Batman Begins (Christopher Nolan)

Fear.

And so it has begun 7 years ago. With Joel Schumacher's "Batman & Robin" leaving a bad, almost insulting taste in our mouths, a reboot is definitely due. And what we got here in "Batman Begins" is something much more than a revisionist superhero film. Instead, it has also become the perfect blueprint for succeeding superhero films dealing with origin stories. 

It stars Christian Bale in what may be the most canonical portrayal of Bruce Wayne on film and also explores the literal beginnings of arguably the most iconic superhero of all time. But of course, what separates this film from all the other "Batman" movies of the past is its distinct visual and thematic tone. Thanks to director Christopher Nolan's patented inclination towards realism, "Batman Begins" is quite effective in keeping its feet on the ground in terms of its borderline science fiction technologies and its action set pieces yet soaring with an almost philosophical take on justice, identity and destiny. 

With Frank Miller's "Batman: Year One" serving as one of the prime bases for this film, it's almost a given that this one will indeed be a quality superhero venture. But no one has really anticipated "Batman Begins'" transcendental quality as an origin tale. 

And then of course, what makes "Batman Begins" even better and more easily involving is the presence of three (4 if you'll count Rutger Hauer) legendary actors in the form of Liam Neeson, Michael Caine and the irresistible Morgan Freeman. Looking at it, although their performances are based on pre-existing characters from Batman's established comic book universe, they are still able enough to give the parts that they're portraying the distinct trademarks of their own established personas. 

Oh, and then there is Gary Oldman, an actor that has always been on a league of his own. To be honest, I was quite excited to watch the film back then because I was intrigued when I saw Gary Oldman in the trailers. Being my typical ignorant self with little to no knowledge of Mr. Oldman's acting range outside typical villainous roles at the time, I immediately marked him to be the primary antagonist in the film. 

With Pat Hingle's Gordon still quite untouchable in my mind, it never even crossed my mind that Oldman is even remotely okay for the part. Yes, at first, I was skeptic if whether or not he's believable enough to pull off a mild-mannered and quite heroic role when he is in fact more at ease with over-the-top characters. As it turns out, it's his performance and embodiment of James Gordon that I have loved the most in the whole film. There's really something in his portrayal that evokes empathy yet also displays an unbounded sense of derring-do. This is the portrayal that Gordon deserves. This is the Gordon that we need.

As for the film's villains, well, for non-comic book readers, it will be quite difficult to grasp Ra's Al Ghul's (Ken Watanabe and someone else that I would not mention) and Scarecrow's (Cillian Murphy in an evidently insane yet subdued performance) villainous capabilities and backstories because they are not as well-known as the Joker or even The Penguin in terms of overall fictional popularity. But still, both antagonists were fleshed out quite well by director Christopher Nolan and screenwriter David S. Goyer that they came out overwhelmingly menacing even when they're not that familiar to many non-comic book readers that may watch the film.

When put shoulder to shoulder with "The Dark Knight", "Batman Begins", in truth, pales in comparison in some areas. The 2008 follow-up, for once, has a much bigger scope and also contains heavier elements of both tragedy and the strains of duality. But despite of that, "Batman Begins" will always be that one film that has forever changed the landscapes of the superhero genre and has also set the bar quite high for superhero origin stories that may follow after it. It has also paved way for the said genre to loosen its limits in terms of characterization and to embrace a sense of grit and some brooding here and there. This is the superhero origin tale to end all superhero origin tales. Hans Zimmer's masterful musical score is still playing in my head.

FINAL RATING

Nell (Michael Apted)

Lovell and Nell; the quiet struggle to understand.

Though certainly not a 'great' film in any way, "Nell" is probably an ideal film to be shown on Sociology classes. It's a tale about the eponymous girl who was raised in extreme isolation, talking in unfinished old English, and often initially mistaken to be inflicted with mental retardation. Jodie Foster (in perfect Oscar-bait mode) gave a very believable, often unrecognizable rendition of her, stripping of the intelligence, psychology and measured calculations of Clarice Starling (a role that launched her A-list status in Hollywood) and ably portrayed the deficiency of her actions resulted by lack of social exposure, and the uncommon depths and purity of her heart brought forth by not being able to do so.

Liam Neeson was quite good (though a bit stiff, I may say) as the concerned Dr. Lovell, a character that, along with Nell herself, formed the film's primary emotional connection whose slow development was very prevalent throughout. Yes, "Nell" is a pure tear-jerker for the easily touched, but for the more experienced film-goer that has gone through and endured so much Hollywood cheese, 'tears' is never impossible, but an almost otherworldly 'sob' is quite pushing it. Which brings me to my personal conflict as to "what will be the real reason if ever I let out a tear for the film?" Will it be the penetrating human drama displayed? Or will it be a genuine thump into my heart regarding Liam Neeson's struggles to cope up with her real-life wife Natasha Richardson's (who played Paula Olsen in the film) untimely death? Seeing them all happy and hugging and kissing each other in the film makes me lean on the latter more.

"Nell" isn't just about Nell herself and her subsequent integration into mainstream reality. At some point, it's also about the doctors themselves. And as what Richard Libertini's character Dr. Paley stated (a quote that lingered with me long after the film has ended): "Even caring has an ulterior motive". Beyond all our aspirations to help others, to give meaning to other less fortunate people's lives, is an unconscious, buried search for our own and an impulse to internally conform with how other people may view us. Dr. Paley followed it up with the claim that even Mother Teresa's unconditional caring in Calcutta is truly a mission for her existential re-assurance. That may be debatable, but the film's clear and considerable articulacy of the sociological human condition clearly isn't.

FINAL RATING