2081 replies to this topic

[Safari Suit]

It seems that it's still No. 1 at the US Box Office.
http://www.boxoffice.../weekend/chart/
Although I have to say that I still find Pineapple's performance pretty increadible given that only four years ago it would have been unimaginable that a drug soaked R-Rated comedy could legitimately compete at the summer Box Office.

[Mr. Blofeld]

Here's another:

[Qwerty]

It seems that it's still No. 1 at the US Box Office.
/
Although I have to say that I still find Pineapple's performance pretty increadible given that only four years ago it would have been unimaginable that a drug soaked R-Rated comedy could legitimately compete at the summer Box Office.

Indeed. Here's a report centered around that info: http://movies.msn.co.../...0&GT1=28101

[sharpshooter]

This is an absolutely massive box office that is not done yet. Bat fans, hold your heads high.

[killkenny kid]

This is an absolutely massive box office that is not done yet. Bat fans, hold your heads high.

Indeed! And to the naysayers, this thing has gone on much to long to be "Just a Health Ledger thing."

[dodge]

This is an absolutely massive box office that is not done yet. Bat fans, hold your heads high.

Indeed! And to the naysayers, this thing has gone on much to long to be "Just a Health Ledger thing."

Thank you. $441 million domestic, so far. And I'd still be willing to bet that a huge percentage of the crowds don't know who Heath Ledger was or don't know that he's dead.
And I don't think we've scratched the surface yet of why this film is soooooo damned huge. I do know there are far fewer hoots and guffaws at the prospect of this baby topping The Titanic, as it deserves to do.

[Simon]

After the second viewing, I remembered reading of Ledger's preparation for doing The Joker's voice. Among the voices he channeled, I believe, was that of our great country's ultimate joker.

Did anyone else hear echoes of Tricky Dick in such lines as these:

Well, hello, beautiful!
Why so serious?
Let's put a smile on that face!

I thought I heard echoes of Agent Smith from the Matrix in the Joker.

[Mister E]

After the second viewing, I remembered reading of Ledger's preparation for doing The Joker's voice. Among the voices he channeled, I believe, was that of our great country's ultimate joker.

Did anyone else hear echoes of Tricky Dick in such lines as these:

Well, hello, beautiful!
Why so serious?
Let's put a smile on that face!

I thought I heard echoes of Agent Smith from the Matrix in the Joker.

I heard a bit of Beetlejuice.

[DR76]

And I don't think we've scratched the surface yet of why this film is soooooo damned huge. I do know there are far fewer hoots and guffaws at the prospect of this baby topping The Titanic, as it deserves to do.

Why does it deserve to top TITANIC? Come to think of it, I can't see why THE DARK KNIGHT or TITANIC deserve to be the top box office draws of all time, anyway.

[Harmsway]

Why does it deserve to top TITANIC?

Well, because it's better than TITANIC. But it's hardly the only film in that category.

[Mister E]

And I don't think we've scratched the surface yet of why this film is soooooo damned huge. I do know there are far fewer hoots and guffaws at the prospect of this baby topping The Titanic, as it deserves to do.

Why does it deserve to top TITANIC? Come to think of it, I can't see why THE DARK KNIGHT or TITANIC deserve to be the top box office draws of all time, anyway.

TITANTIC dosen't deserve any box office draws period.

[[dark]]

I'm off to see The Dark Knight a second time tonight - only this time, in IMAX.

I can't remember the last time - Casino Royale, probably - that I've felt the desire to rewatch a film while it's still in cinemas (and been genuinely excited about it to boot). And making the leap from a regular screen to IMAX is more exciting still.

[dodge]

I'm off to see The Dark Knight a second time tonight - only this time, in IMAX.
I can't remember the last time - Casino Royale, probably - that I've felt the desire to rewatch a film while it's still in cinemas (and been genuinely excited about it to boot). And making the leap from a regular screen to IMAX is more exciting still.

Let me know how it works in IMAX, if you get a mo'. I'm hoping to see it tomorrow...unless I see Tropic Thunder first.

cheers.

[[dark]]

I'm off to see The Dark Knight a second time tonight - only this time, in IMAX.
I can't remember the last time - Casino Royale, probably - that I've felt the desire to rewatch a film while it's still in cinemas (and been genuinely excited about it to boot). And making the leap from a regular screen to IMAX is more exciting still.

Let me know how it works in IMAX, if you get a mo'. I'm hoping to see it tomorrow...unless I see Tropic Thunder first.

'Twas superb (and nearly a sell-out four weeks on; people were queuing for the 10:15pm session from 9:30!).

I was sitting perhaps five rows closer than I'd have liked; on a screen that size, your eyes seem to need longer to adjust to cuts, of which there are plenty during the movie's action scenes. Still, when they dub it The Dark Knight: The IMAX Experience, the emphasis is on "Experience".

The beautiful thing about The Dark Knight (and it lost none of its awe upon a second viewing) is that it's a movie that demands to be seen on the big screen; nay, the biggest screen. In IMAX, the gorgeous cityscape establishing shots have never looked so stunning. I kind of feel the movie might lose some of its scope on a television.

If I may gush in one final paragraph, I left The Dark Knight feeling I could easily watch the film in cinemas a third time (maybe I will, given my first viewing was a free preview and the second was nearly paid for in movie money). It's such a rich film - in character, in narrative and in style - that repeat viewings are guaranteed to offer something new.

[sharpshooter]

Just to put a further nail in the coffin, literally, regarding Two-Face from Dennis O'Neil:
http://www.aceshowbi...w/00017644.html

[Skudor]

The Daily Mail.

Bless. The Daily Heil. Hurrah for the Blackshirts.

[Merged with the Batman film thread as that's what it's mainly about, apart from the usual sinister messages hidden in "David Cooke got the job in 2004. His first high-profile decision was to rate as 18 the film Nine Songs, which included graphic scenes of real rather than simulated sex" which will probably work to swell the audience of the film amongst right thinking folk who now know what it is called and will keep an eye out for it so that they can be outraged].

I don't get what the fuss is all about. There are hardly any women in it, let alone naked ones. What do these people want!

After the second viewing, I remembered reading of Ledger's preparation for doing The Joker's voice. Among the voices he channeled, I believe, was that of our great country's ultimate joker.

Did anyone else hear echoes of Tricky Dick in such lines as these:

Well, hello, beautiful!
Why so serious?
Let's put a smile on that face!

Stop it. You're scaring me. LOL

The reason TDK is doing so well, the core of its success, is Heath Ledger. His death and his performance. Two very powerful ingredients.

[Mr. Blofeld]

Here's another:

And, still another:

[sharpshooter]

Possible TDK DVD sets:

http://www.slashfilm...atpod-gift-set/

[zencat]

Believe it or not, I only just saw the movie yesterday. Thought it was petty darn fantastic. Wasn't crazy about the first hour. Things seemed rushed and a little confusing (did we really need to go to Hong Kong?)...but I really got pulled into the remainder of the movie, especially after the Joker was apprehended and his master plan kicked in. A really dark, serious, profound, tragic, and sometimes downright troubling movie. Very much a movie about the totality of the terrorism experience. The most relevant movie I've seen in a very long time. Ledger was terrifying. Some knock out lines of dialogue. Loved the whole two boat trap. Ending was brilliant (sad and uplifting at the same time). A really heavy duty movie that has stayed with me. Certainly the best Batman movie of them all.

[dodge]

Believe it or not, I only just saw the movie yesterday. Thought it was petty darn fantastic. Wasn't crazy about the first hour. Things seemed rushed and a little confusing (did we really need to go to Hong Kong?)...but I really got pulled into the remainder of the movie, especially after the Joker was apprehended and his master plan kicked in. A really dark, serious, profound, tragic, and sometimes downright troubling movie. Very much a movie about the totality of the terrorism experience. The most relevant movie I've seen in a very long time. Ledger was terrifying. Some knock out lines of dialogue. Loved the whole two boat trap. Ending was brilliant (sad and uplifting at the same time). A really heavy duty movie that has stayed with me. Certainly the best Batman movie of them all.

zen, may I ask you a question? What was your secret to waiting so long? Was it, like, a big-time Zenny thing to show your inner discipline? Would love to know.

[zencat]

No, no, no, I've just been swamped and didn't have (guilt-free) time -- and Athena and I made a plan to see it together so we had to juggle our schedules to find a time when we could both go...that sort of thing. Luckily, I hadn't seen a pic of Two Face, so that wasn't spoiled.

[Double-Oh-Zero]

'Twas superb (and nearly a sell-out four weeks on; people were queuing for the 10:15pm session from 9:30!)

Still? Wow, they lined us up 2 1/2 hours beforehand, but that was the opening weekend at IMAX.

As it's been said, the prospect of this film eclipsing Titanic doesn't seem so daunting now. And rightfully so; phenomenal movie it is.

[Mr. Blofeld]

No, no, no, I've just been swamped and didn't have (guilt-free) time -- and Athena and I made a plan to see it together so we had to juggle our schedules to find a time when we could both go...that sort of thing. Luckily, I hadn't seen a pic of Two Face, so that wasn't spoiled.

Did you see it at an IMAX? It looked even better on there, and the large size of the screen made me notice things I hadn't before; for instance, the clown-masked guy at the bank robbery holding his shoulder after being shot by the manager, as well as the Joker's personal detonator for the ferries at the end of the film.

The sound quality was also superb; I was able to properly discern both music and dialogue, including Gordon's speech at the end of the film, which had been mangled a bit by previous users.

All in all, quite the experience.

[zencat]

I didn't see it in IMAX. Is the IMAX version complete? I know with some movies the IMAX versions are cut -- something to do with reel size.

[Publius]

I didn't see it in IMAX. Is the IMAX version complete? I know with some movies the IMAX versions are cut -- something to do with reel size.

I didn't notice anything missing. If the versions are different, it must be minor.

And IMAX is definitely the way to go, if you can. I agree with your mini-review 100%, and it's how I felt even upon walking out of the theater, so if our reaction to it was so similar I imagine you'd be just as in love with it in IMAX as I was.

[[dark]]

I didn't see it in IMAX. Is the IMAX version complete? I know with some movies the IMAX versions are cut -- something to do with reel size.

I didn't notice anything missing. If the versions are different, it must be minor.

And IMAX is definitely the way to go, if you can. I agree with your mini-review 100%, and it's how I felt even upon walking out of the theater, so if our reaction to it was so similar I imagine you'd be just as in love with it in IMAX as I was.

Yeah, I wondered whether there were any differences between the two, but I couldn't spot them - aside from the sheer awesomeness of the IMAX presentation.

zen, if you fancy a second viewing, make it in IMAX!

[Harmsway]

I didn't see it in IMAX. Is the IMAX version complete? I know with some movies the IMAX versions are cut -- something to do with reel size.

THE DARK KNIGHT: THE IMAX EXPERIENCE is the complete film, and a stunning experience. The sequences Nolan shot specifically on IMAX film are beautiful to behold, and the sound quality is stellar.

[DamnCoffee]

Anyone seen this...

[Loomis]

there must be something else going on for TDK to be a smash of the magnitude that it is. It must be tickling the world's psyche in some fashion beyond the obvious.

Ergo, I was idly stirring the waters of speculation as to what TDK's hidden X-factor may be. Are young men of the early 21st century finding that the triumvirate of Wayne/Dent/Joker holds up some kind of mirror to them? Does TDK reflect our feelings in this post-9/11 world? Am I talking bollocks? Yes, but it's still a fair question: why has THE DARK KNIGHT become - arguably - the first popcorn franchise blockbuster of the 00s to achieve the status of a genuine phenomenon? How come it's done so frickin' well?

It has something to do with the fact that for the first time since the Lees, a popular and handsome young actor has tragically died after pouring everything into an iconic role, into a charachter that's been around for most peoples lives.

The story and the circumstances lends itself to people looking at mortality and morality during dark times.

There's a meloncholy to be shared by the multitudes...and a shortened life to to be celebrated and applauded.

This movie does that for the masses.

You may be interested in today's Sunday Times article on the DARK KNIGHT phenomenon:

http://entertainment...icle4524352.ece

How Batman became cinema's top trump

Christopher Goodwin

Every decade or so, a film passes from box-office hit to cultural phenomenon. That’s what is happening with The Dark Knight, the latest instalment in the Batman franchise. Even in Hollywood, nobody can quite believe how big a hit the $180m film, the second Batman movie to be directed by Christopher Nolan and to star Christian Bale as the superhero, has become. “It’s a film that is rewriting the record books every day, redefining our notions of what a blockbuster can be,” says Paul Dergarabedian, president of the box-office tracker Media by Numbers.

This weekend, The Dark Knight will overtake the $461m the original Star Wars made in North America to become the second-highest-grossing movie there of all time. Its distributor, Warner Bros, is tamping down the possibility that it might pass the $600m made by Titanic. The studio has been keen to highlight the part played by its secret six-month, multimillion-dollar anti-piracy campaign to ensure digital copies of the film didn’t leak out before it opened. Warners counts it a triumph that the first pirated copy didn’t appear on the internet until 38 hours after the film was released. “The first weekend, there was this huge, pent-up demand and eagerness by audiences to see this movie,” Dergarabedian says.

Its box-office numbers have certainly been boosted by the usual adolescent fan boys returning to see it three, four, five times. Fan girls going repeatedly to worship at the celluloid shrine of Heath Ledger can’t be discounted, either: the movie is being seen by almost as many women as men, and by as many people over 25 as under.

Why has The Dark Knight, exceedingly bleak and violent, touched such a cultural nerve? Some believe it was the intense and to some extent morbid interest generated by Ledger’s untimely death. Warner Bros capitalised on this by featuring his leering, paint-smeared face on almost all the movie’s advertising. And his mesmerising performance as the Joker justifies the marketing hype.

That doesn’t, however, fully explain why the film has become such an extraordinary cultural phenomenon. Some commentators in America believe the film has become a touchstone, beguiling audiences with what appears to be popular, comic-book entertainment, but explores some of the most critical social and ethical issues we face today — in particular, the issues being wrestled with by countries, notably America, fighting the “war on terror”. As those who have seen it will know, The Dark Knight explicitly examines how far it is permissible for individuals and society to go in the fight against “evil”.

“Nolan turns the Manichean morality of comic books — pure good vs pure evil — into a bleak post-9/11 allegory about how terror (and, make no mistake, Ledger’s Joker is a terrorist) breaks down those reassuring moral categories,” writes Dana Stevens in the online magazine Slate. If the references weren’t obvious enough, the Time magazine critic Richard Corliss calls the Joker “the Bin Laden of movie villains”.

Both conservatives and liberals have been rushing to claim that The Dark Knight has become such a phenomenon because it validates their beliefs about the ethical issues at the heart of the war on terror. “There seems to me no question that The Dark Knight is at some level a paean of praise to the fortitude and moral courage that has been shown by George W Bush in this time of terror and war,” the conservative novelist Andrew Klavan writes in The Wall Street Journal. “Like W, Batman is vilified and despised for confronting terrorists in the only terms they understand. Like W, Batman sometimes has to push the boundaries of civil rights to deal with an emergency, certain that he will re-establish those boundaries when the emergency is past.”

Kyle Smith, film critic for the New York Post, takes this allegory an amusing — and perhaps disturbing — step further. “Batman is not charming,” he writes. “He isn’t popular, partly because he’s a zealot and partly because he doesn’t bother to explain himself to the press. He is independently wealthy, having spent years as the head of an industrial company. His methods are disturbing, his operations bathed in darkness. He is misunderstood, mistrusted, endlessly pursued by the attack dogs of the night. . . And he lives in an undisclosed location. Isn’t it obvious? Batman is Dick Cheney with hair.”

Commentators on the left appear to have seen a completely different film. The Dark Knight “takes the viewer on a sometimes traumatic but ultimately redemptive and humanistic journey towards a post-9/11 ethic”, writes Michael Dudley, of the Institute of Urban Studies, on the left-wing website AlterNet. Dudley believes that when Batman does use extra-legal methods — “the dark side”, as Cheney once put it — it backfires on him and the city he is trying to protect. Batman beats up the Joker in jail, a scene reminiscent of the “enhanced interrogation techniques” used by the CIA on terrorist suspects, and uses a computerised tracking system to plug into every mobile phone in the fictional city of Gotham, much like the “Total Information Awareness” wiretapping programme espoused by the Bush administration.

The Dark Knight, Dudley concludes, “warns against abandoning our principles out of fear, grief and hatred, as well as abdicating our moral agency to external authorities — both of which comprised the hallmark moral syndrome of the years following 9/11”. Nolan has not hidden his desire to explore these key ethical issues. “What Batman is doing is heroic, but it can be seen as vigilantism, as a dark force outside the law,” he says. “That’s a very, very dangerous road to go down. He’s always riding a knife edge in moral terms.”

While commentators on the right and left slug it out, in the Joker Nolan has, I suspect, touched a rawer nerve in all of us by confronting his own deepest psychological fears. In a number of interviews, the British director has said that what really frightens him is not so much terrorism on behalf of a different world view, but a force for evil much less explicable: “Anarchy and chaos — even the threat of anarchy and chaos — are the most frightening things society faces, especially in this day and age,” In the film, the Joker explicitly defines himself: “I’m an agent of chaos.”

It is initially hard to see where Nolan’s deep-seated fear of social “chaos” comes from. He lives a quiet family life in West Hollywood, which is almost crime-free. He’s very rich. He works in a controlled, close-knit environment, with his brother Jonathan as scriptwriter and his wife, Emma Thomas, as producer. People who meet Nolan, who had a public-school education at Haileybury, are struck by his meticulous, deliberately old-fashioned, almost Edwardian demeanour. He invariably dresses in either a dark suit or a blazer, and often wears a waistcoat, with a crisply ironed white shirt and cuff links — clothes that seem to externalise his psychological need for order and control. In an interview not long ago, he admitted: “It’s definitely something I have a fear of — not being in control of your own life.” A reporter for Newsweek was astonished to discover that, at all times, in case of some kind of unspecified existential calamity, Nolan keeps on him two passports, his British one and his American one.

Beneath this outward desire for order, it’s possible that, with the Joker, Nolan is exploring his own most radical fear (and, it seems from the film’s success, ours, too): the fear of psychological chaos, of madness, the unravelling of firm mental grounding, the complete loss of psychological control. Read in this way, the Joker represents nothing as banal as Bin Laden, but the id, “the dark, inaccessible part of our personality”, as Freud put it, the base human instincts, unconscious, amoral and utterly selfish. “We call it a chaos, a cauldron full of seething excitations,” Freud wrote. Nolan calls it the Joker. And the director has, apparently, found a multimillion-dollar way to tap our darkest anxieties and have the last laugh.

[Mister E]

Oh boy, I think people are looking far too into things. So much analysis as to why it is hit and of course some genius once again says 9/11 and people gasp.

Edited by Mister E, 17 August 2008 - 08:03 PM.