Tag Archives: 1992

284. BATMAN RETURNS (1992)

“Being the Batman fan that I am, I pretended to like the film. I passionately defended it to my ‘non-Batman’ friends who found it ‘weird’ or ‘dumb.’ But eventually, I gave in to the fact that this film plain sucked. This macabre, morose, dark abomination was a Batman film in name only. Frankly, I felt screwed by Warner Brothers and Mr. Burton.”–Bill “Jett” Ramey, “Batman on Film”

“It’s human nature to fear the unusual.”–The Penguin, Batman Returns

Recommended

DIRECTED BY:

FEATURING: , , Danny DeVito,

PLOT: The film sets Batman against three new villains: Oswald Cobblepot, a deformed outcast who lives in the sewers and adopts the name “the Penguin”; “Catwoman,” former secretary Selina Kyle turned feminist avenger after a near-death experience; and Max Shreck, a wealthy retailer who wants to build a power plant opposed by Gotham City’s mayor. With differing agendas and shifting loyalties, the three form a plan to run Cobblepot for mayor and to frame Batman for the city’s crime problem, while Batman’s alter-ego Bruce Wayne and Selina pursue a romance, not realizing that they are sworn enemies. After the superhero foils the initial plot, the Penguin pulls out a more elaborate, apocalyptic plan.

Still from Batman Returns (1992)

BACKGROUND:

  • Tim Burton, who had scored a blockbuster with the original Batman (1989),  was reluctant to produce a sequel. Warner Brothers convinced him to helm the film by giving him almost complete creative control. Heathers‘ Daniel Waters was brought in to shade Sam Hamm’s too-sunny original script. It was a move the studio came to regret (the film was profitable, but not as big a hit as its predecessor, and parental complaints that it was too violent/sexy/weird for kids spooked the suits). Neither Burton nor star Michael Keaton returned for the third movie in Warners’ Batman franchise, which went in a lighter, more family-friendly direction under Joel Schumacher.
  • Angry parents boycotted McDonalds for (unwisely) including Batman Returns action figures in Happy Meals, complaining that the movie was too violent for kids.
  • Oscar-nominated for Best Visual Effects and Best Makeup. Also nominated (unjustly, in our opinion) for a “Worst Supporting Actor” Razzie for Danny DeVito.

INDELIBLE IMAGE: I’m going to go with the army of penguins equipped with missiles striped like candy canes (remember, this is a Christmas movie).

THREE WEIRD THINGS: Kitty corpse revival; poodle with a hand grenade; missile penguin army

WHAT MAKES IT WEIRD: Let loose with a budget of $80 million and almost complete creative control in 1992, Tim Burton smuggled weirdness into the cineplex in the guise of a superhero sequel. The resulting picture has as many excesses as you can possibly sneak into a blockbuster: suggestive S&M duels between sexually repressed loners clad in fetish gear, a carnival-themed gang who unleash their surreal clown fury on Gotham at Christmas, and an army of penguins led by a deformed sociopath.


Original trailer for Batman Returns

COMMENTS: Earning over 260 million simoleons at the box office—although some ticket buyers probably asked for a refund—Batman Continue reading 284. BATMAN RETURNS (1992)

CAPSULE: TESTUO II: BODY HAMMER (1992)

DIRECTED BY:

FEATURING: , Shinya Tsukamoto

PLOT: After receiving a mysterious injection and having his son killed by members of a cult, a man’s body starts to slowly transform into a weapon of flesh and steel as he tracks down the cultists and their leader, the “Metal Fetishist.”

Still from Tetsuo II: Body Hammer (1992)

WHY IT WON’T MAKE THE LIST: Body Hammer is a larger-budgeted, more conventional reinterpretation of the original Tetsuo that partially attempts to rationalize its world. By common standards, however, it’s still very much a weird movie, packed with bizarre images and occasional outbursts of the nightmarish industrial madness that defined the first. With the List’s increasingly limited slots and Body Hammer‘s more surreal predecessor already certified, there isn’t a lot of pressure to add this one.

COMMENTS: Shinya Tsukamoto’s first Tetsuo, whose status as a landmark of weird cinema and one of the most defining representatives of the Japanese Cyberpunk film movement is contested by few, was a truly unique, aggressively hyperactive, feverish industrial nightmare set in its own immersive realm. To the dismay of some fans, the sequel is clearly a very distinct effort to craft a more accessible movie, with a structured narrative and a focus on its dramatic plot, and more nuanced and realistic characters along with their emotions and motivations (the protagonist even gets a name). The most obvious departure from the first film’s style is the cold, sterilized color palette (with an emphasis on blue and white) that sets up a robustly clinical and artificial world. Before the transformations kick in, it seems like the humans we see are already machine-like and dehumanized, moving lifelessly through an imposing urban environment that dwarfs and assimilates them. Inevitably, the main character’s metamorphosis into a man-machine hybrid mechanism later on may look like a natural evolution in such surroundings.

The first scenes after the opening credits show Tomoo, Body Hammer’s version of the “salaryman”, waking up and having breakfast with his wife and child while discussing a dream from the previous night. These initial moments would be almost casual if it wasn’t for Tsukamoto’s insistence on unconventional angles and a fluid camera that freely hovers and rotates. After the family is assaulted in a mall by a group of mysterious skinheads who kidnap the son and trigger Tomoo’s transformation with an injection, setting the main plot course in motion, we get the first glimpses of the original story. It’s easy to say that the more expository approach of the sequel robs it of the magic and low-budget charm that made the first so memorable and unique, but the sensibility behind it is the same. To describe it simply, Body Hammer feels like an intersection between our familiar world and the alternative, hallucinatory logic that governs the first Tetsuo universe. As such, it’s more accessible, but there are never any signs of the auteur’s vision being hampered by the imperatives of telling a coherent story.

In fact, Tsukamoto’s directorial tics shine through the film. Sometimes, he interrupts the narrative’s course with bizarre montages mirroring Tomoo’s grotesque mutation. It helps that the film grows progressively stranger and closer to its predecessor’s insanely energetic pace, with furious imagery of sprawling wires, cables, pipes and random metallic parts that overpower and merge with fragile flesh, with the difference being that here they are lightly mediated by a contextual plot. As the movie approaches the climatic confrontation between Tomoo and the fetishist, it even presents us an explanatory flashback that clarifies the antagonist’s motivations and introduces a final twist related to his relationship with the main character. This sudden device comes completely unexpected, mainly because we would never guess that Tsukamoto would show such a preoccupation with the narrative’s background. Even this passage, however, is infused with his surrealistic style, and it may actually contain the film’s ultimate surreal set piece, culminating in a murder scene that manages to be simultaneously gory, dreamlike and touching.

The additions to the Tetsuo mythology, possible through the bigger budget, are also welcome. It is, for example, nice to see a whole cult of metal worshipers operating, instead of a sole maniac like the original, as well as further inventive variants of the bloody and biomechanical mutations of flesh, steel and rust.

The consensus on Body Hammer is positive, but a number of fans show discontent with what they see as an ill-fated attempt at making sense out of the perfectly irrational fable that was the original. To a certain extent, they are correct. But the decision to flesh out the character dynamics and lend emotional weight to the chaotic events on screen, works because it passively accepts and coexists with the absurdity of the film’s plot. In the end, Body Hammer is immersed in its mix of alien atmosphere and cold, fantastical reality, making it both a satisfyingly strange movie and a distinct enough one from the original.

WHAT THE CRITICS SAY:

“Tsukamoto’s preoccupations with meta(l)morphosis, body horror and unchecked masculinity remain firmly in place, as does the writer/director’s way with outrageous images and ideas.”–Anton Bitel, Eye for Film

268. DEAD ALIVE [BRAINDEAD] (1992)

Known as Dead Alive in North America, Braindead elsewhere

“You know what they are saying about you don’t you? You’ve got funny in the head! A real bloody weirdo!”–Roger, Dead Alive

Recommended

DIRECTED BY:

FEATURING: Timothy Balme, Diana Peñalver, Elizabeth Moody, Ian Watkin, Stuart Devenie

PLOT: An explorer discovers a Sumatran “Rat-Monkey” on Skull Island; the creature is safely housed in a Wellington zoo. The animal escapes and bites Lionel’s overbearing mother, who becomes a zombie and infects anyone she comes across. Lionel then juggles the advances of the local shop owner’s daughter Paquita and the machinations of his blackmailing uncle with the zombies mounting in his basement.

Still from Dead Alive (Braindead) (1992)

BACKGROUND:

  • Written before the controversial puppet black comedy Meet the Feebles, but filmed afterward. This was the first script co-written with longtime Jackson collaborator and partner Frances Walsh. The story originated with the third credited co-writer, Stephen Sinclair, who originally conceived of it as a stage play satirizing New Zealand society.
  • Partly funded by taxpayer dollars through the New Zealand Film Commission.
  • The film won Best Screenplay at the New Zealand Film and Television Awards in 1993. It won Best Film (and Best Special Effects) at the 1993 edition of the Fantasporto Film Festival for genre pictures.
  • Released as Braindead in New Zealand, Australia, and other countries, but as Dead Alive in North America to avoid confusion with the practically identically titled 1990 horror film Brain Dead (directed by Adam Simon).
  • The uncut version was banned for extreme violence in several countries, including Finland, Singapore, and South Korea.
  • Came in it #91 on Time Out’s 2016 poll of the greatest horror movies.

INDELIBLE IMAGE: The Grand Guignol finale where Lionel cuts down a horde of zombies with a lawnmower. Three hundred liters of fake blood were used in this scene.

THREE WEIRD THINGS: Sumatran Rat-Monkey; zombie baby; the Lord’s ass-kicker

WHAT MAKES IT WEIRD: From the seemingly benign and placid surface of 1950’s New Zealand society, director Peter Jackson spews forth undead geriatrics consuming German Shepherds, amorous zombies who impregnate each other, sentient viscera, oedipal vaginal imagery on an epic scale, and an inexplicable excursion to the local park with a zombie baby. The invention and gory slapstick of this film are comparable to a Looney Tunes episode where Wyle E. Coyote falls into a spool of razor wire. Or perhaps the antics of and the Keystone Cops defending themselves from an undead invasion after ingesting speed-balls.


Original trailer for Dead Alive

COMMENTS: I fondly remember Braindead from my 1990’s adolescence, days of VHS and weekends spent with friends, trying to outdo Continue reading 268. DEAD ALIVE [BRAINDEAD] (1992)

CAPSULE: WICKED CITY (1992)

DIRECTED BY: Tai Kit Mak (AKA Mak Tai Kit, Peter Mak)

FEATURING: Jacky Cheung, , Michelle Reis, , Roy Cheung

PLOT: Members of a secret government agency in Hong Kong charged with destroying shapeshifting “monsters” investigate a new killer street drug nicknamed “Happiness.”

Still from Wicked City (1992)

WHY IT WON’T MAKE THE LIST: There is some admirable craziness here, but the combination of needlessly arty Dutch angles, poor pacing, and uneven special effects doom City‘s List aspirations. (A less murky print than current thrift-shop-VHS quality transfer would have helped).

COMMENTS: Wicked City is shot in an unreal neon-noir style, with hazy pale-blue lighting with accents of red and green, and the camera constantly tilted to one side to suggest an off-center universe. It’s an affectation that quickly becomes annoying, since we need no encouragement to view a world in which characters say lines like “as you know, my mother was a monster”—and mean it literally—-as fantasy. There are some amazingly clipped scenes: one minute, two agents are sitting in a busy go-go bar. One says, “I think there are monsters here” and in the very next shot the entire human clientele lies dead. Such rushed exposition adds a dreamlike quality to the proceedings. Although the plot, which involves mixed loyalties, betrayals, and a human-monster-monster love triangle, is too silly and obvious to be gripping, there are some wacky action set pieces. A courtesan turns into a spider lady, cutlery flies through the air of its own accord, agents lock hands to create an anti-monster magnetic field, our heroes employ Schwarzeneggeresuqe quips against a killer clock (“how time flies!”), and the climactic battle takes place on the wings of a jet liner in flight. Best of all is the scene where one of the monsters has sex with a pinball machine—not on a pinball machine, with a pinball machine. Overall, Wicked City‘s effects are cheap, and the tone is B-movie operatic. Still, it’s probably as much fun as Hollywood’s Men in Black, and significantly weirder.

Wicked City is an adaptation of a Japanese novel by Hideyuki Kikuchi (who also wrote the source material for Vampire Hunter D). It was more famously adapted in Japan as an anime in 1987. Hong Kong New Wave baron produced this live-action version. Because the film bears many of his hallmarks (fast-paced, effects and stunt-heavy fantasy), some speculate that he may have had an uncredited hands-on role in the direction (as is often suspected of films the prolific Hark produced).

WHAT THE CRITICS SAY:

“The action/fantasy scenes lack the kinesis and wildness that come in the work of other contemporaries of this era such as Ching Siu-Tung and the film’s producer Tsui Hark.”–Richard Scheib, “Moria: The Science Fiction, Horror and Fantasy Film Review”

(This movie was nominated for review by “Dani,” who said “. I found it on VHS in a thrift store and it blew my mind.” Suggest a weird movie of your own here.)

CAPSULE: PORCO ROSSO (1992)

DIRECTED BY:

FEATURING: Voices of , Kimberly Williams-Paisley, Susan Egan (English dub)

PLOT: A bounty-hunting pig-man (a victim of an unexplained curse) flies his seaplane through the Adriatic between World Wars, battling air pirates and a hotshot American rival.

Still from Porco Rosso (1992)
WHY IT WON’T MAKE THE LIST: Although it has its strange, and its sublime, moments, I would rate this as flying pig oddity as relatively minor Miyazaki—which, of course, means it’s still well worth seeking out.

COMMENTS: Porco Rosso is set in a precise, but unreal, historical place and time: the Italian Adriatic, in between the great wars. But its pig-man hero isn’t the only fantastic element here. In this alternate history, the Adriatic sea is its own far-flung multi-island kingdom with its own political intrigues, a realm where seaplane pilots are legendary demigods, like the mythologized gunfighters of Westerns. The local hot spot is a floating hotel only accessible by watercraft, with a valet to parks seaplanes. There are Italian fascists and references to WWI, but this universe evolves out of old movies rather than history: it’s a mixture of Casablanca and romantic aviation movies like Wings or Hell’s Angels, a world where you expect to see the Red Baron and Mata Hari sharing a drink in the corner of a flyboy saloon.

Although with its Humphrey Bogart-esque antihero Porco Rosso often seems more adult-oriented than Miyazaki’s usual fare, at other times the drawing style and caricatures are more indebted to Saturday morning cartoons than his later work. Observe the big-mouthed, howling anime schoolkids, and the cartoonish, kid-like antics of the pirate buffoons, who are drawn as goggles and pillars of teeth surrounded by bristles. Despite the flying duels and machine guns, the danger level here is minimal: no one dies onscreen, and the abducted schoolgirls treat their capture by pirates as a fantastic adventure, hanging out in the gun turret with their captors and screaming “whee!” as they dive off the stranded plane into a giant life preserver. The mixed tones are odd, but Miyazaki makes them harmonize well.

Clearly, the weirdest element of Porco Rosso is its hero’s porcine curse, which is never fully explained and is scarcely even wondered at by the movie’s denizens. Perhaps his piggish visage only reflects the way Porco sees himself. Perhaps the curse is the result of a mystical vision he saw after he was the only survivor of a massive dogfight, where he saw dozens of fighter pilots soaring upwards to heaven. Whatever the cause of his condition, symbolically, his bestiality sets Porco apart from ordinary citizens: “laws don’t mean anything to a pig,” he explains. Still, his snout and porky complexion can’t keep this charismatic pig from having two love interests, and there is an ambiguous suggestion at the ending that he may regain his humanity. I doubt Miyazaki was aware of the English-language idiom “when pigs fly,” meaning something so exceedingly rare as to be impossible, when he conceived Porco Rosso. Still, it’s probably safe to say you’ll enjoy this movie when pigs fly.

In 2015, Disney upgraded Porco Rosso to Blu-ray.

WHAT THE CRITICS SAY:

“That a pretty great adventure movie can rest comfortably alongside a strange tale of identity and morality that is itself set against the rise of Fascism is proof enough that we’re in the hands of a master storyteller…”–Tim Brayton, Antagony and Ecstasy (DVD)

192. LEOLO (1992)

“Parce que moi je rêve, je ne le suis pas.” (“Because I dream, I am not.”)–Léolo

DIRECTED BY: Jean-Claude Lauzon

FEATURING: Maxime Collin, Yves Montmarquette, Pierre Bourgault, Ginette Reno, Giuditta Del Vecchio, Julien Guiomar

PLOT: Young Léo Lauzon lives in Montreal with his dysfunctional family; he has an active imagination which he uses to escape from his squalid surroundings. He insists that his name is actually Léolo and that he is Italian, inventing a story that his mother was impregnated by a tomato contaminated with semen. He lusts after a neighbor girl (as does his grandfather) and tags along on salvage operations with his bodybuilding older brother in-between trips to the mental hospital to visit other family members; the entire time a mysterious old man hangs around the edges of the story.

Still from Leolo (1992)
BACKGROUND:

  • This was writer/director Jean-Claude Lauzon’s second feature film. He died in a plane crash in 1995 while working on his third.
  • Lauzon said the film was semi-autobiographical. Leo’s last name is also Lauzon, which he Italianizes to “Lozone” when he decides he is really Léolo.
  • The “Word Tamer” (or possibly “worm tamer”—“dompteur de vers” in the French may be a pun meaning both “worm” and “verse”) is played by Pierre Bourgault, a Quebecois separatist and professor. Lauzon was once a student of Bourgault’s.
  • Named one of “Time” magazines “All-TIME 100 Movies.

INDELIBLE IMAGE: The “contaminated” tomato, the film’s most deranged comic invention.

WHAT MAKES IT WEIRD: Immaculate conception via imported produce, underwater hallucinations, and bizarre sexual practices reign in the world of Léolo’s imagination. He uses these inventions to escape from an almost equally strange, but far less pleasant, reality.


U.S. release trailer for Léolo

COMMENTS: “Because I dream, I am not,” Léolo‘s young protagonist Continue reading 192. LEOLO (1992)

LIST CANDIDATE: TWIN PEAKS: FIRE WALK WITH ME (1992)

DIRECTED BY: David Lynch

FEATURING, , Moira Kelly, Chris Isaak, Keifer Sutherland,

PLOT: This prequel to the events of the cult TV show explores the sordid story behind homecoming queen/secret bad girl Laura Palmer’s last days before her brutal murder.

Still from Twin Peaks: Fire Walk with Me (1992)
WHY IT MIGHT MAKE THE LIST: In terms of its chances of making the List, Fire Walk with Me‘s pluses and minuses are the same: the fact that it’s so intimately entwined with the TV series it sprang from. That makes it a good candidate to represent a franchise that has blessed us with some of the most memorably weird moving images of all time. The downsides are that this feature film makes no sense whatsoever to anyone who’s not thoroughly familiar with the minutiae of the “Twin Peaks” universe; further, much of what goes on in its 135 minute running time feels like housecleaning, tying up numerous loose ends from the canceled series.

COMMENTS: Early on in Fire Walk with Me a woman in a red fright wig walks in front of three FBI agents, makes funny faces and hand gestures, spins around, and leaves without saying a word. Typical Lynchian randomness, right? Not so fast; one of the agents later explains to the other that every article of clothing the woman wore, every gesture she made, held a secret meaning. After his superior decodes the entire piece of performance art for him, the junior G-man mentions that the lady was also wearing a blue rose. The more experienced agent compliments his powers of observation, but informs him “I can’t tell you about that.” In a meta-symbolic sense, this sequence explains what the viewer can expect from Lynch’s film: many seemingly abstruse images will have a coded meaning in the story, but something will still remain hidden that the director can’t tell you about. Whether he will refuse to explain it, or whether he doesn’t know himself, is left ambiguous. Fire Walk with Me proves muddled in more than it’s symbolism; it’s also more than a bit of a mess in structure and purpose. It’s set in Twin Peaks’ familiar universe, but the tone is far darker and weirder than the TV show. The project is also constantly pulled in two different directions due to its conflicting Continue reading LIST CANDIDATE: TWIN PEAKS: FIRE WALK WITH ME (1992)

113. CAREFUL (1992)

“The pandemonium of everyone, everywhere suddenly declaring all at once ‘and I too was molested by my father, or my mother; I too have recovered memories which have basically obliterated my chances of any kind of comfortable adult sexuality’—it seemed at that moment almost unthinkable to slant a movie—even going back into the German romantic past when incest was almost a common theme—to slant it comically and yet still somehow catch the feverish horror of incest in the net… It was only when the idea of the Alpine world, where extreme caution was required for all behavior, where there was a kind of silencer on everyone’s libido and behavior, when that was factored in, then I could see the green light in Guy’s eyes. Once he had the world ‘careful’ it was there all at once.”–George Toles describing genesis of Careful in the documentary Guy Maddin: Waiting for Twilight

Recommended

DIRECTED BY: Guy Maddin

FEATURING: , Gosia Dobrowolska, Sarah Neville, Brent Neale

PLOT: Villagers of the Alpine town of Tolzbad believe that avalanches will bury them if they are not meticulously careful to keep their voices low and their movements measured.  The film follows the adventures of a family of a widowed mother and her three sons: Johann, who is engaged to be married; Grigorss, who is training to be a butler; and Franz, a mute who never leaves his chair in the attic. Presaged by the appearance of the blind ghost of the father, the family’s repressed emotions eventually erupt into suicide, duels, and even the dreaded avalanche.

Still from Careful (1992)

BACKGROUND:

  • This was Guy Maddin’s third film, and his first fully in color (Archangel featured a few tinted scenes). The chromatic process used in the film mimics the so-called “two-strip” Technicolor which was used before 1932.
  • The setting of Careful was inspired by “mountain movies,” a 1920s subgenre popular in the German national cinema, although Maddin admits in the DVD commentary that he had not actually seen any mountain movies when he made the film.
  • Long-time Maddin screenwriting collaborator George Toles appears in Careful as a corpse in drag.

INDELIBLE IMAGE: I am tempted by the vision of the mountain mineworkers—women stripped down to their underwear, wielding pickaxes while wearing candle-bearing diapers on their heads—but the film’s most significant image is Johann gazing manically at his mother sleeping under her goat’s-head headboard while spreading the limbs of his massive garden shears.

WHAT MAKES IT WEIRD: If movies themselves could dream, their dreams would look like Guy Maddin movies: sludgy jumbles of styles, moods, and melodramatic preoccupations, composed of fragmented images made up from bits of misplaced, distressed celluloid. Like Maddin’s other movies, Careful keeps us at two removes from reality: it displaces us once by its narrative dislogic, and then a second time by its archaic stylization. In Careful the technique is particularly appropriate, since the subject matter—repressed incestuous desire—demands to be buried under layers of mystery.


Original trailer for Careful

COMMENTS: Careful begins with what amounts to a pre-Code Public Service Announcement, Continue reading 113. CAREFUL (1992)

BATMAN RETURNS (1992): A SUPERHERO BURLESQUE

In 1992 some damn silly, so-called Christian organization threw a bullying hissy fit at McDonalds for its Happy Meal deal tie-in with Tim Burton‘s Batman Returns. McDonalds, true to form, prematurely withdrew its merchandising. Rumor has it that McDonalds issued a stern warning to Warner Brothers not to tap Burton for the next Batman film. For whatever reason, Warner Brothers caved into the golden arch and, consequently, put its franchise into a decade long grave with the unwise hiring of director Joel Schumacher.

Only the fundamentalist mindset can associate Big Macs with a certain brand of morality. Looking at Batman Returns (1992), one wonders what the Christian organization was bitching about. The Bible is all throughout the film and, actually the good book itself has far more sex and violence than Batman, Tim Burton, Warner Brothers and McDonalds combined.

Regardless, Batman Returns remains the greatest cinematic comic book movie to date and one of Tim Burton’s most uniquely accomplished films. Admittedly, I am not a fan of comic book movies, even if I did read comics some when I was kid, but then most kids I knew did. I was in the minority in preferring DC to Marvel, and I guess I am sort of looking forward to the new Green Lantern movie, mainly because the Green Lantern/Green Arrow comic was a favorite when I was a wee lad in the 1960s and 1970s. That was a comic that was delightfully of its time, a bit like Star Trek in espousing an ultra-liberal message with all the subtlety of a pair of brass knuckles. Even though Green Lantern himself was a bit too righteous and bland, I liked that he was obsessed with the color green and was rendered impotent by the color yellow. There was something surreal in that, and I find the insistence of realism in comics to be a huge oxymoron. Perhaps that’s why the dark surrealism of Batman Returns did not bother me like it did mainstream audiences, comic book geeks, and militant pseudo-Christian organizations.

Still from Batman Returns (1992)Even though I will acknowledge that Christopher Nolan‘s Dark Knight (2008) was well crafted, it would not have worked without Ledger’s performance holding it together. Christian Bale’s Bruce Wayne, however, pales compared to ‘s much more intense, internalized, subtle and complex Wayne. Finally, Nolan’s film feels like it has one subplot too many. Comparatively, Tim Burton’s Batman Returns is a Continue reading BATMAN RETURNS (1992): A SUPERHERO BURLESQUE

CAPSULE: DRACULA (1992)

AKA Bram Stoker’s Dracula

fourstar

DIRECTED BY:

FEATURING: Gary Oldman, Winona Ryder, Anthony Hopkins, , Tom Waits

PLOT:  Vlad Dracula, a defender of Christendom against invading Muslims, curses God and becomes undead when his beloved bride throws herself from the castle walls due to false reports of his death sent by Turkish spies; centuries later, he plots to seduce his love’s reincarnation in Victorian London.

Still from Dracula (1992)

WHY IT WON’T MAKE THE LIST: Coppola’s take on the Dracula myth is dreamy, glossy, and visually experimental for a blockbuster, but too mainstream to be truly weird.

COMMENTS:  Coppola had a chance to make one of the classic Dracula films; in the end, he made not a classic, but he did make the most visually advanced and beautiful vampire movie of our times.  The early reels are taken up with crisp visual experiments, such as when the Transylvanian countryside outside Johnathan Harker’s carriage turns blood red while Dracula’s eyes appear superimposed in the sky.  Another trick Coppola employs—making the Count’s shadow move independently of its host, displaying his hostile intent while its host blathers on about business matters—has become iconic.  The best sequence the director invents is Harker’s encounter with Dracula’s three beautiful undead brides, a scene that moves effortlessly from dreamy eroticism to outright surreal horror when the temptresses reveal their true nature (one of the bloodsucking succubi was played by soon-to-be-famous, ethereal beauty Monica Belluci).  The scene of an enticing vampiress scuttling on the masonry like a startled spider is pleasantly jolting, and the entire picture in fact swings back and forth between the sexual and the diabolical with a natural ease.  Coppola displays great discipline in the film, making the film stylish, sexy and horrifying in audience-pleasing measures.  The various camera tricks, the shadow plays, the grandiose sets and costumes, the boldly unreal colors, the switches between film stock, never draw too much attention to themselves, but always work in service of creating an operatic hyperreality, a world that’s strange and exaggerated, but cinematically familiar.

What prevents the movie from being a classic is the uneven ensemble acting.  The good Continue reading CAPSULE: DRACULA (1992)