It’s been a few years since we last saw our favorite alienated (bad um chik) FBI agents, and much has changed. But with THE X-FILES: I WANT TO BELIEVE, the world learns that we can still get the same old Mulder and Scully we’ve always loved. Built on a much smaller scale than its 1998 theatrical predecessor, the film’s strong and weak points rely on its similarity to the hit television show. Fans of the show will be more than happy to see some familiar characters, but this film will not show outsiders what the big deal was.
It’s been several years since the X-Files unit was shut down and the FBI finds another case with possible paranormal ties. Several young girls have disappeared and a local holy man (Billy Connolly) claims to be having psychic visions that relate to the case. Unable to find a connection, Agent Dakota Whitney (Amanda Peet) turns to the only two people she can think of for help – Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson). As the two are driven further into the case, they must both decide what they really believe and whether they want to return to the work they abandoned all those years ago.
One of the biggest problems with the original film was its lack of individuality. It didn’t serve as an introduction at all; if you weren’t an avid follower of the series, you likely wouldn’t have a clue what was happening. The film was designed as a stand-alone adventure and it certainly is that. There are only a few references to the series in the film, and none that will detract from the actual film. But unfortunately, there isn’t enough to set it apart from a standard cop thriller. The supernatural quotient is second to the recovery of the missing girls. The film is basically an extended episode of the television show. A strong episode to be sure, but nothing that really takes advantage of the filmic format.
Where the film really succeeds are in the scenes with Mulder and Scully. The performers fit back into their characters as if they had never left, and the insatiable charisma and sexual tension remains entirely intact. Anderson is particularly spectacular; her always-compelling Scully kicks up a notch as she balances the case with her day job in a hospital. Anderson could always be relied on to give the series enough pathos and emotion to make it something more; she delivers magnificently here. With each performance, she proves that she is one of the best actresses working today, able to lift any material she’s given. It’s a shame she isn’t seen more often, and the makers of the film should be lauded simply for giving her a vehicle to demonstrate her tremendous abilities.
While the film may not be a major step in the X-Files canon, it’s a more than welcome return. The lack of an ultimately compelling plot, no matter how suspenseful, is more than made up for by Duchovny and Anderson’s memorable performances. The filmmakers have crafted something that relies much more on dramatics than thrills to deliver the final product, and to be even moderately successful is a big achievement. THE X-FILES: I WANT TO BELIEVE is an exciting and entertaining piece of nostalgia, and most fans will be itching to see their favorite agents again.
**1/2/****
Friday, July 25, 2008
Friday, July 18, 2008
The Dark Knight
Having vividly revitalized arguably the most successful comic book franchise in film history with 2005’s BATMAN BEGINS, director Christopher Nolan now gives us the full extent of his abilities with THE DARK KNIGHT, a thrilling and momentous achievement that takes succeeds in taking itself seriously and becoming something much more than a mere superhero movie.
The mysterious Batman (Christian Bale) has been guarding the streets of Gotham City for some time now. Combined with his efforts and a new sense of hope, courtesy of charismatic District Attorney Harvey Dent (Aaron Eckhart), the city is far from the crime-infested cesspool it once was. Gangsters and criminals are now afraid to go out at night, instead holding their meetings in the safety of broad daylight. But for some people, such cowardice is unforgivable. Enter The Joker (Heath Ledger), a maniac for whom crime is fun regardless of the financial possibilities. As he begins his reign of terror on Gotham, Batman/Bruce Wayne must decide how far he must take his quest and what he must do to protect Gotham and its newfound sense of hope.
Nolan has set the film in a world that seems almost too-real, and therein lies its greatest strengths. Gone is the CGI aboveground subway that pervaded every block of the city in the first film, and the villains with mystical flowers and water vaporizers. In its place is a man who is referred to as a terrorist on more than one occasion. Ledger’s astonishing performance is a testament to this. For once, the villain manages to be truly terrifying. With his cackling giggle and magic disappearing tricks, The Joker is supremely effective because he’s so real. He is the type of madman who could easily be living in any large city around the world, waiting to strike. Ledger completely disappears into the role – unknowing viewers would never have guessed this was the guy from BROKEBACK MOUNTAIN or 10 THINGS I HATE ABOUT YOU. He creates a completely different monster than Jack Nicholson’s iconic Joker in 1989’s BATMAN. With his wild swagger and make-up that appears to have been applied by gunshot, Ledger gives a performance for the ages and gives his life and career a lasting legacy.
While Bale once again proves that he is the first actor to completely pull off both Batman (albeit his Batman voice, which sounds more gravely and incomprehensible than before) and Bruce Wayne, he doesn’t make as much of an impression as in the first film. This isn’t necessarily a deterrent; if anything, this is as close to an ensemble piece that an action film is ever going to get. Everyone gets their time to shine, from Morgan Freeman’s wry Lucius Fox (who gets the biggest laugh in the film) to Gary Oldman’s James Gordon, who continues to prove that he is one of today’s most versatile actors. Maggie Gyllenhaal makes a wonderful replacement for the bland and whiny Katie Holmes, toning down her indie quirkiness for a more serious role without seeming shallow or out of place. Eckhart’s performance, while not nearly as dynamic and mesmerizing as Ledger, is totally compelling; kudos should be given to him and Nolan for masterfully introducing his dual identities without seeming overtly obvious.
Nolan has taken his already-solid directorial skills on BATMAN BEGINS and improved them ten-fold. Where the action was muddled and confusing before, it is now crisp and thrillingly clear. Cinematographer Wally Pfister switches the first film’s black and brown canvas for a bright and cold blue without losing any of the underlying darkness. Hans Zimmer and James Newton Howard’s score has now captured this Gotham City as well as Danny Elfman captured Tim Burton’s Gothic nightmare. All of these elements combine in the film’s breathtaking final moments, where Batman’s mission becomes clear and everything he is about makes sense to him and the world.
Snootier filmgoers will be hesitant to even label THE DARK KNIGHT a comic book movie. Nolan has done what few (if any) other filmmakers have successfully done; take an out-of-this-world premise and make it so totally real. THE DARK KNIGHT is just as much a crime thriller and psychological drama as it is a superhero movie. To say it may be the best superhero movie ever could be an understatement. To say it is one of the best movies of any kind in years? That’s more like it.
****/****
The mysterious Batman (Christian Bale) has been guarding the streets of Gotham City for some time now. Combined with his efforts and a new sense of hope, courtesy of charismatic District Attorney Harvey Dent (Aaron Eckhart), the city is far from the crime-infested cesspool it once was. Gangsters and criminals are now afraid to go out at night, instead holding their meetings in the safety of broad daylight. But for some people, such cowardice is unforgivable. Enter The Joker (Heath Ledger), a maniac for whom crime is fun regardless of the financial possibilities. As he begins his reign of terror on Gotham, Batman/Bruce Wayne must decide how far he must take his quest and what he must do to protect Gotham and its newfound sense of hope.
Nolan has set the film in a world that seems almost too-real, and therein lies its greatest strengths. Gone is the CGI aboveground subway that pervaded every block of the city in the first film, and the villains with mystical flowers and water vaporizers. In its place is a man who is referred to as a terrorist on more than one occasion. Ledger’s astonishing performance is a testament to this. For once, the villain manages to be truly terrifying. With his cackling giggle and magic disappearing tricks, The Joker is supremely effective because he’s so real. He is the type of madman who could easily be living in any large city around the world, waiting to strike. Ledger completely disappears into the role – unknowing viewers would never have guessed this was the guy from BROKEBACK MOUNTAIN or 10 THINGS I HATE ABOUT YOU. He creates a completely different monster than Jack Nicholson’s iconic Joker in 1989’s BATMAN. With his wild swagger and make-up that appears to have been applied by gunshot, Ledger gives a performance for the ages and gives his life and career a lasting legacy.
While Bale once again proves that he is the first actor to completely pull off both Batman (albeit his Batman voice, which sounds more gravely and incomprehensible than before) and Bruce Wayne, he doesn’t make as much of an impression as in the first film. This isn’t necessarily a deterrent; if anything, this is as close to an ensemble piece that an action film is ever going to get. Everyone gets their time to shine, from Morgan Freeman’s wry Lucius Fox (who gets the biggest laugh in the film) to Gary Oldman’s James Gordon, who continues to prove that he is one of today’s most versatile actors. Maggie Gyllenhaal makes a wonderful replacement for the bland and whiny Katie Holmes, toning down her indie quirkiness for a more serious role without seeming shallow or out of place. Eckhart’s performance, while not nearly as dynamic and mesmerizing as Ledger, is totally compelling; kudos should be given to him and Nolan for masterfully introducing his dual identities without seeming overtly obvious.
Nolan has taken his already-solid directorial skills on BATMAN BEGINS and improved them ten-fold. Where the action was muddled and confusing before, it is now crisp and thrillingly clear. Cinematographer Wally Pfister switches the first film’s black and brown canvas for a bright and cold blue without losing any of the underlying darkness. Hans Zimmer and James Newton Howard’s score has now captured this Gotham City as well as Danny Elfman captured Tim Burton’s Gothic nightmare. All of these elements combine in the film’s breathtaking final moments, where Batman’s mission becomes clear and everything he is about makes sense to him and the world.
Snootier filmgoers will be hesitant to even label THE DARK KNIGHT a comic book movie. Nolan has done what few (if any) other filmmakers have successfully done; take an out-of-this-world premise and make it so totally real. THE DARK KNIGHT is just as much a crime thriller and psychological drama as it is a superhero movie. To say it may be the best superhero movie ever could be an understatement. To say it is one of the best movies of any kind in years? That’s more like it.
****/****
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