The genius of Batman Begins is that it shows us that training – and so much more.

It was necessary for Batman Begins to take a novel approach. The slate needed to be wiped clean of Joel Schumacher's campy disfigurement, with its candy-colored lighting, benippled Batsuit, and Schwarzenegger, for crying out loud. Director Christopher Nolan (Memento, Insomnia) steps up to the task. He takes us through the evolution of Batman: the only part of the story left largely unexplored (as far as the movies go), and an excellent way to cement our identification with the character. He also delivers a dream cast – just one big, exceptionally talented ensemble. Christian Bale inhabits the younger, angrier Bruce Wayne and the darker, snarlier Batman with gravity and conviction – though I wish they wouldn't do that thing with his voice when he's Batman, because it sounds plenty forceful on its own. (Reportedly, there's a speaker installed in the Batsuit – I wish someone had mentioned that.) Katie Holmes is lovely and steadfast, and Tom Wilkinson and Cillian Murphy grip the screen in supporting roles. Linus Roache is warm and relatable as Thomas Wayne, Bruce's noble dad. Morgan Freeman delivers fatherly wisdom and conspiratorial glee with his patented low-key smirk. Gary Oldman is a nice surprise as James Gordon, the future Commissioner of Police. In the inevitable sequel, he and Batman will make a nice pair. Michael Caine is fucking brilliant. The Oscar he won for Cider House Rules? It should have been for this.

With liberal use of flashbacks (it wouldn't feel half as liberal if they hadn't cast such an atrocious tot as Boy Bruce), we see the turning points in Bruce Wayne's life that led him towards his crusade for justice. Some of these moments are exquisite: lectures about justice from lifelong love Rachel Dawes (Holmes); an analysis of fear and power from crime boss Falcone (Wilkinson, late of Lacuna, Inc.). Other parts drag: speeches from Bruce's father nicely reveal what a great man he was, but it's hard not to cringe at wooden phrases like, "people less fortunate than us have been enduring very hard times." There's the murder scene, which thankfully holds up all the icons we've come to love. The pearls, the revolver, the evening wear. Re-imagine the Batman story as often as you want, but don't take those away from us. Well played, Christopher Nolan.

The training scenes document the physical construction of Batman – mixing in a little more Eastern philosophy and kung-fu fighting than I care for. But I understand. That's what the kids like these days; you've got to put it in your movie. And it develops Batman's philosophy regarding crime and justice: where it aligns with that of his trainers, and where it departs. Watching Bruce Wayne go through this process really gives us more respect for Batman and what he believes in.

There's some excellent writing and some excellent fighting as Bruce devises his Batman alter ego and tests him out in Gotham City. It's unusual to get as much detail in this part of the origin story, and it's quite satisfying. (Spider-Man came close, but still flitted past most of the specifics.) This part of the film gives Bruce Wayne a real personality – smarm, sass, and all – probably the one thing lacking from Tim Burton's Batman films (still my favorite so far). The best line from the trailer excellently illustrates the compelling depth of the origin story. Alfred (Caine) asks the question we've all often pondered: why bats? Bruce replies, "I fear bats. It's time my enemies shared my dread." It's appropriate in our current era that the film focuses so much on the power of fear: where it comes from, how it drives us, and how it can be used to manipulate. The meat of Batman Begins is in these scenes, and it's a succulent, satisfying meal.

In the end, however, the film's unique energy seems to die off, leaving only the well worn superhero denouement – which is, point by point, a little too reminiscent of Spider-Man. I would have liked to see more detective work (like Michael Keaton did) and less city-wide ruin and explosive spectacle. How can Batman ever hope to win over the fearful public with his stylish vigilante bravado, if he keeps wrecking his car into their tenement flophouses? Sure, you want to raise the stakes for the final confrontation, but when the destruction becomes this grandiose, it's obvious what we're seeing. Batman will, against all odds, smite the bad guys and triumph over evil. That's how these epic final confrontations go. So the danger feels flimsy and the explosions seem repetitive, and the whole thing sort of fizzles. Fortunately, there's a tacked-on epilogue which rolls out the sequel carpet – the next one's really going to kick ass!

3 Comments (Add your comments)

"monique"Fri, 6/24/05 12:00pm

The meat of Batman Begins is in these scenes, and it's a succulent, satisfying meal. Love this line.

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