When you lose count of production logos at the top of a movie (Seven? Eight? The New Zealand Film Commission!?) you know you're in store for quality filmmaking. The Carpenter/Fiedel-esque score and WWII propaganda toon pastiche start things off on an interesting note...then we are subjected to half the runtime dedicated to close quarters radio chatter with dialogue likely written in the columns of a sex ed book by an eleven-year-old. If only more of the ludicrous stuff (wing-walking, mma, teleportation) was sprinkled throughout and the thumping music cues lasted more than 20 seconds each.
Of the myriad films that popped up in the wake of Raiders, this is definitely one of the better efforts with solid leads in Douglas and Turner, incredible support from the likes of DeVito and Alfonso Arau, and an oddball orchestral/smoothjazz/synth score from Alan Silvestri. The ultimate treasure is that the success of this film gave Zemeckis the stroke to make Back to the Future, and for that I am eternally grateful.
Stands side-by-side with Cameron's own T2 as a sequel that improves upon its predecessor. Cameron's ramped up approach as well as the inclusion of several of his regular players combine to make this a near perfect action flick. Of course, much like real life, the true monsters here aren't the hulking beasts that bleed acid but corporate greed and lack of oversight.
I'll need to revisit the Director's Cut soon to determine my preferred version, as I realized on this…
Ramblings of a lifelong Batman fanboy...
RPat as The Bat: It was definitely strange being older than the actor playing Batman for the first time in my life. Bale's Bruce is a muted Patrick Bateman while Pattinson is a greasy, depressed kid; fitting for a Year Two Batman. This is a story about identity and growing pains. The suit and cowl were fine; one of the things I disliked about Bale's cowl is how it strangled his face and made…