Netflix review: Christopher Nolan’s “The Dark Knight” (2008)

Between the comic book taking Hollywood by storm in the decade since the release of Christopher Nolan’s The Dark Knight (2008) as well as the embarrassment of pale imitations in its wake, you can be forgiven for growing desensitized to the one that started it all.

Truly, it is easy to forget there was a world before 2008 where the Academy of Motion Picture Arts and Sciences nominated only five nominees for Best Picture every year, and popcorn flicks were hardly ever among them.

With Ryan Coogler’s Black Panther (2018) lighting up this year’s Oscars and Todd Phillips’s Joker (2019) generating buzz over next year’s ceremony, we would do well to remember the late Heath Ledger was the first to collect such recognition on behalf of the superhero.

If you don’t know what to watch next, the sequel to the director’s own Batman Begins (2005) is available to stream on Netflix.

In addition to Ledger’s posthumous Best Supporting Actor victory as the Joker, the superhero film was also honored for Richard King’s sound editing, alongside six other nominations.

The director coproduced and cowrote the endeavor.

In this outing, Bruce Wayne (Christian Bale) strikes up an alliance with Gotham City Police Department Lieutenant James Gordon (Gary Oldman) and District Attorney Harvey Dent (Aaron Eckhart) to defeat the Falcone Crime Family and retire from being Batman.

Using the Caped Crusader’s vigilantism to their advantage, Jim, Harvey, and assistant DA Rachel Dawes (Maggie Gyllenhaal) arrest and charge corrupt Hong Kong accountant Lau (Ng Chin Han) and form a RICO case against mob boss Sal Maroni (Eric Roberts).

Out of desperation, the Mafia hires the Joker (Ledger), a psychopathic bank robber, to assassinate Batman, thus jeopardizing the normal life Bruce strives for with ex-lover Rachel (who is dating Harvey).

Nolan’s commitment to practical special effects is the stuff timeless cinematic spectacle is made of – even at eleven years old, the movie is no less a visual force to be reckoned with than it was back in its day.

On top of its agelessness, it democratizes itself to universality, a majestic blockbuster entertainment as well as a cerebral artistic meditation on the politics of anarcho-chaos, the legal philosophy of good versus evil, and the genre-bending of noir, epic, and comic book adaptation.

Its unpretentious sentiment that the “high” and “low” moviegoing publics need not be mutually exclusive is a feat of popular filmmaking ahead of its time.

And the dramatic power of Ledger’s performance meets the thematic and technical payloads of the production at large. He has drawn criticism from DC fans for his loose interpretation of the supervillain, but if that’s the case, then Ledger’s characterization is superior to the canon.

With dragonfire, he breathes life into one of the most iconic screen antagonists ever, blazing through every shot in which he is and casting a shadow over every frame in which he’s not.

It is a shame that Nolan’s masterpiece purports such a conservative worldview, particularly at a time in American history when conservatism was propagating crimes against humanity on a global scale.

The capitalistic wish fulfillment of a billionaire saving the world with his wealth is even more tone deaf when he invades the privacy of an entire city to do it (even if his surveillance system self-destructs upon “mission accomplished”).

Moreover, the Joker’s terroristic non-motivation subscribes to the Republican myth that al-Qaeda attacked the United States on September 11 because they’re “evildoers,” not anti-interventionists (this is not to rationalize terrorism, but rather to call out against the oversimplification of it).

That said, it does call Batman’s heroics into question, and challenges whether the ends really do justify the means. These shades of gray are what color the greatest film of its genre, its franchise, and its auteur’s filmography.

This revisionist experimentation may fail to a mediocre degree in Marc Webb’s The Amazing Spider-Man (2012) and Zack Snyder’s Man of Steel (2013), but as Robert Pattinson takes up Ben Affleck’s mantle, the Dark Knight’s most daunting rival will forever be The Dark Knight.

More casting announcements for Matt Reeves’s “The Batman” (2021) coming soon

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Ben Affleck as Bruce Wayne in Zack Snyder’s Batman v Superman: Dawn of Justice (2016). (Image Courtesy: Forbes).

Casting calls are out for Riddler, Penguin, Catwoman, and Two-Face in Matt Reeves’s The Batman (2021) before the reboot starts shooting early next year, with Robert Pattinson (the titular Bruce Wayne) as the only performer signed on so far, according to Forbes. Jeffrey Wright and Jonah Hill are in negotiations, with Wright expected to play Gotham City Police Department Commissioner Jim Gordon, and Hill, either Penguin or Riddler. “The Batman” is currently a working title, and the filmmaker is slated to direct a trilogy of films, but future installments may cross over with the upcoming Batgirl and Nightwing projects from Warner Bros.

Inside New Jersey’s filmmaking renaissance

After the New Jersey Legislature approved tax credits for film and television production and Governor Phil Murphy signed it into law in July 2018, industry revenue could double and local businesses could expect hundreds of millions of dollars, according to the Asbury Park Press. Todd Phillips’s Batman flick, Joker (2019), Alan Taylor’s prequel to HBO’s The Sopranos (1999-2007), The Many Saints of Newark (2020), and Steven Spielberg’s remake of the classic musical, West Side Story (2020), are all shooting in the state. Former Governor Chris Christie, in an effort to curb the budget, suspended the film and TV program in 2010 and allowed it to expire in 2015, blocking the 2009 incentive for MTV’s Jersey Shore (2009-2012).

How Tim Burton’s “Batman” (1989) saved Prince’s career

With the thirtieth anniversary of the release for Tim Burton’s Batman (1989) coming and going this month, Prince’s Batman LP still shapes creative partnerships between filmmakers and musicians today, according to Variety. After Albert Magnoli’s Purple Rain (1984), Prince overspent on production costs while touring for the soundtrack, until Batman producer Mark Canton reached out to the singer’s management team as part of the film’s saturation marketing strategy. Drawing from a rough cut of the film for inspiration, despite not knowing how to score a cinematic composition to the frame, Prince produced much-needed hits such as “Batdance,” “Partyman,” and “Scandalous.”