Knight Time (Batman: The Dark Knight Returns review)

Sometimes a person falls out of favour with their circle of friends, and sometimes they find a way back into social graces. Timing, humility, and quality of interaction all play into this result.

If you were to travel back in time to the mid-nineteen eighties, you wouldn’t have though much of The Batman. He wasn’t particularly cool and people weren’t that interested in what he was doing.

But today’s Theatrical Tuesday entry tells the story that got him back at the cool kids table? That’s right, you guessed it, we’re reviewing…

 

 

 

The Dark Knight Returns (2013)

Cast: Peter Weller, Ariel Winter, David Selby, Wade Williams, Michael Emerson, Mark Valley
Director: Jay Oliva
re-released on blu-ray w/graphic novel on February 24, 2016
********** 10/10

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IMDB: 8.4
Rotten Tomatoes: 100%, Audience Score 94%
The Guardian: N/A

Jay Oliva is a Filipino-American artist, producer and animated film director; one who happens to work for Warner Brothers Animation.

He got his start on the FOX Spider-man series of the 1990s, and has been involved in animated versions of Ghostbusters, Godzilla, Starship Troopers, and He-Man. Since then he has worked on numerous animations for both DC and Marvel and numerous years before he was assigned the task of creating the two-part animated movie The Dark Knight Returns.

If it it isn’t clear by now, Oliva has a good track record when it comes to creating comic book inspired worlds or adapting already written stories like The Dark Knight Returns mini-series.

For the sake of the review, let’s go over the story, if somewhat briefly.

Taken from Wikipedia and edited,

Set in a dystopian near-future version of Gotham City. Bruce Wayne, at 55, has retired  for ten years after the death of Jason Todd. Wayne has a breakdown and assumes the role of Batman again. He first confronts Harvey Dent, who was thought to be cured after therapy and plastic surgery (which Wayne financed).

Batman saves 13-year-old Carrie Kelley from an attack by a gang called the Mutants. Kelley buys herself an imitation Robin costume and searches for Batman, seeking to help him. She finds Batman at the city dump, where he fights an army of Mutants. Though Batman defeats the Mutant army with his weaponry, the Mutant leader beats him in combat. With the help of retiring Commissioner James Gordon and the new Robin, Batman defeats the Mutant leader on his own terms. The Mutants disband and some rename themselves the Sons of Batman.

At the White House, Superman and the president discuss the events in Gotham, with the latter suggesting that Superman may have to arrest Batman. Superman is then deployed by Washington to the Latin American country of Corto Maltese where he fights Soviet combat forces in a conflict that may ignite WWIII.

Batman’s return stimulates The Joker to awaken from catatonia at Arkham Asylum. With renewed purpose, The Joker manipulates his caretakers to allow him onto a television talk show, where he murders everyone with gas and escapes. Batman and Robin track him to a county fair, where he is already killing people. Batman defeats The Joker in a violent confrontation, nearly killing him. To incriminate Batman for murder, The Joker seemingly commits suicide by breaking his own neck. A citywide manhunt for Batman begins.

Superman diverts a Soviet nuclear warhead which detonates in a desert. The United States is hit by an electromagnetic pulse, and descends into chaos during the resulting blackout. In Gotham, Batman realizes what has happened, and he and Robin turn the remaining Mutants and Sons of the Batman into a non-lethal vigilante gang. He leads them against looters and ensures the flow of essential supplies. In the midst of electromagnetic pulse, Gotham becomes the safest city in the country. The U.S. government sees this as an embarrassment, and orders Superman to remove Batman. Superman demands to meet Batman.

Superman tries to reason with Batman, but Batman uses his technological inventions and mastery of hand-to-hand combat to fight him. During the battle, Superman compromises Batman’s exoframe, while Green Arrow shoots a kryptonite-tipped arrow to greatly weaken Superman. Batman reveals that he intentionally spared Superman’s life by not using a more powerful kryptonite mix; before he can finish his monologue, Batman suddenly has a heart attack, apparently dying. Alfred destroys the Batcave and Wayne Manor before dying of a stroke, exposing Batman as Bruce Wayne, whose fortune has disappeared. After Wayne’s funeral, it is revealed that his death was staged. Clark Kent attends the funeral and winks at Robin after hearing Wayne’s heartbeat resume. Some time afterward, Bruce Wayne leads Robin, Green Arrow, and the rest of his followers into the caverns beyond the Batcave and prepares to continue his war on crime.

I tried to edit that down as much as I could folks, but it was important to include all of those details for the next part of the review.

I will start by saying this, if you like animated films, but don’t know a lot about the Batman mythology, start here. The Dark Knight Returns is a great Batman story and because it is set in an alternate future, it won’t screw up or confuse you with subsequent readings of other books. The animation is well done, and echoes the source material as well.

That being said, it is an incredibly long story which includes what seems like almost every single detail of the original mini-series. So be prepared for a narrative which expects you to pay close attention.

Pros: As is the case with most of the DC line of animated films, it’s faithful to it’s source material and very entertaining. Peter Weller does a great job as Batman, as does Michael Emerson as The Joker. You have to follow the entire story through to appreciate everything, but it’s well worth it.

Cons: It is difficult to sit through 2 hours and 30 odd minutes of an animated feature. TBH, I blame Disney for conditioning us to expect animated films to wrap up in 90 minutes or less.

Runtime: 2 hours 32 minutes

Points of Interest: The Joker visits the David Endochrine Show which is based off the David Letterman Show. However the David of the animated movie is voiced by Conan O’Brien and as such resembles him. Though not explicitly stated, the POTUS in the film looks like and sounds like Ronald Reagan.

What I find  most interesting about this story is not that we get to see how Batman would act if he returned to crimefighting after a hiatus, but that he is clearly themed around a fascist messiah, and most people who read the book, watched the animated film or went to see Batman v Superman didn’t really care to recognize that. Which says something about humanity even now in the wake of Batman v Superman.

This Batman is one who “realizes” the world is broken and that only he can judge it properly, so after cleaning up his city, he fakes his death, and builds an underground army while he waits for an opportunity. Almost 20 years later, Frank Miller wrote a follow up to this story titled The Dark Knight Strikes Again which details how Batman goes about “savining” the United States from rule by Lex Luthor. A third mini-series, The Dark Knight: The Master Race is also currently in the works, and makes me wonder about the conclusion of this Batman story.

You should definitely watch and/or read The Dark Knight Returns, IF you want to better understand how easily fascism can crop up in society; because we all want a hero to save us, but maybe that’s not the best solution. This story definitely helped drive Batman back into pop culture, and incidentally, tomorrow’s post has some wisdom about Buzzworthy content. I’m out of theories for now, please comment, subscribe, and share this post if you liked it!

Tim!

Soundtrack (The 1975, I Like It When You Sleep, for You Are So Beautiful Yet So Unaware of It review)

It blows me away how easily sounds can pull us back into our memories. We don’t think about this a lot, but I bet if you turn on your favourite song, you’ll have very specific memories associated with it and you’ll be pulled back in time to when that song came out or to an event you didn’t know matter so much to you.

That’s what this week’s album review feels like, a familiar sound but a new experience.

 

 

 

The 1975 – I Like It When You Sleep, for You Are So Beautiful Yet So Unaware of It
released February 26, 2016
******** 10/10

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The 1975 are an English alternative band right out out of Manchester – A classic 4-piece group that have been playing together since 2002. Did you know that they released 4 EPs before they were comfortable enough with their sound to put out their self-titled debut in 2013? 2016’s I Like It When You Sleep, for You Are So Beautiful Yet So Unaware of It is their second outing, and frankly, a stronger sounding record because of this initial strategy, which is a good thing for all of us.

In case you were wondering about their genre, The 1975 take elements of pop (electropop, indie pop, pop rock) and rock (alternative, funk rock, indie rock) to form their unique sound. 

They remind me of a whole whack of different musical acts (Depeche Mode, Marianas Trench, Arkells, The Smiths, Joy Division, The Cure, Purity Ring, Savage Garden, and David Bowie, for starters), which is interesting because despite that, or if you’re a half glass full type, because of that – Their music is really quite fun to listen to.

And yes, we need to address what will be the obvious for those who have already listened to the record, and for those of you who will listen to in the near future. Yes, a lot of the songs on this album have a very 1980’s sound to them. But you know what, that’s not necessarily a bad thing. Apparently the 80’s are in vogue these days, because I’ve heard my share of albums that pull from that era already this year.

Hell, Matthew Healy, the lead singer and rhythm guitarist, admits that his greatest influence is the filmmaker John Hughes.

My original plan was to break down the tracks and tell you why each one is good or bad, what they sound like, etc. You know, in typical review fashion, and what I’ve done in the past before? But that isn’t really beneficial for you OR I, dear readers.
I really like this album, and I think you should listen to it, because this is innovative music, straight up. It’s apparent from the outset that you are in for something different with a long-ass album title ILIWYS,FYASBYSUOT.
Yeah, I got tired of typing it out.
It’s interesting because I’ve heard some people are immediately drawn to it, and other take some time, while still others think this record is a bit of a slog. But I’m willing to bet that the delayed response is the most accurate, and counts for the outliers. This album takes a bit of time to warm up to, not because the songs are dry, but because there is a lot going on. After that though, it’s amazing to see how much range and experimentation is within the walls of the The 1975’s house.
Similar to how music from the 1980’s felt.
But I won’t leave you hanging dear readers, check out the music videos for Love Me, UGH! and The Sound. Also previews for She’s American, If I Believe You, Paris, and A Change of Heart.
I bet you won’t be disappointed, and much like the theme song behind the documentary about the search for John Hughes, I bet you won’t be forgetting about The 1975 any time soon. In fact, this might be one of your new favourites albums to emote to.

 

 

 

 

As much as I want to have a soundtrack to my life, I don’t think I’ll ever get there. I have too many interests and too broad of tastes at this point for my life to fit so easily into a specific sound or space. But dammit if I won’t try. But what if you didn’t have a choice, and you were confined for a time to one song, how would you cope?

Check back tomorrow for a film review that looks at those kinds of questions!

Tim!

Flower Power (The Cult, Hidden City review)

Lilies have a few symbolic purposes in culture. From Greek culture in particular, the lily represents birth and motherhood, and also sexuality. In Christian symbolism, it stands for chastity, innocence, and purity. When we get into the esoteric, we can combine the symbols of purity, innocence and fertility together, and then add in vulnerability and freedom of identity.

This week’s album is made by a musical group known for their love of exploration and consideration of the details, I wonder which symbols their lilies represent?

 

 

 

The Cult – Hidden City
released February 12, 2016
******* 7/10

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The Cult are a British rock group which have been reunited twice since forming in 1983. Touted as a post-punk and goth-rock band since their inception, they are famous for the singles She Sells Sanctuary and Rain.

The group gained enough traction to enter into North American markets by the end of the 1980’s and kind of did things at their own pace after that point.

Hidden City is the 10th studio album by The Cult, and the third in a “spiritual trilogy” produced by Bob Rock.

I’ve always been a fan of The Cult since I first discovered them in my teenage years. This was well after they had already broken up once and were on their way to another split, but GTA: Vice City introduced a 90’s kid to popular music from the 1980’s, which I’m thankful for. And so  not content to collect the anthology, I eventually decided to buy Best of Rare Cult; a compilation of selected songs from the Rare Cult box set, which had been released in the fall 2000.

Maybe I’m fortunate for this decision or maybe not, but Hidden City features the energy of that compilation album and some of their more experimental artistic decisions.

For instance, Dark Energy is an incredibly appropriate high energy opener, laced with helpings of both mysticism and spirituality, something to get you excited and remind you why The Cult has a cult following, so-to-speak. How convenient for them!

In Blood features soft beats and dreamlike lyrics, while Birds of Paradise takes this further and really heightens the emotional pull.

Hinterland feels like an anthem for spiritual awareness but upon closer inspection I think it’s also an admission of guilt by Ian Astbury to the problems of ignorance and following routine in an age of connectivity and political intrusion.

But that’s the thing about The Cult. The surface and the core aren’t always the same and they play with this idea throughout the record.

Avalanche of Light has a great chorus and reminds me the major reason why this album exists in the first place. The Cult are exploring the intimate and the unknown – Hidden City is a metaphor for us. The tools may be guitars, drums, and microphones, but the result is still the same, a record by The Cult which features goth-rock like tracks Lilies and Deeply Ordered Chaos, which share in the metaphors of life.

You should check out the audio video for Dark Energy and the music videos for Deeply Ordered Chaos and Hinterland to get a taste for the album, but if you like The Cult, goth-rock or are looking for a place to test the waters of hard rock, Hidden City is a good place to go spelunking.

 

 

 

At albums end, I have to admit I’m not perfectly sold on the perfection of these tracks, but this is a damn good record either way. I’m inclined to theorize The Cult is pulling all of those lily symbols in and out of their songs, but I’ll let you be your own judge, after all, you have your own Hidden City to look after.

See you tomorrow for another shadowy review, this time it’ll be a movie.

Tim!

 

 

The Final Word On The Matter (The Final Girls review)

Who doesn’t love the 80’s? And especially the seemingly hilarious violence and over-the-top way that films addressed their genres at the time?

I personally am glad to have grown up at a time when claymation and other practical effects were still the norm, because when you watched something, you had to rely on your imagination to fill in the gaps.

And for the most part, movie magic worked. But sometimes it didn’t, and sometimes tropes would develop.

But this week’s review addresses those pop culture pieces in an interesting way.

 

 

 

The Final Girls (2015)
Cast: Taissa Farmiga, Malin Akerman, Alexander Ludwig, Nina Dobrev, Alia Shawkat, Thomas Middleditch
Director: Todd Strauss-Schulson
released on blu-ray November 3, 2015
******** 8/10

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IMDB: 6.8
Rotten Tomatoes: 72%, Audience Score 74%
The Guardian: N/A

I don’t know much about Todd Strauss-Schulson. I had to struggle a bit to learn about his directing history.

Highlights include A Very Harold & Kumar 3D Christmas and a few episodes of The Inbetweeners. Like I said, not a lot to go on.

But that doesn’t really matter in the grand scheme of things. Holy Moses, this movie was interesting. As a fan of satire, and all things meta, this effort by Strauss-Schulson really is a loveletter to 80’s horror films, as Sam Raimi has put it.

If you liked Scream or Cabin In the Woods, this movie will be right up your alley folks. I promise.

But let me paint you a written picture and you can start to see for yourself.

The movie starts out with Max Cartwright (Taissa Farmiga)  waiting in the car for her mother Amanda (Malin Akerman). Amanda has just returned from an audition where she likely didn’t get the part because the director recognized her from “Camp Bloodbath,” an infamous ’80s horror film she starred in almost 20 years prior.

On the way home the two get into a car accident and unfortunately Amanda doesn’t survive the crash.

Fast forward three years later, on the anniversary of her mom’s death, and Max is studying with her friend Gertie. They are also discussing that Chris (Alexander Ludwig) has just broken up with Vicki (Nina Dobrev) and how it is Max’s opportunity to show her interest as Chris will be tutoring Max.

Enter Duncan (Thomas Middleditch), Gertie’s stepbrother and avid fan of the Camp Bloodbath franchise. He is there to convince Max to join in the back-to-back screening of the first two films at a local theatre and make an appearance for the fans. He eventually wins her over and Max, Gertie, and Duncan go to the show. Chris has decided to come and support Max as well, knowing it is a sensitive subject for her. And Vicki shows up too, pretending to not be there specifically to see Chris and win him back.

Once the movie finally does start, in a very cool effect, some audience members accidentally start a fire. In a bid to escape the fire, Max and her friends decide to rip through the movie screen, and are transported to Camp Bloodbath.

Once they realize they are trapped inside the film, they pass themselves off as counselors, hoping to figure out a way out of the movie and avoid getting killed by the crazy Billy Murphy (Camp Bloodbath’s antagonist). Both we and the group quickly realize that they will have to deal with horror movie tropes if they want to make it out alive – concepts of final girls, sex equating to death, and flashbacks litter the world they inhabit.

Without giving too much away, I think you will really enjoy this one.

Being a fan of horror movies and satire should help you connect with the story, as it is a little slow to start, but there is a surprising amount of heart in The Final Girls, and you can’t help but root for everybody to make it through. All the while laughing at the way the tropes are dealt with.

Part of me wishes I had watched a couple of these slasher flicks just ahead of sitting down to enjoy this movie, but I’ve got a good enough memory of Friday the 13th and other 1980s horror to get the references.

Pros: The relationship between Max and her mother is incredibly sweet, and the dialogue between Max and Nancy, the character Amanda plays is incredibly interesting and will warm your horror desensitized heart. And while mostly one-dimensional, almost all of the minor characters are quite fun to watch

Cons: There is surprisingly very little sex or violence in this film, which is a convention of the genre, I wish Stauss-Schulson had been able to add more of this content and found ways to flip those details on their head, but SONY wanted a PG-13 rating.

Runtime: 88 minutes

Points of Interest: The Final Girls is the same runtime length as Camp Bloodbath. This film was co-written by Joshua John Miller, whose father, Jason Miller had passed away recently, and starred as Father Karras in The Exorcist.

I don’t know what else to say about this movie that I haven’t already said. If you want to see a genre-bending film, check this out. If you’d rather stick to the confines of what has been established already, The Final Girls probably isn’t for you.

With that said, I expect you’ve enjoyed this review dear readers. Have you enjoyed the variety of films I’ve looked at so far? Are you hoping for something else? Science Fiction perhaps? Adventure? Leave some comments!

Tim!

It’s Pretty Refreshing (Ellie Goulding, Delirium review)

What do you do when you really like something and you’re afraid of that old adage “too much of a good thing?” Fun fact, one of the earliest examples of this phrase in print is from Shakespeare’s As You Like It.

Turns out, if you are like me, you just go for it and hope you haven’t just wasted your time and hard earned dollars.

That’s why this week’s timotheories Melodic Monday review is so enticing. I am already in love with this artist, not romantically, mind you, it might be worse than that. I’m delirious over her music.

 

 

 

Ellie Goulding – Delirium
released November 6, 2015
********** 10/10

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Elena “Ellie” Goulding is a very multi-dimensional singer and musician. Her career began in 2009 (my opinion), when she signed to Polydor Records.

She released Lights In 2010, and with it the title track reached top 10 lists in the US billboards in 2011. Goulding’s second studio album, Halcyon, was released in 2012. The lead single was Anything Could Happen.

Three years later, we have finally been introduced to Goulding’s third studio album, titled Delirium, with On My Mind as the album’s lead single.

This is a very surreal album to listen to folks.

Hold up for a minute, give me a minute here to explain my rationale a bit better. I mention this quality of Delirium because I really, really, really like it, but I don’t know how many other people will appreciate this record right out of the gate.

I immediately enjoyed it, but I can see why some of her biggest advocates will be disappointed by the seemingly “sudden” shift from EDM and electropop tones into a mature dancepop effort. But I’m a grown man and this is not only the album I didn’t realize I wanted, but it’s the one that fans of Goulding need. Sorry, not sorry for the Dark Knight reference.

All of the songs tackle topics of love, life, and labour, but they don’t treat us like children and hopeless romantics while they do it. Again, as I mentioned, I find it weird to listen to, because it’s a pop album.

But I think this album represents a turning point in pop music. We are finally starting to see more nuanced efforts in the industry, and it’s because talented artists enjoy this kind of music too and they want to participate in the culture.

Goulding calls this her “big pop” album, and it makes that mark very clearly. Being a child of the 80’s, you could make an argument that she is better suited for this synth resurgence than her contemporaries. I know I do.

The intro track starts us off strong, with stadium inspired instrumentals, and leads us right into Aftertaste, one of my favourite tracks on the album. This one is about an ending relationship, a sober one at that, but without all of the bitterness at the end.

Something In The Way You Move is next up and will remind you of track 9, Love Me Like You Do, which apparently was released for the Fifty Shades of Grey movie, but I won’t hold that against her.

On My Mind, is a clever enough song, and opens you up for the more exciting ones which show up midway through the album – Don’t Panic, and We Can’t Move to This.

Army is an epic track for sure, but I really think the bonus track on the deluxe edition, I Do What I Love, showcases Goulding’s unique voice and where she has come 3 albums and 6 years later.

As I mentioned earlier in the post, I’m already a fan of Ellie Goulding, so I bought the deluxe edition of the album, and as a result I’ve been treated to an additional 7 tracks. Which I think are essential. Outside and Powerful are great collaboration choices. Besides, who doesn’t like Calvin Harris and Major Lazer?

You need to listen to this album. Period.

 

 

 

It really was a tough decision to make, because I had promised myself I would do whatever I could to buy and review albums from artists that I hadn’t heard much of previously or whom I did not already own something in their catalogue.

But this was too difficult to resist. And I think I just gave my first 10. What do you think? Was I off the mark? Leave some comments!

Tim!