Film Review | The Dark Knight (2008)

The Dark Knight is both a continuation of, and a reaction to, the perfect reboot of the Batman franchise that Christopher Nolan created in 2005's Batman Begins. Whilst furthering the realistic edge of the first film, Nolan goes in an almost entirely different direction in his choice of Batman's enemies. Whilst Batman Begins is notable for featuring some of the Caped Crusader's least theatrical villains who had limited mainstream recognition before their appearance in the film, The Dark Knight features two of Batman's adversaries who are not only amongst his most well-known and extraordinary, but who have also featured prominently on the big screen in the past. Casting the late Heath Ledger as The Joker also appeared to many as a risky decision when first announced considering the acclaimed performance given in the role by Hollywood heavyweight Jack Nicholson in 1989's Batman, not to mention the character being undoubtedly Batman's most notorious and well-loved nemesis.

The film takes place some six months after the events of Batman Begins, as Batman, the crime-fighting alter-ego of Bruce Wayne (Christian Bale), works with Lieutenant Jim Gordon (Gary Oldman) and other members of the Gotham Police Department against bizarre criminal mastermind The Joker (Ledger). Joining the fight is newly appointed district attorney Harvey Dent (Aaron Eckhart), determined to rid Gotham of crime however he can; whilst Bruce sees Harvey as holding the potential to lead Gotham into a brighter future, matters are complicated by Harvey's relationship with assistant district attorney, and Bruce's childhood friend and love interest, Rachel Dawes (Maggie Gyllenhaal).

The Dark Knight is just as successful as its precursor, partly because many of the things that worked so well in Batman Begins are retained. The returning cast again put in superb performances: Bale is given the opportunity to flesh out both Bruce Wayne and Batman further, building on his strong performance in the first film; Michael Caine as Alfred Pennyworth is predictably excellent, the chemistry between his character and Bale's even more palpable and authentic; Oldman as Gordon is again a genuine highlight, continuing the character's development arc with subtlety and humility; and Morgan Freeman as Lucius Fox is, unsurprisingly, a joy. All of these performances tied together by Nolan's captivating direction, adrenaline-charged action sequences and polished script (again crafted with brother Jonathan) gives The Dark Knight a strong foundation upon which to build the film's new elements.

The new cast members are comprehensively excellent, their characters fitting perfectly into Nolan's Gotham. Gyllenhaal takes on the role of Rachel Dawes capably, developing the character and making it her own, to the extent that when recalling the character it is Gyllenhaal who comes to mind first, despite Katie Holmes originating the character in Batman Begins. Eckhart's turn as Harvey Dent is flawless, delivering the many shades of Dent's character effortlessly, and playing out his tragic story arc with such class and pathos that it can't fail to impress on the highest level.

Of course, the film's biggest and most successful addition is that of Ledger's Joker. It's hard to say anything that hasn't already been said about Ledger in The Dark Knight. The character's introduction in the film's opening sequence lets you know that what you are witnessing in the combination of Ledger's performance and Nolan's script is something very special, and once The Joker lays his intentions bare to Gotham's gangland leaders (opening with a simple "magic trick" you'll never forget) neither Nolan nor Ledger let up until the closing scenes. It's a performance which captivates, redefining one of the most iconic antagonists ever created, striking the perfect balance between The Joker's overtly comic book foundations and Nolan's real world aesthetic.

The Dark Knight may be less epic and more episodic in its structure when compared to Batman Begins, but this never counts against it. In salvaging the Batman franchise, Nolan pulled off what many thought impossible and struck gold. Through The Dark Knight, Nolan manages to produce a film against which all comic book adaptations are likely, nay deserve, to be measured. It soars as an action film, broods with psychological drama, and reaches heights neither this comic book franchise nor any other has achieved before or since.

10/10

Film Review | The Rum Diary (2011)

Set in 1950s Puerto Rico, The Rum Diary follows the exploits of Paul Kemp (Johnny Depp), a down-on-his-luck writer who has moved to San Juan to work for a local newspaper. The title is take from the Hunter S. Thompson novel upon which the film is based, and is a reference to the fact that Depp's character and his companions spend a considerable amount of time in the film drinking, and intoxicated by, rum. The problem is, whilst getting drunk can be enjoyable for the person drinking, experiencing other people getting drunk when you're sober is often less enthralling.

The film's main strength is in its cast. Depp is fine in the lead, although more and more of his post-Pirates Of The Caribbean performances seem to have at least a smattering of Jack Sparrow within them and Kemp is no different. Whilst amusing, it can be a little distracting to suddenly hear a fictional pirate captain when you're meant to be watching a 1950s American journalist in South America. The supporting cast is also strong: Aaron Eckhart does well as smarmy businessman Sanderson, and Richard Jenkins is pleasing as Kemp's jaded and exasperated editor Lotterman. Potentially the film's standout performance however comes from Giovanni Ribisi as the extrovert and perpetually sozzled reporter Moberg. Ribisi is almost unrecognisable at first, his performance laced with bitter energy, his over-the-top actions making his character both comedic and pitiable.

The problems come from the film's structure, in that too often it just doesn't seem to have one. There are plot threads which can be followed through the film but they regularly feel underdeveloped. The story involving Eckhart's character concludes abruptly and rather unsubstantially, and several elements of the film's final act - particularly one involving a witch doctor - seem to come out of nowhere. Too many sequences throughout the film come across as episodic and unfocused. Essentially, the whole thing feels a bit too disparate to engage with on a truly satisfying level.

Ultimately, The Rum Diary ends up as a fairly enjoyable film, but never threatens to become anything genuinely memorable. Much like a conversation with a drunk person whilst you're sober, The Rum Diary is relatively entertaining but without anything of substance behind it, making you long for something more satisfying and meaningful too long before its conclusion.

6/10