An intriguing SF concept is soon plundered for a mere neo-noir plotline, but save the pieces anyway.By Serdar Yegulalp on 2013/03/25 10:00
Stop me if you’ve heard this one before: a guy discovers, or has someone hand to him, a bag full of money. Bad guys come after him. The cops come after him. A pretty girl gets mixed up with him. Chaos ensues. It’s easily the most hoary of noir clichés, and every generation of filmmakers tries to come back to it with new graphics and hardware.
In Time takes the bag-o-bucks and swaps it for a science-fiction concept that, I admit, I adored for its audacity and potential for social commentary. At some unspecified point in our future, money no longer changes hands. Instead, time really has become money. The world is populated with folks who are the product of careful genetic engineering. At the age of twenty-five, they stop aging—and a fluorescent clock on their arm begins counting down from one year. They can work to accumulate time—or gamble, or steal—but as soon as that clock hits zero, they’re dead. It’s Logan’s Run by way of D.O.A., if you want to get your science-fiction chocolate in my noir peanut butter some more.
The last installment gives us the Batman we deserve rather than the Batman we want. Not a bad thing, actually.By Serdar Yegulalp on 2013/03/08 10:00
It’s been said that The Who By Numbers was received very poorly by both fans and critics when it first came out, in big part because it was a good album that suffered from the curse of not being a great one. The most succinct statement I can make about The Dark Knight Rises is along the same lines: it’s a very good movie afflicted with two things: a) it comes in the shadow of an outstanding one, and b) it’s forced to serve as the final statement for a franchise that changed the way people thought about comics and cinema. Small wonder many people wrung their hands or stuck their fingers down their throats.
I wasn’t surprised that people would be so divided over the film, but I was a little amazed at the way that divisiveness shaded over into outright hostility. A number of online critics pointedly left it off their lists of 2012’s best films, if only because there were so many other interesting things going on cinematically that year (Holy Motors, The Master, Beasts of the Southern Wild, etc.) that throwing praise at a movie that hardly needed the boosterism probably seemed like wasted breath. It wasn’t as if you needed to champion a film that had already raked in the gross domestic product of a small nation. But what we have here is (as someone else said) the Batman we deserve rather than the Batman we want.
Science fiction, rebooted.
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