I haven’t been a loyal follower of Tim Burton’s career, but the films I have seen from him, I very much do enjoy. Sleepy Hollow is a very pleasant entry in his career, collaborating with Johnny Depp, that strikes the right balance between Burton’s quirky humor and dramatic gothic storytelling. It’s fun, exciting, and scary all at the same time.
Constable Ichabod Crane (Johnny Depp) of the New York police arrives in the small village of Sleepy Hollow in 1799 to solve a mystery of murders. With all the victims found with their heads missing, everybody in Sleepy Hollow is talking about the ghost of the “Headless Horseman.” He is supposedly out in the woods seeking revenge for his murder many years ago. Crane, believing only in logic, refuses to believe the public’s theory about the horseman and begins his investigations, only to find his faith shattered when he himself encounters the headless horseman. Yet, he is compelled to resolve his investigation after falling deeply in love with the beautiful young Katrina (Christina Ricci). Their fates intertwine as Ichabod attempts to unravel the supernatural and wicked mysteries that threaten everyone’s lives in Sleepy Hollow. It’s a magical tale of sense against myth.
While I think general audiences today are a little worn out on the repeated Burton-Depp collaborations, Sleepy Hollow is an excellent piece of work that’s worth your while. Depp does a brilliant job as Constable Crane. He brings a certain young naivety to the ambitious investigator. He has bold new ideas about using science and intellect to deduce crimes that his superiors lightly dismiss. The contrast of everyone’s grim, fearsome attitudes to Crane’s more upbeat mentality creates an amusing dynamic. Crane is definitely intelligent and educated, but Depp’s clever, delicate balance between the serious and the tongue-in-cheek tone of Crane makes him such a delight. True to the source material, Ichabod is somewhat cowardly, but he can muster up courage when it counts. Beyond all else, he’s determined to resolve this twisting mystery that seems to have an air of conspiracy about it. That’s what makes him a character to invest yourself in. Despite his own trembling fears, he picks himself back up and pushes forward to finish what he began. Depp shows a lot of sweet charm and humor making Ichabod a pure hearted hero that both amuses and inspires.
I will absolutely admit that I once had a fascination with Christina Ricci. She’s a beautiful and highly talent actress who doesn’t shy away from challenging material. What she gives us as Katrina is a lovely, graceful young lady that is indeed bewitching. She carries an ethereal aura about her reflecting Katrina’s depth and purity of soul. Ricci and Depp have a gorgeous chemistry that really lights up the screen, and enraptures an audience with their magic. They are such an excellent fit that I’d love to see more of them together.
At the time of release, it was kept a secret that the Hessian Horseman was portrayed by Christopher Walken. It was an added pleasant surprise when I first saw the film in 1999. Aside from some animalistic grunts as he slays his victims., the Horseman has no lines of dialogue, and doesn’t need any due to how he is portrayed and presented. It was a great idea to tell the Horseman’s story early on to have the bloodthirsty psychotic face embed itself in the audience’s minds. The Horseman filed his teeth to a razor sharp point that made him appear more frightening in his enemies’ eyes. It’s an amazing, ferocious design that sends a chill up your spine, especially in conjunction with Walken’s charismatic physicality. It’s also great that the Horseman is not the ultimate villain, but a weapon used by a treacherous conspirator.
Tim Burton really culled together a magnificent cast with several veterans of stage and screen as well as some fine young talents such as Casper Van Dien. Adding in some Hammer Films alumnus like Christopher Lee and Michael Gough was a very nice touch. Miranda Richardson has a wonderful turn in this film that she seemed very enthusiastic about throwing herself into. Her overall performance is marvelous.
The visual effects of Sleepy Hollow are astonishingly good. Just getting the Headless Horseman to become a reality on screen was a big challenge, I’m sure, and there is nothing but top notch quality on display here. The various decapitations and other gory slayings are phenomenally done. What else would you expect from Industrial Light & Magic? The effects never cease to impress throughout the entire movie. The film has a generous helping of blood and gore to make some squirm or jump in their seats while others will simply relish its exquisite glory. The practical effects are seamlessly integrated with the digital effects for a visually amazing experience. I cannot praise this work highly enough. While there are some silly moments with the visual effects, they are perfectly at home in a Tim Burton movie.
The gothic aesthetics of Tim Burton are realized in a magnificent way. The film has a slightly desaturated, gritty look giving way to a more grim feeling of looming danger. Sleepy Hollow is shot beautifully, strongly maintaining that dark tone of horror and tension. Yet, there are plenty of picturesque sequences, such as a series of dreams Ichabod has which further enrich the fantastical, and sometimes, enchanting aspects of the movie. This truly is a visually gorgeous film in a style that could only come from the imagination of Tim Burton. And of course, Danny Elfman created a powerfully grandiose score that fits perfectly with Burton’s gothic stylings. It is a stunning, sweeping piece of work that enhances all the dark, lovely, and magical atmospheres of Sleepy Hollow.
This movie really is a lot of fun. Burton doesn’t take it too seriously as he applies his own dark comedy to the more violent, gruesome moments. So, while the Horseman is chasing down and chopping off the heads of hapless victims, there’s usually a humorous quirk in there, but Burton keeps it in check. He never allows it to compromise the dramatic integrity of the story, and instead sort of does it at Ichabod’s expense, which is entirely fitting. Said story has plenty of mysterious aura and thrilling moments of tense horror and suspense. The Horsemen, head or no, is very scary and intimidating. He’s mercilessly violent and very smart. There are superbly executed plot twists that are never cheap. This is a smartly crafted screenplay which weaves its way around these solidly conceived characters. The secrets and manipulations abound under the surface of this quiet village make for a fertile ground for this sort of story. How everything is unraveled in the end is quite wicked.
That said, this has a hell of a great climax with plenty of fiery action and dramatic revelations. Characters are kept in serious peril as it becomes a race to save lives while the Horseman in unleashed once again. Action and suspense build up to a highly energetic and exciting level, and the pay-off is quite ironic and fitting. It is all very satisfying tying up all the plot and character threads with that classic Tim Burton wit and charm.
This is a beautifully crafted film in every aspect. It’s a visual masterwork backed by an excellent script written by the deeply talented Andrew Kevin Walker with a story co-developed by Kevin Yagher. The latter of the two also worked on the creature effects here, and doing a remarkable job at it, too. There are many tried and true Tim Burton talents who were involved with this film which instilled it with an amazing depth of artistry and talent. The film definitely delivers on exciting tension and fearsome scares with a light air of dark, quirky humor. It also weaves an enchanting love story through its haunting and startling mystery. I really, really like Sleepy Hollow because, beyond everything else, it’s just a fun watch with plenty to take pleasure in. This is truly one of Tim Burton’s finest outings, and I’m glad that Johnny Depp was along for the ride. They both do a brilliant job through every frame of this film. I give Sleepy Hollow my full recommendation. It’s more than worth your while.
This is the first Batman movie I saw theatrically, and at twelve years old, I loved it. I think it’s a much more polished movie than Tim Burton’s 1989 film with a number of charismatic, excellent performances. I’ve never perceived the film as weird or strange like many do. I just see it as a damn good movie that I highly enjoy. I think Batman Returns is far more of a Tim Burton style movie than the first, but in my opinion, that doesn’t make it a lesser Batman movie.
Gotham City calls upon its greatest hero, Batman, to combat its newest threats. From the sewers, the deformed and hideous Penguin (Danny DeVito), head of the criminal Red Triangle Circus Gang, forges a fiendish alliance with the corrupt business mogul Max Shreck (Christopher Walken). Penguin is discovered to be Oswald Cobblepot, the outcast son of a wealthy Gotham couple, and Shreck looks to set him up as the city’s Mayor to force his deceptive power plant upon the city. However, the Penguin has his own schemes to wreak havoc upon Gotham. Meanwhile, Max Shreck attempts to murder his frumpy secretary Selina Kyle (Michelle Pfeiffer) after poking around too deeply into his shady business plans, but she is resurrected as the dangerous and sexy Catwoman who seeks revenge on him. Batman races into action to combat these villains, but as the caped crusader begins to put a dent in their plans, Penguin and Catwoman plot to discredit Batman, making him a criminal in the eyes of Gotham’s citizens. While the Bat and Cat are at odds, Bruce Wayne and Selina Kyle quickly become romantically involved which further strains Selina’s already fractured psyche. Batman must battle to stave off the treacherous, twisted plans of these eccentric villains before rampant destruction is inflicted upon Gotham City.
This is truly one of the very few superhero films that is able to balance out having multiple villains. The plotlines are all interconnected smartly through the Max Shreck character. The Penguin is the main villain while Catwoman is more of a subversive wild card, as she should be. Her motives are more passionate while his are particularly methodical, but do later delve into the maniacal. This film seems more character driven than the first, and has some stronger emotional context. Selina has a wild ride that takes her through a slew of emotional states. She is very conflicted between her vengeful psychotic side, and the one that is gradually falling in love with Bruce Wayne. Michelle Pfeiffer just does a stunning job in this role ultimately making Selina grossly sympathetic. The Penguin is fueled by spite for society for being rejected by it all his life, and goes through a character arc himself. First, wanting to be accepted as man instead of a monster, but later, embraces the monster he has become to wreak havoc upon Gotham City.
I also love the plot of the villains launching an elaborate smear campaign against Batman. They frame him for murder and more to position Cobblepot as the new face of hope for the city. It makes for a more dire and interesting circumstance for Batman to deal with, but Bruce decides turnabout is fair play. It’s all an excellently crafted story progression. Daniel Waters and Sam Hamm really conjured up a great story that takes plenty of twists and turns that maintain excitement and interest in the characters. It’s not just some colorful madman terrorizing the city, it’s more complex and involved than that. There are numerous motivations at play with the main characters that create a more personal set of conflicts. The Penguin does provide the larger scale threat near the end, but it’s still perfectly in line with his agenda. He reaches a boiling point, and decides to let loose upon this city that has turned on him. Everything builds up to him becoming that monster, and I believe it’s all greatly executed. In general, the film is amazingly well paced always keeping a consistent energetic rhythm going. At no point does the film feel like it drags. There’s always something developing because of the multiple main characters and interwoven plots. It never gets confusing either. It’s all competently and tightly strung together.
I love the subtle detective aspects in Michael Keaton’s Batman. While everyone else is very much buying the altruistic façade of the Penguin, he sees something that just doesn’t fit right. Something nags at that inquisitive mind of his, and that is extremely faithful to the psychology of Batman. He hardly needs to vocalize his intellect. What is said is conveyed very succinctly as Keaton did a lot of trimming down of dialogue to keep Batman’s words sharp and telling. The film also shows a little technical prowess with Bruce both having the forethought to record the Penguin’s rantings to cleverly use against him later, and showing Bruce attempting to repair the damaged Batmobile. They are just subtle things which show that Bruce has these diverse skills.
This time out, Michael Keaton was given a wider canvas to stretch his talent across. He still executes Batman amazingly well. He is able to convey so much just through those intense eyes, and that sells the demeanor and intimidation of Batman so powerfully. Of course, with the Catwoman dynamic, Keaton has more chemistry to strike up under the mask, and a few appropriate humorous exchanges while fighting with her. Keaton has rich chemistry with the whole cast, and is able to offer up more as Bruce Wayne as well as Batman. His relationship with Michael Gough’s Alfred is a little more light hearted and open. One has to love the little jab about Alfred letting Vicky Vale into the Batcave. Opposite Christopher Walken, Keaton holds up quite well, but Walken never makes it easy for anyone to stand up to his charisma. Still, there’s a nice contrast in Keaton’s more grounded, respectable businessman to Walken’s wheeler and dealer type who definitely has skeletons in his closet. What really shines, though, is that Michael Keaton and Michelle Pfeiffer have electric chemistry both in costume and out. The romantic relationship is perfectly complicated as Batman and Catwoman are supposed to be. There’s always some ethical or moral divide between them that cuts the pinnacle of their love short. You can feel the affection Keaton puts into the performance to have the emotions strike deep within Bruce’s soul, and create the powerful connection Bruce and Selina are meant to have. Even as Batman, Keaton shows that sparkle of fascination and intrigue for this seductive and dangerous Catwoman. She, figuratively, hits him very close to the heart, and he sees someone possibly cut from the same jagged mold that he was. There is much less of a sense of the brooding lone man in Batman Returns, but with the stronger love interest aspect and the story ties with Max Shreck, it naturally pushes Bruce Wayne out of the shadows and into a more active situation. He no longer feels like the recluse he seemed to be in the first film. He feels both like a real executive businessman and a human being here. Bruce Wayne does have that dark shadow on his soul, but he has loved many woman in the comics and has been a responsible and quite public businessman. So, it’s all perfectly in line with the source material, and Keaton, nor anyone else, could have done it better.
Danny DeVito is fantastic in this grotesque version of the Penguin. In the comics, he’s just a short, stout crime boss dressed in a tuxedo and top hat with an affinity for birds. Here, he’s made into a freakish man in both appearance and psychology. DeVito just throws all of himself into this role making Penguin a disgusting, crude villain full of gross rage and despicable deceitfulness. It seems like he purely enveloped himself in the character, and had the time of his life with it. He puts on a sinister performance of a man who revels in his own vile intentions, and it couldn’t be better. DeVito is immensely entertaining and charismatic. The make-up design of the character is equally excellent creating a look that can be effectively unsettling. Still, DeVito is easily able to show the wide range of subtle and verbose emotions of the character through the prosthetics. It’s a masterful execution all around.
However, the absolutely stunning standout in this cast is definitely Michelle Pfeiffer. She passionately embodies all phases and mental states of Selina Kyle. From the meek and mousy secretary that awkwardly blends into the background to the bolder, more aggressive and seductive woman to the playful, sultry Catwoman to the ultimately fractured person whose emotions are strained between the love she has found with Bruce and the bloodthirsty vengeance she is driven towards with Shreck. When she is that more lowly woman at the start, there is such a timid, oppressed quality about the character that you can’t help but feel bad for her. Nothing seems to go right for Selina, and she couldn’t be more undeserving of Max Shreck’s intimidating and belittling treatment of her. Then, when that nervous breakdown occurs, Pfeiffer turns on a truly manic performance that shows the traumatic transformation Selina has now gone through. It’s the character violently breaking free of the restraints she’s had all this time, and out the other end of it comes this confident, aggressive woman. This is a Catwoman that excites. Beyond just the sizzling hot sexual aspects, she is electrifyingly dangerous between her ferocious fighting skills, the razor sharp claws, and the leather whip. Pfeiffer slinks very smoothly into being Catwoman lusciously embodying her feline grace. As Selina herself, she shows an amazing ability to subtly shift tone from humorous or casual to just plain dark and unsettling. That venomous dark side seeps through beautifully. Michelle Pfeiffer brings out such intense emotional pain and conflict which forges together an immensely fascinating and sympathetic character. There’s so much subtle texture and emotional range in her performance that one could go on all day detailing it all. Simply said, she put in a remarkably diverse and emotionally intense performance here, and greatly enhances the depth of the film. From what she did in this role, you can definitely see why Selina Kyle had such a strong emotional impact on Bruce Wayne by the film’s end. Pfeiffer absolutely left me wanting more in absolutely every good way imaginable.
Of course, you can never go wrong with casting Christopher Walken, and in Batman Returns, he’s definitely at his best. He has fierce charisma that forces the character of Max Shreck vibrantly into the meat of the film. He never gets lost or brushed aside in favor for the more fantastical villains. There’s just too much weight and excitement in what Walken brings to the role for an audience not to welcome his presence. Walken is massively intimidating when threatening Selina just before attempting to kill her. You feel like Max Shreck is a powerhouse heavy. He’s masterfully manipulative with a mesmerizing skill of twisting people’s minds with his words. Walken just has such a fascinating delivery of lines that is a signature for him, but I think he adds something specially dynamic to this role. He could carry this whole movie as the main villain if it had called for it. Shreck is not damaged goods like Batman, Catwoman, or the Penguin, and that probably makes him the most condemnable villain of the film. He’s a corrupt, deceitful, murderous human being wrapped up in the guise of a respectable businessman. He’s an unethical vacuum of morality that will go to any crooked lengths to further his agendas and strengthen his legacy in Gotham. He’s cutthroat to no end, and Walken embraces the unsettling, shrewd nature of the character powerfully.
Again, the look of Batman Returns is much more polished than the 1989 movie. There is not as much grit in the visuals, and instead, has a stronger contrast. Blacks are thick and rich. They maintain a striking appearance as the shadows are nicely balanced with the light. Burton and his Edward Scissorhands director of photography Stefan Czapsky give this movie its own visual identity. I very much like the blue tones seen throughout which offer up a very complementary tone. Batman Returns certainly doesn’t have quite as much iconic imagery as its predecessor, but it surely has its dramatic moments that are beautifully captured. The snowy appearance of the film was a gorgeous choice as it further adds to the visual contrast and beauty. It’s strange that while the subject matter is definitely darker than the first, Batman Returns actually doesn’t look nearly as dark as the 1989 movie. It appears to be generally brighter and more inviting. It has plenty of moody visuals, but moves away from the muted color schemes and grim aesthetics. It’s definitely a pleasant experience for the eyes.
The production design is much sleeker, and that is reflected in the redesigned Bat suit. It has a cleaner, more art deco armored design which makes sense. Batman would likely evolve his suit into something generally more durable. From a production standpoint, it just looks more refined and streamlined. Gotham City looks more updated with a generally more modern feeling, but still showcasing an gothic industrial look as well as some 1930s or 1940s artistic mentalities. It’s a beautiful city no longer tainted by grime and trash, but still has its darker qualities. Even the Batcave gets a fine upgrade with more up-to-date technology and refined lighting schemes. Plus, the Bat-Ski boat is a sleek addition which gives the film a little extra something near the climax. The wardrobe is just wonderful all around. The gorgeous pinstriped suits of Max Shreck have an excellent 1900s turn of the century class to them. They make him feel like an iconic captain of industry, and the full grey head of hair was a nice touch to his look. The Catwoman outfit could not be sleeker or more sexually charged. It’s absolutely perfect for a character of this slinky nature, but also, reflects her fractured psyche with the stitched together look. Even Penguin’s more upscale outfits, somewhat reflective of Shreck’s style, still have a grungy feel to them. It creates a nice texture and contrast for the character. Penguin’s lair is exceptionally moody, decrepit, and dank perfectly reflecting the striking image of the character.
Danny Elfman really broadens the musical landscape of the franchise with this film. With more main characters come some very distinctive and marvelous themes that richly reflect the complicated natures of these characters. Catwoman’s theme is so wonderfully complex representing the chaotic and unbalanced nature of the character, and throwing in a dash of sorrow and sympathy here and there. Elfman adds a chorus into the score to enhance the operatic sense of everything, and the slight rearrangement of the main title march is very pleasing. It is a heavily and finely textured score that is vibrant and epic. The Christmas season setting of the film truly weaves its way into the score every so often, and makes for a very colorful and haunting listen. While I’ve never seen A Nightmare Before Christmas, I have to imagine there’s some correlation between those musical styles from Elfman.
There is also a vast improvement in visual effects work here. Before watching the featurettes on the Special Edition DVD, I never knew that the opening title sequence was entirely done with miniatures and effects work. It always looked entirely natural to me. Matte paintings are still great, but have a little more life to them with some extra color and integrated motion. Since digital effects had progressed into the forefront, we definitely get the benefit of that higher end work here. Being released in 1992, it was sandwiched right between 1991’s Terminator 2 and 1993’s Jurassic Park. While the digital effects are not used on a massive scale, they are very seamless with both something like the armored shields on the Batmobile, and more so with the digital replication of the penguin soldiers late in the film. Overall, it’s a very fine accomplishment from the visual effects department. Stan Winston also provided his studio’s talent with creating numerous animatronic penguins that seamlessly blend in with the real life ones.
Tim Burton continues to show a great sense of action in this sequel. Every single action sequence is choreographed and shot amazingly well. They are smartly scripted making sure each one is organically different without forcing it. With the eccentric nature of the Red Triangle Circus Gang, Batman has plenty of gimmickry to combat from the sword swallower to the fire breather and many more. He handles each one with originality packed with some ironic entertainment value. Igniting the Batmobile’s flaming turbine engine upon the fire breather is just too priceless. Then, things get more interesting when Batman combats Catwoman. She’s immensely skilled and agile making for a dynamically dangerous adversary that gets some stinging shots in. Mixing that in with the sensuous aspects of their peculiar relationship, it creates a great twisting psychological unpredictability to their confrontations. The climax of the film just blows me away. There’s so much slam bang awesomeness packed into it which Burton handles with so much competency and balance. The race to halt the Penguin’s missile attack on the city creates the fast paced excitement with the Bat Ski boat rocketing to its desination. The explosive and poignant conclusions to the Penguin’s storyline are nicely balanced on either side of Selina Kyle’s own emotionally charged climax. This entire sequence is tightly paced, and hits all the plot and character beats perfectly on the mark. Everything is powerfully wrapped up to a highly satisfying degree. Many superhero films with so many villains usually end up in a mess, but Batman Returns handles all of them exceptionally well all the way through to the end.
The film certainly has more impact upon Bruce Wayne than Batman, but it all ties in very nicely. The parallels of Batman and Catwoman versus Bruce Wayne and Selina Kyle was an excellent idea. How both are tied into one is exceptionally strong. Just a simple unassuming line of dialogue is what triggers the revelation to them both, and injects a much stronger emotional element into the climax. It also does create a fine arc for Bruce Wayne / Batman. Seeing him connect with this woman that is very much like him, and how he ultimately wants to be able to save her from the vengeance that’s eating her alive is wonderfully done. The Batman / Catwoman relationship has always been one of the most fascinating and complex ones in comics, and I believe Tim Burton and his screenwriters did an excellent job bringing that to the screen while Keaton and Pfeiffer made it exceed any expectations.
After watching Batman Returns again, I think this might be my new favorite Batman movie. While it’s not really faithful to all the characters as, in the comics, Catwoman is just a cat burglar with no mystical type powers or psychological unbalances, and Penguin is just a sort of quirky, non-freakish crime boss, I really like what was done with these characters, and all the concepts were executed with depth and intelligence. If it was all done poorly or just fell short of its potential, I would surely have some gripes with it all, but everyone involved just couldn’t have done a better job. The tight pace is really what excites me about the movie. It’s constantly moving somewhere with one character or another, and they are all logically and organically tied in together instead of some slap dashed plot to force multiple villains into the same movie. It’s this tightly wrapped sordid web of interconnected characters and plotlines that are smartly interwoven. I will say that there was a slight missed opportunity by Batman not having to really deal with being framed for murder by Penguin and Catwoman. It is an unresolved plot point that is brushed aside rather effortlessly, and it’s a shame too. It’s a storyline that could be very fascinating to explore, but the film just didn’t have room to resolve it. Any such resolution can only be implied, likely through Batman’s rescue of the children from the Red Triangle Circus Gang. However, for the trade off we get for it, I can generally overlook this issue. I enjoy Batman Returns thoroughly now, and I think it’s gotten some bad press over the years. People seem to act like 1989’s Batman was this bright, happy, fun adventure film for the whole family in comparison, but like I said in that review, at nine years old, my parents did not let me see it in the theatre. It was a dark movie that could be unsettling to a young audience. Batman Returns at least has a bit more levity via light, appropriate humor and great chemistry to balance out the dark characters and subject matter. I would venture to say that this sequel is more fun and more exciting than the first movie. I just find this more satisfying on numerous levels. It has a stronger, more layered story with more rousing action, and a tighter rhythm and pace held together by an incredible cast. I believe Batman Returns is an amazing movie, and a great sequel. I won’t say it’s perfect, or that it will give you everything you want from a Batman movie, but it’s a damn good one, regardless. I know it almost certainly will never happen, but I would be very interested in seeing Tim Burton and Michael Keaton return to the franchise with a proper sequel to their Batman movies. I think they could still do a great job if collaborating with the right creative talents, and Burton could likely use a change of talents these days.
The summer of 1989 was one of the biggest with blockbusters like Lethal Weapon 2, Indiana Jones and the Last Crusade, Ghostbusters 2, The Abyss, When Harry Met Sally, and Licence To Kill, but none were bigger than Tim Burton’s Batman. This was the summer of DC Comic’s caped crusader. The merchandising was inescapable. I have two posters from this film one with Keaton in the Bat suit and another of the Batmobile with all the vehicle’s specs on it, and I used to have a Batman cap until it got burned up in a small fire. Unfortunately, because of the film’s dark nature and PG-13 rating, my parents did not allow me to see it theatrically. I had to wait until Christmas for the VHS, and I still have that VHS twenty-three years later. Batman is my all time favorite superhero, and I have seen every Batman feature film theatrically from Batman Returns onwards. Unfortunately, ever since the Christopher Nolan films, I’ve found it hard to go back to these earlier movies because they just don’t fully satisfy what I want from Batman, anymore, but that doesn’t mean Tim Burton’s 1989 mega-blockbuster is not a good film. It’s an undeniable classic that stills holds up well nearly a quarter century later.
Gotham City is a grim urban landscape of economic downfall plagued with crime. Heading up the city’s organized crime is the powerful Carl Grissom (Jack Palance), and his “number one” is an egotistical psychotic named Jack Napier who, after falling into a vat of chemicals during a police bust setup by Grissom, is deformed into the maniacal Joker (Jack Nicholson). However, out of the shadows of this hopeless city is a creature of the night, the mythic crime-fighter known as the Batman (Michael Keaton). Secretly, he is millionaire industrialist Bruce Wayne who witnessed his own parents’ murder as a child, and that drove him to strike out into the night in this fearsome persona. The Joker’s reign of terror begins to engulf Gotham as his toxic chemicals, which are hidden in ordinary products, claim innocent lives. Meanwhile, photojournalist Vicky Vale (Kim Basinger) teams with newspaper reporter Alexander Knox (Robert Wuhl) to uncover the mystery that is Batman. However, Vale quickly falls in love with Bruce Wayne, and soon finds herself caught in between the clashing Batman and Joker while Gotham City’s fate and hope remain at stake.
As a lifelong fan of the character, I have seen numerous versions of him from Adam West to Super Friends to Batman: The Animated Series and beyond. It ranges a wide spectrum from colorful and campy to fun and exciting to dark and gritty. What Burton gives us here is a very gothic inspired Dark Knight. His intention was for Bruce Wayne to be a man who presents Batman as a frightening urban myth. Something that truly appears supernatural through the use of theatrics and nightmarish imagery. The Nolan films took a more ninja-like approach whereas Burton truly wraps the character up in horror ideals. He’s not frequently using quick vanishing techniques to be just a vague idea. Instead, he wants his prey to see him prominently in order to be scared out of their minds at the thought of him. He builds up his own myth with the regular street trash while eyeing the organized crime players of Gotham City, and does it with artistic mastery.
There was a lot of uproar over the casting of Michael Keaton in the title role. Physically, I can see what they were all worried about. At 5’9”, Keaton is not physically imposing, and not the athletic specimen you think of as a superhero. However, Burton’s thought was that a guy of Keaton’s build and ability would need to dress up as a terrifying figure to compensate for his physical shortcomings, and I think that works in this film’s approach. Michael Keaton is an awesome actor, and I’d love to see more of him in front of the camera, again. He has a certain manic charisma where you can believe Bruce Wayne is a bit psychologically unbalanced, and could snap at a moment’s notice. He engulfs himself in a dark, brooding aura that could destroy a lesser man, but because he has a purpose he is dedicated to, Bruce Wayne is able to focus that psyche into something positive. As just Bruce Wayne, Keaton has a light-hearted charisma and charm. He has smooth chemistry with Michael Gough’s Alfred and Kim Basinger’s Vicky Vale. Keaton and Basinger might not have the most exciting or interesting relationship of all the Batman movies, but it’s nicely understated and casual. For most of the film, it’s Vicky dealing with Bruce as Bruce. It’s not until late in the film that she has to knowingly deal with his alter ego. As Batman, Keaton is electrifying and powerful. The persona entirely works. You get to see the dichotomy of the man where he does desire a sense of normalcy and happiness, but is driven towards the shadows as Batman. Keaton allows you to feel the character’s somber sense that impacts both sides of his personality. Michael Keaton is amazing.
One thing that I have come to find odd is that the wealthiest man in Gotham City is hardly recognizable by most people. Neither Vicky Vale or Alexander Knox, both professional news people, seem to recognize Bruce Wayne, and the Joker and his henchman Bob barely seem to know his name. The idea almost seems to be that Bruce Wayne is a recluse, but reclusive people don’t often hold large fundraiser parties in their own mansions. This doesn’t seem to be carried over much into the sequel Batman Returns, thankfully.
The Joker has also had numerous interpretations over the decades, and I have found many of them enjoyable. Cesar Romero was always infectiously fun as the exuberant campy character, and Mark Hamill’s voice work as the Joker in the DC Animated Universe has been stunning. What Jack Nicholson gives us is something with shades of something dark and troubling as well as fun and hammy. He makes the Joker a larger than life villain, almost a twisted live action cartoon in a good way. He definitely throws himself fully into the role making him disturbingly funny. He’s truly psychotic, and really electrifies the screen with his vibrant presence. With this version of the character, I couldn’t see anyone else doing a bolder, more charismatic job. Unlike a lot of comic book characters, there’s rarely a wrong interpretation of the Joker as the character is so completely out of his mind that he can easily adopt a new personality depending on his disposition from day-to-day. When Christopher Nolan brought the Joker back to the big screen for The Dark Knight, it was a great iteration that worked phenomenally for the story being told, and the world of his films. For Tim Burton’s movie, Nicholson’s Joker was dead-on perfect.
Kim Basinger portrays Vicky Vale with a wonderful depth of class, but the character has just never done anything for me. Her fascination with the Batman legend helps to drive her part of the story forward, and it is a fine low key romantic relationship between Vale and Wayne. In concept, the two things being intertwined is good, but the script hardly plays with that at all. Later films did a more satisfying job playing up those conflicted dynamics. None of this is a failure of Basinger as she does all she can with the role, and she does it well. I just don’t think the character was given enough substance to be what the script seemed to want her to be.
The supporting cast is entertaining and nicely cast. Robert Wuhl adds a little bit of heart and humor to the picture as the upbeat journalist Alexander Knox. He’s got a nice counter-balance chemistry to Kim Basinger, and allows for a few moments of levity in what’s generally a dark, heavy toned film. Michael Gough, as the butler Alfred, also offers up a sense of family and heart opposite Keaton providing Bruce Wayne a fine confidant. Carl Grissom becomes an excellent heavyweight crime boss in the hands of Jack Palance. You would need someone of Palance’s imposing dramatic ability to rival Nicholson. Now, it would’ve been nice to see more of Billy Dee Williams’ charismatic and charming Harvey Dent beyond this film. The Christopher Walken character in Batman Returns was originally supposed to be Dent, and have the electrocution by Catwoman give birth to Two-Face. I’ll never oppose the inclusion of Christopher Walken into a movie, but there was definite further intent with the Dent character in Burton’s hands that Williams was game to dive into.
On the down side, I’ve never been too pleased with this version of Commissioner Gordon. Making him such an older gentleman with a more uptight sensibility took away the rich relationship Batman and Jim Gordon tend to have in the comics. There is usually a strong sense of respect and close friendship between the two. In this franchise of Batman films, that relationship is never developed, and I think that’s a definite negative mark against these films. We never see how Batman truly earns the trust and respect of the Gotham City police because he hardly ever interacts with them. Jim Gordon has been shown to be a great, rich character to explore, but this franchise just seems to include him because he’s supposed to be there. This is not a hit against Pat Hingle, who does a fine job with the character as written, I just know that it was a wasted opportunity by not developing or truly utilizing the character at all.
Back on the positive side, Batman certainly has a 1930s retro production design while still maintaining a modern sensibility. It gives the film an interesting appeal that avoids visually dating itself. The color palette is nicely toned down so that the Joker’s vibrant outfits truly pop out on screen. The overall artistic design of Batman is rather elegant at times while still integrating industrial aspects. The Bat Cave reflects the very depths of the industrial design making it a totally utilitarian environment for Batman to work in. It’s all just a striking achievement. Building off of that artistry is how Burton creates dramatic introductions for the film’s iconography. Batman enters the film with that powerful mythic and frightening style ambushing those muggers on the rooftop. The Joker theatrically reveals himself just before gunning down his boss. Even the Batmobile has an awesome reveal during the escape from the museum. This is what gives the film such an iconic status. Incredible moments are peppered throughout the movie to burn them deeply into an audience’s psyche. There are quotable lines all throughout the film which further strengthened its place in pop culture.
I really love the mystique the film builds around Batman. Tim Burton creates a sense of Batman being more than just a man in a suit capable of extraordinary things. He maintains a shadowy air of mystery around him so that others can still perceive him as an unkillable supernatural being. The leather and rubber suit gives a more black fleshy appearance to him, and the Batmobile is an imposing, fierce vehicle with a lot of muscle. It looks absolutely awesome barreling down a darkened road. It’s all carefully crafted to enhance the persona. Batman never gives away enough of his personality and methods for anyone to really figure him out. He is truly enigmatic.
The way the film is shot, with a lot of noir style lighting, strongly emphasizes that mystique. It definitely looks like a Tim Burton film with its dark visual aesthetic, and it is beautifully done. He worked with an excellent cinematographer in Roger Pratt who has also worked with the also off-beat Terry Gilliam on a few occasions. So, you know this is a director of photography who knows how to realize a unique vision with amazing results. I like the occasional Dutch angled shots to give the film a little bit of that comic book composition here and there. The look of this film really sparked off a whole dark, gothic visual style for the next several years, and was probably best and most beautifully showcased in The Crow. Batman itself has its own beauty and striking cinematic qualities thanks to Burton’s vision and Pratt’s artistry.
This film is filled with some great action sequences, and are all exceptionally well executed. While the intent is that Bruce Wayne does not have amazing athletic ability, Batman is still shown to have sharp prowess in hand-to-hand combat. He dispatches with thugs quite quickly and easily. He throws kicks and punches with a nice dash of martial arts talent, but keeps it straight and to the point. He’s very capable of holding his own opposite all styles of opponents with both physical capability and intellect. The more explosive scenes are excellently paced and give the film more bombast. It livens up the movie exactly when it needs a strong shot of adrenalin. The climax is very well done with Batman fighting through a couple of henchmen working his way to confronting the Joker. Although, I can’t say that making Jack Napier / the Joker the murderer of Bruce Wayne’s parents was particularly necessary. Yes, it does add a more personal, passionate purpose to Batman’s fight with him, but it’s only a minor part of the climax. Batman and the Joker have been passionately battling one another perfectly well in comics for decades without the aid of this element. It doesn’t bother me all that much now that Christopher Nolan has given us a more faithful adaptation of that event, but it’s not something that the filmmakers needed to do here.
Of course, one has to praise Danny Elfman’s iconic score. The theme he composed for Batman ranks right up there with John Williams’ Superman theme. Elfman’s work here is operatic with a gothic feel, and I’ve even heard it said that it’s very evocative of Christopher Young’s score for Hellbound: Hellraiser II. I surely cannot deny the similarities in the musical styles with the big, grand swells with the ominous, dark overtones, but I will never take away what Elfman achieved with Batman. I will also never downgrade the work of Hans Zimmer and James Newton Howard on the Nolan films, but Elfman’s theme is near impossible to overshadow. And yes, I am a fan of Prince. He does some fine work here composing numerous original songs for the film that suit the tone overall. They give the film some vibrancy in a few of the Joker’s most outlandish scenes, and help enhance some of the darker toned scenes as well. It’s definitely not Prince’s best work, but it is quite notable amongst his body of work to have done this soundtrack. Of course, even some of Prince’s lesser work is exceedingly better than some artists’ very best.
The story is very straight forward for a superhero film, but it does seem to lean more heavily on the Joker than Batman. You get to see a full character arc for Jack Napier as he goes from this dangerous gangster to a fully psychotic deformed madman with an objectionable conclusion. I generally don’t like killing off a villain at the end of the movie. They’ve existed in comics for decades with countless stories told about them, and then, a filmmaker essentially says that they’re only good for one story in movies. So, they dispose of them promptly at the end. For one, it goes against Batman’s ideals to outright kill someone. He stands for justice, and wishes to bring hope and balance back to his city. If he starts killing them, he ultimately becomes no better than those he is trying to combat. This became an ill trend in superhero movies, and I think it’s generally a bad idea in most cases. I don’t mind it in a Punisher movie, or even the Blade movies. It suits those characters to off their villains by the end, but not for Batman. Of course, over time, I have mellowed towards Tim Burton’s Batman movies, and while I still don’t think it was a good idea what was done to the Joker, it doesn’t greatly annoy me. Part of Jack Nicholson’s deal to star in the film was to get top billing, and it’s almost appropriate since the Joker is the one with far more back story and development put into him. Batman is just Batman throughout the movie, and really doesn’t go through much of an arc at all. The character remains fascinating and captivating, but he’s essentially the same guy at the end of the film that he was at the start. It’s only peoples’ perceptions of Batman that change, not the character himself. So, I would have to levy some criticism upon that aspect of the film. It’s a Batman film that’s not really all that much about Batman.
The visual effects can come off as dated. This was still in the optical composition, matte painting, and rear screen projection days. I have a fondness for some of those days, but regardless, these effects don’t have a fine polish to them to make them all that seamless or timeless. They do entirely fit Tim Burton’s filmmaking style of the time, and they serve the film’s visual aesthetics greatly. Still, anyone that’s first seeing this in the twenty-first century would likely not take to them too well. Thankfully, this is not a visual effects heavy film, and with these elements mostly being integrated into the final act of the movie, it can allow a modern audience member to comfortably adjust to this film’s style by then. For the late 1980s, these were still rather high quality opticals that gave Batman some admirable production quality on top of the marvelously designed sets.
Again, this movie was a phenomenon back in 1989. Everywhere you looked, there was that Bat symbol. Hell, you can see it in Times Square in Friday The 13th, Part VIII: Jason Takes Manhattan and the music video for The Cult’s “Edie (Ciao Baby).” You couldn’t avoid it if you wanted to, and in 1989, I’m sure this lived up to the hype and exceeded expectations. In retrospect, it is still a very good movie, and a greatly admirable true theatrical debut for Batman. It creates an engrossing mystique for the character in a dark, gothic industrial world where he blends in beautifully. There are amazing performances throughout the cast, but there are a few creative decisions that the film could’ve easily done without. And while Michael Keaton and Kim Basinger have nice chemistry, the Bruce Wayne / Vicky Vale relationship wasn’t all that stimulating or interesting. Personally, I do prefer Batman Returns over Batman. It has some stronger plotlines and better character dynamics to make a more entertaining and exciting movie, in my view. Regardless, Tim Burton’s 1989 film will always stand as a bonafide, respected classic which cemented Batman in our modern popular culture.
I really liked this movie! It always seemed entertaining, but I was never sure if it was exactly for me. Turns out, it absolutely was, and I wish I had seen it in theatres for that big rousing experience. Real Steel is a heart warming story with a lot of exciting action, lovable humor, and strong emotional drama. This is a crowd pleaser, and a wonderful family oriented film.
In the near future, boxing as we know it has changed from human athletes to robotic competitors. This has left former boxer Charlie Kenton (Hugh Jackman) down on his luck shopping his worn out bot fighter Ambush around to small time fairs and events. He’s broke with large debts hanging over his head to many people, and his con man bravado constantly gets him in over his head. However, his life is about to change when the mother of his estranged eleven year old son passes away, and her sister, Debra (Hope Davis) wants to claim fully custody of Max Kenton (Dakota Goyo). Charlie negotiates a deal with the clearly well-off Uncle Marvin (James Rebhorn) to take the kid for the summer with a $50,000 price tag up front while Debra and Marvin take off to Italy. Charlie uses the cash to buy a new robot, but Max will not be dumped off with Charlie’s girlfriend Bailey (Evangeline Lilly) who tries to keep her late father’s boxing gym open. So, he joins Charlie out on the bot fighting circuit where they constantly come into odds with one another, but when their big time Japanese bot gets mutilated during a main event bout, they head to the junkyard to scrap together parts for a new fighter. Here, Max discovers Atom, an old sparring bot, buried under the mud, and Max dedicates himself to fixing up and championing Atom as their new fighter. Charlie doesn’t have faith that Atom is worthwhile, but eventually, their combined efforts and warming attitudes help lead them all to great success. The two reach great heights with Atom and as a family. Although, they hit many turbulent moments that tear them apart, but also, bring them closer together to forge a father-son bond that is stronger than steel.
I have to hand it to everyone involved in this movie. I don’t think it could’ve been better. Director Shawn Levy (Night at the Museum) certainly had great input from producers Steven Spielberg and Robert Zemeckis to create such a well balanced film. There are many elements in Real Steel that are very akin to the films they made back in the 1980s. It is very heartfelt and endearing with plenty of enjoyable, well developed characters. Listening to Levy’s audio commentary, I can’t help but to love his passion and love for what he does.
I’ll certainly get to Hugh Jackman, but I absolutely wanted to credit Dakota Goyo. This young actor makes this film work beyond expectations. It is so often that child actors grate on an audience’s nerves due to unnatural attitude or overt, sickening cuteness, but Dakota is nothing of the sort. He comes off as a sharp, intelligent, mature, and charming kid. He has vast potential, and so much of that is fleshed out here. He carries his equal weight opposite Jackman, and their chemistry is amazingly fantastic! They keep each other on their toes, demanding higher and higher standards from one another throughout the story. Max brings out the best in Charlie and so many others through his confident, ambitious, yet still youthful spirit. He does have attitude, but it works to show that Max isn’t going to back down from Charlie, who needs someone to kick some sense and maturity into him. And how Max bonds with Atom is amazingly heartfelt, like a boy bonding with his dog. Atom certainly is given that personality of a kid’s best, loyal friend, and the child-like innocence of that relationship is beautifully realized. In the hands of any lesser of a talent, the film would’ve had a fatal weak point, but Goyo truly elevates the film. He projects sympathy at key moments, and while he is a tough kid, he does have his vulnerability. He can elicit a wide range of emotions from an invested audience. I love the fact that Max is just looking for someone who will fight for him, to be needed and loved by someone so bad, and the moment he reveals that is heartbreaking and powerful.
Hugh Jackman gives Charlie Kenton an extra dimension that allows him to be likeable even when, by all rights, he shouldn’t be. Again, with any less of an actor, Charlie would’ve been despicable and obnoxious. Instead, Jackman brings a slightly sympathy to Charlie which allows him to be forgivable and redeemable. This story truly is an evolution for Charlie from a guy at rock bottom that’s entirely self-serving without a genuine, honest relationship to a father who comes to care deeply for his estranged son who wants to do all things right by him. Charlie starts out a little pathetic, but not entirely innocent of the problems that befall him. He talks a good game, but his bravado gets the better of him. He’s a man that had his taste at greatness, but the change in the fight game abruptly ended those dreams. So, he feels broken, and wants to avoid showing his feelings by masking with an arrogant, if immature demeanor. However, the more time he spends with Max, the more Charlie’s hardened swagger softens. Jackman beautifully captures those moments of Charlie’s heart and compassion breaking through the surface such as a moment where Charlie saves Max from a mudslide fall right before they discover Atom. Dakota’s performance pulls out these qualities in Jackman’s character forcing him to come to terms with his past and character flaws. Charlie becomes a better person because of Max, and Jackman plays that subtle development brilliantly. He only puts in what charm and swagger that are needed at any given moment. He finds the perfect balance between the old Charlie and the new Charlie in every scene as he journeys from one end of that spectrum to the other. Beyond all else, Hugh clearly had a fun time making this movie, and shared a lot of respect with Dakota.
The father-son relationship is the entire core of this film, and casting these two deeply talented, smart actors was the best, first step to achieving success. They were fully committed to the story and characters here. Both of their performances become painfully heartbreaking, but also immensely exciting. There is so much nuance to their performances allowing them to work off of each other, and create that charming bond which drives the whole film. I simply cannot say enough about them that you will have to experience them yourself.
Rounding out the core cast, Evangeline Lilly’s Bailey is excellent as well. Bailey tries to keep from having to sell her father’s old boxing gym, but Charlie’s debts to her make that difficult. However, Charlie has enough charm with her to slide by, but she never makes it too easy for him. Evangeline has a lot of energy, enthusiasm, and passion to inject into the movie. She plays off of Jackman exceptionally well as his love interest. The relationship is playful, intimate, and honest. Bailey is an easy going woman that you can entirely see the history and connection she shares with Charlie, and how her hope in him grows as the story builds. She is very easy to connect with, and remains strongly tethered to the heart of the film. Her visceral moments cheering on Atom during the fights are awesome, and that likely reflects the audience’s enthusiasm to see our heroes achieve glorious victory. There is just so much heart and emotion that pours out of this film, and these actors saturate it with incredible performances.
The supporting cast strongly hold the smaller areas of the film together. Hope Davis as Max’s Aunt Debra is very caring and protective of her nephew. His Uncle Marvin, played by the solid James Rebhorn, is not unappreciative of Max, but is also not ready to drop everything to be his father figure. Kevin Durand portrays the Texan Ricky with a slick, ill-favored attitude, but he’s just enough of an intimidating yet foolish character to be amusing. The smug, arrogant duo of Olga Fonda and Karl Yune as Zeus’ owner and creator, respectively, are great foils for Charlie & Max who are full of humanity and determination. These nicely textured characters, backed by solid acting talents, add a strong foundation to build these great character dynamics upon that are the substance of this film.
Mauro Fiore’s cinematography is stunningly gorgeous and powerful. The frame holds substantial weight and emotion with brilliant, beautiful lighting. The subtle movement in the more tender emotional scenes brings class and sophistication to the film. There are also many great shots that show off the scale, production quality, and depth of the film. Levy and Fiore brought a great artistic detail to the visual quality, and production designer Tom Meyer also deserves credit for creating such a visually appealing world for them to capture. The selection of locations and aesthetics of the slightly futuristic world is highly impressive and enveloping. Each scene is given importance and artistic resonance. The boxing scenes are greatly captured with coherent motion that respects the action it is capturing. Again, the film shoots for higher standards by dismissing cheap shaky cam nonsense for solid camera movement and cinematic integrity.
The robots themselves are such a delight. The personality and fun these filmmakers put into these designs are so pleasing. They are not hard edged designs like Transformers, but more marketable, vibrant, engaging designs that would bring smiles to a wide audience. This gives the film so much character and entertainment value. Every robot boxer has their own distinct identity to give each fight a certain tone. Midas is a very punked-out underground fighter bot that reflects the gritty, dirty environment he battles in. Twin Cities, a two headed bot, is a very inventive design that Charlie & Max have to be innovative in order to defeat. Zeus is effectively intimidating with his bulk, strength, and square jawed design. Charlie’s first bot, Ambush, is like an old faded out car that once had its day, but is far from top of the line now. Noisy Boy, the former big time bot Charlie buys on the black market, is sharply designed with a Samurai motif. He’s very showy with sleek lines and bright LED colored lights, but Atom is the real marvel. He feels like the underdog as he’s not big and bulky or particularly showy, but the strength of the design is how an audience can project whatever they feel into Atom’s face. The big glowing turquoise eyes are very endearing, and the welding scars on its screened face work as a makeshift smile and nose. He’s a little wounded, beat up, but he has an innocent, youthful quality to him. This is also due to the sound design of Atom’s little murmurs and wails. He’s a wonderful creation that embodies the heart and determination of the story, and with his shadow mode, he reflects upon the qualities of Charlie and Max repeatedly.
The effects of Real Steel took a very smart approach by building and using practical robots for many purposes, and interchanging them with digital effects. This ultimately allowed for far more photo-realistic fighting robots that interact with their surroundings seamlessly. They used motion capture on real boxers for all of these fights to give the robots realistic movement and unique personalities. These performers were supervised by the great and legendary Sugar Ray Leonard. Learning that Levy had all these great collaborators on this film, including Leonard, Spielberg, and Zemeckis, that makes it easy to see how Shawn Levy was able to create such a powerful and impressive film. He had the right studio backing him up, and a wide array of fantastic, top line talents guiding the creative process along. These visual effects are excellent standard bearers, and many filmmakers should look to the methods and skills used in Real Steel for future effects-filled features.
Now, I surely must have missed large chunks in the evolution of Danny Elfman’s film composer career. While I know him best from films like Batman, Mission: Impossible, and Spider-Man, I never knew he was capable of something of this caliber. Director Shawn Levy said that the list of composers who could do what Elfman did is extremely short. He creates a wide range of depth to the score between the guitar strumming ambience to the rousing big fight action cues. This entirely compliments the overall emotional landscape of the movie from the visuals to the acting and beyond. How Levy orchestrates the timing of these cues is very original as he delays the punctuation of these moments. I feel this allows the emotional beats to be more raw and tender which only enhances them further. This is really the sign of a great filmmaker with a strong, clear vision of what he wanted to achieve, and he got it.
The story itself is not new, but as is the real skill, it’s how effective and fresh a filmmaker can make a well treaded story which makes it special. I believe that was successfully achieved here. Emotions are finely crafted around the character relationships and internal personalities. And where a normal boxing movie is more violent and brutal, the robot boxing allows for the fights to be fun, exciting, and enjoyable. There’s so much adrenalin pumping action that it is bound to please almost any audience. The film always seems to find character building moments in its plot developments. I also love how the film doesn’t start with a boat load of exposition. It allows an audience to ease into the story and characters, and only later, after they have been comfortably established does the history of robot boxing and Charlie’s own boxing career get detailed. It shows what the true focus is here – the characters, and that it is its greatest strength.
Overall, Real Steel is a real winner! I was thoroughly entertained and surprised by this movie over and over again. The climactic fight between Atom and Zeus is stellar, genius stuff! While the film clearly had templates of other boxing and sports movies to follow, the advantage of the robots and technology allows for an unexpected turn during the final round that gives Charlie his moment to shine and gain redemption for his boxing career. Everything is beautifully crafted wrapped with heart, humor, and humanity. There really is so much I can say, but it’s not easy to articulate it. Sometimes, you just have to experience it to comprehend the depth and excellence of a film. To everyone involved in the making of Real Steel, you have my deepest respect and highest praise! I loved it!