Batman Begins

[Big One]

 

Notícias da Produção

03/06/2005:   (14:26) Os fãs mal terão se cansado de assistir a Batman Begins no cinema e poderão ter o filme em casa. Segundo nosso amigo Reginaldo Zaglia' date=' a Warner está planejando o lançamento da nova aventura do Morcego em DVD para outubro, ou seja, quatro meses apenas após a estréia na telona. Ainda não há informações sobre os extras que vão acompanhar o disco.

[/quote']

 

 

 

Ótima notícia.......qto antes melhor...tomara q venha com vários extras...

 

 

[sunderhus]

Falando sobre a falta de respeito:

 

 

 

É incrível como essas coisas realmente

acontecem... Não posso dizer muito sobre isso aqui nesse fórum, pois

estou participando aqui tem muito pouco tempo, como vocês podem ver

pela minha classificação e número de mensagens enviadas por mim, mas

isso é muito comum, infelizmente... Faço parte de grupos de discussão

no Yahoo!Grupos (inclusive já saí de um por causa da enorme falta de

respeito que estava ocorrendo dentro do grupo) e de várias comunidades

do Orkut... Vejo, nesses todos, esse tipo de problema, que é muito

sério...

 

 

 

Sinceramente, não consigo entender porque algumas pessoas acabam por

desrespeitar os outros nos grupos de discussão... Sempre considerei

esses lugares como pontos de encontro para uma discussão democrática e

respeitosa, e infelizmente eu não vejo isso nesses grupos... Agora, o

que podemos fazer quanto a isso é algo que ainda não sei responder...

Já cheguei a deixar de fazer parte de um grupo de discussão do Yahoo!

por causa disso, mas acho que uma decisão drástica dessa só deve ser

tomada quando chega a níveis como o que estavam naquele grupo de

discussão... O que podemos fazer, enquanto os moderadores não tomam uma

atitude de controle sobre os indivíduos desrespeitosos é, por enquanto,

fingirmo-nos de cegos e deixar passar as palavras derespeitosas e

ignorantes...

 

 

 

Sunderhus

 

 

[Salame]

Quanto antes melhor. Volume no máximo! De onde é' date=' JCC?

[/quote']

Também fiquei me perguntando isso, já que não consta na informação.

Mas espero que venha com bons extras.

[felipef]

Tem link da notícia? Porque o boato que estava rolando era só para novembro.

[Big One]

 

Falando sobre a falta de respeito:

 

 

 

É incrível como essas coisas realmente

acontecem... Não posso dizer muito sobre isso aqui nesse fórum' date=' pois

estou participando aqui tem muito pouco tempo, como vocês podem ver

pela minha classificação e número de mensagens enviadas por mim, mas

isso é muito comum, infelizmente... Faço parte de grupos de discussão

no Yahoo!Grupos (inclusive já saí de um por causa da enorme falta de

respeito que estava ocorrendo dentro do grupo) e de várias comunidades

do Orkut... Vejo, nesses todos, esse tipo de problema, que é muito

sério...

 

 

 

Sinceramente, não consigo entender porque algumas pessoas acabam por

desrespeitar os outros nos grupos de discussão... Sempre considerei

esses lugares como pontos de encontro para uma discussão democrática e

respeitosa, e infelizmente eu não vejo isso nesses grupos... Agora, o

que podemos fazer quanto a isso é algo que ainda não sei responder...

Já cheguei a deixar de fazer parte de um grupo de discussão do Yahoo!

por causa disso, mas acho que uma decisão drástica dessa só deve ser

tomada quando chega a níveis como o que estavam naquele grupo de

discussão... O que podemos fazer, enquanto os moderadores não tomam uma

atitude de controle sobre os indivíduos desrespeitosos é, por enquanto,

fingirmo-nos de cegos e deixar passar as palavras derespeitosas e

ignorantes...

 

 

 

Sunderhus

 

[/quote']

 

 

 

sunderhus,

 

 

 

Espero que não tenha acontecido nada aki no Fórum que tenha te aborrecido. Se acontecer algo eh só reportar (via Report ou MP) pra mim, ou qualquer Moderador aqui do Fórum, que analisaremos, e se for o caso, tomaremos providências.

 

 

 

Valeu

 

 

[Salame]

Tem link da notícia? Porque o boato que estava rolando era só para novembro.

Ah, sim, essa notícia que eu colei foi tirada do próprio CeC.

Endereço: http://www.cinema.art.br/not_cinenews_filme.asp?cod=24

Mas, como eu disse, a fonte original da informação eu não sei dizer qual é.

[felipef]

50 segundos de filme. Assitam, por conta e risco:

http://movies.yahoo.com/shop?d=hv&cf=mf_frame&id=180 8490910&mspid=1808688788&mfurl=http://mediaframe.yah oo.com/launch?lid=wmv-700-p.1363971-148905,wmv-56-p.1363968- 148905,wmv-100-p.1363969-148905,wmv-300-p.1363970-148905&amp ; ; ;p=movies&f=1808490910&.spid=1808688788&.dist=Wa rner%20Bros.&type=c%22,737,503 );

Versão para download:

http://s11.yousendit.com/d.aspx?id=3NE88I9ISQROA1V2NXHFQ8YNN 7

Hahahahahaha! Tom Wilkinson!

felipef38506.8145486111

[Big One]

Valeu felipef...Por minha conta e risco...estou baixando...

 

 

 

Aliás eu estava  passando no centro de Sampa e vi este carro..tirei uma foto com meu celular...o que vcs acharam.???..

 

 

 

 

 

 

 

 

 

 

[Salame]

50 segundos de filme. Assitam' date=' por conta e risco:

http://movies.yahoo.com/shop?d=hv&cf=mf_frame&id=180 8490910&mspid=1808688788&mfurl=http://mediaframe.yah oo.com/launch?lid=wmv-700-p.1363971-148905,wmv-56-p.1363968- 148905,wmv-100-p.1363969-148905,wmv-300-p.1363970-148905&amp ; ; ; ;p=movies&f=1808490910&.spid=1808688788&.dist=Wa rner%20Bros.&type=c%22,737,503 );

Versão para download:

http://s11.yousendit.com/d.aspx?id=3NE88I9ISQROA1V2NXHFQ8YNN 7

Hahahahahaha! Tom Wilkinson!

[/quote']

Cara, fodaaaaaaaaaaaaaaaaaço.

[Big One]

 

Diálogo do vídeo de 50 segundos do filme, "You Always Fear What You Don't Understand".

 

 

 

Falcone: You're taller then you look in the tabloids, Mr. Wayne. ... No

Gun? I'm insulted. ... You could have sent me a thank you note.

 

 

 

 

Bruce: I didn't come here to thank you. I came to show you that not everyone in Gotham is afraid of you.

 

 

 

 

Falcone: Only the one's that know me, kid. Look around you, you'll see

two councilmen, uh...a union official, a couple of off-duty cops, and a

judge. Now you think that your mommy and daddy got shot, that you know

the dark side of life, but you don't.

 

 

You've never tasted desperate. You're Bruce Wayne! The Prince of

Gotham! You'd have to go a thousend miles just to find someone who

didn't know your name!

 

So don't come in here with your anger, trying to prove yourself. This

is a world that you'll never understand. And you always fear what you

don't understand.

 

 

 

 

 

 

 

_______________ ___

 

 

 

Comentário negativo da revista Variety.

 

 

 

 

 

 

 

 

 

"it's more Bruce Wayne than Batman; it's too dark and talky to appeal to kids and won't inspire much repeat viewing"

 

 

 

 

 

 

 

 

Fonte: SHH

 

 

 

 

 

Big One38506.8896064815

[Big One]

Mais um review positivo..desta vez do Kirk Honeycutt do  The Hollywood Reporter.com

 

 

 

POSSIVEIS SPOILERS

 

 

 

Batman Begins

 

 

 

 

 

By Kirk Honeycutt

 

 

 

 

 

Bottom line: The franchise gets resurrected in this edgy, psychologically shrewd actioner.

 

 

 

 

 

The "Batman" film series, launched by Tim Burton in 1989, burned itself

out after four pictures because of an overreliance on production

design, increasingly campy costumes and mind-numbing action and noise.

That any filmmaker could now revive the comic book character and his

retro-futuristic world of Gotham City is a minor miracle. But for

Christopher Nolan to turn "Batman Begins" into such a smart, gritty,

brooding, visceral experience is astonishing. Truly, Batman does begin

again.

 

 

 

 

 

Nolan's past two films certainly prepared us to expect the unexpected.

"Memento" and "Insomnia" were mesmerizing thrillers in which meticulous

writing laid the groundwork for complex characterizations, arresting

themes and haunting imagery. Nolan now displays an ability to hitch

that same intelligence and care to a summer tentpole movie.

 

 

 

 

 

Batman has always meant solid boxoffice for Warner Bros. Pictures, and

"Batman Begins" will be no exception. How young male fans respond to a

slow buildup to the action and the introspective nature of its hero

will determine how big this event movie will be. It certainly deserves

repeat visits because the carefully laid-in details will more fully

emerge with each viewing.

 

 

 

 

 

Christian Bale delivers a subtle and engrossing performance as the

divided hero, a man torn by guilt, anger and fear, who seeks a way to

turn these negative emotions into a positive force for fighting evil.

The first half of the film show us, logically and realistically, how

the man known as Bruce Wayne came to assume a double life as a wealthy

playboy and his alter ego, the dark avenger of the night.

 

 

 

 

 

After a black-and-white credit sequence, the movie immediately presents

us with Bruce Wayne in two periods of his life: as a tyke of 8 about to

experience his first brush with fear and the life-altering trauma of

witnessing his parents' murders, then as a lost soul in a hellish

prison in the Far East. Tormented by the murders of his parents on the

streets of Gotham, Bruce has traveled the world to educate himself on

the criminal mind.

 

 

 

 

 

He is rescued from prison by a mysterious warrior named Ducard (Liam

Neeson), who teaches Bruce to master his emotions and gives him the

mental and physical discipline to fight his enemies. Eventually, Ducard

reveals that he wants Bruce to join the League of Shadows, an

underground vigilante movement headed by the stoic Ra's al Ghul (Ken

Watanabe). When Bruce refuses to battle evil with evil, he becomes the

League's mortal enemy.

 

 

 

 

 

Bruce returns home to take up residence in his parents' country manor,

with the family's trusted butler Alfred (the always affable Michael

Caine) assuming the role of manservant and mentor. Bruce finds his

father's once philanthropic Wayne Enterprises now in the hands of a

greedy CEO Richard Earle (Rutger Hauer), and Bruce's beautiful

childhood friend Rachel (Katie Holmes) has become an assistant D.A.

 

 

 

 

 

Gotham is a city with futuristic elements yet bears more than a little

resemblance to the Depression Era. (Remember that Batman first appeared

in DC Comics in 1939.) The old town is overrun by a crime gang headed

by Carmine Falcone (Tom Wilkinson). Seemingly, half the city is on the

take. The only apparent honest cop, Jim Gordon (Gary Oldman once more

disappearing chameleonlike into a role), complains that there is nobody

to whom he can rat out the bad guys.

 

 

 

 

 

Gradually, Batman, a one-man force for good, comes together. Bruce

discovers that Wayne Enterprises' Applied Sciences division, headed by

resourceful Lucius Fox (Morgan Freeman), has developed all the tools

he'll need to fight crime. These range from a survival suit of nearly

impervious body armor to an indestructible car that becomes the

Batmobile. His Batcave turns out to be a literal one, a damp and dark

area underneath the southeast wing of his manor where bats roost.

 

 

 

 

 

Batman begins his campaign against corruption by striking at the heart

of Falcone's criminal empire. But he soon realizes that a more sinister

force is moving to destroy Gotham, a force fronted by cunning

psychiatrist and medical experimenter Dr. Jonathan Crane (Cillian

Murphy) and backed by his old pals with the League of Shadows.

 

 

 

 

 

Fights and chases occur in a gloomy, rainy, fear-drenched landscape of

urban anarchy. The primary weapon everyone uses is fear. The criminal

gang instills such terror in the citizenry that no one fights back.

Batman chooses costumes and methods to turn that fear back on the

criminals, who must confront a batlike creature they cannot fathom, a

foe that vanishes before they land a blow.

 

 

 

 

 

Nolan and co-screenwriter David S. Goyer keep things logical and

rational despite the story's comic book origins. Batman's heroics are

the outgrowth of planning and psychology, not superhuman abilities.

Fights are constructed in tight shots and quick edits that explode in

rhythmic fury. A car chase looks like something one might catch on

local TV news -- except, of course, for the Batmobile's ability to leap

from roof to roof.

 

 

 

 

 

Similarly, designer Nathan Crowley and cinematographer Wally Pfister

create a nightmarish city that reeks of despair. The music credit is

shared by two top film composers, Hans Zimmer and James Newton Howard,

so it's hard to know whom to blame for its own schizophrenia wherein

the major themes are rousing and memorable but the score comes on too

strong in many sequences. Lindy Hemming's costumes are striking as they

mirror the various strata of society as well as the "uniforms" of the

heroes and villains in this alternate reality.

 

 

 

 

 

[end]

 

 

 

[felipef]

"it's more Bruce Wayne than Batman; it's too dark and talky to appeal to kids and won't inspire much repeat viewing"

Interessante a questão das sessões repetidas. Quanto ao too dark for kids, o filme não é para maiores de 13? A crítica completa. Spoilers, claro.

It's more Bruce Wayne than caped crusader in "Batman Begins," a telling of the legendary character's formative experiences that gives precedence to psychology over super-heroics. While developing an elaborate backstory for the 66-year-old comic book figure, director Christopher NolanChristopher Nolan delivers a very serious would-be franchise launcher that, perhaps inadvertently, bears closer thematic comparison to "Kill Bill""Kill Bill" and aspects of "Star Wars" than to what audiences primed on the Burton/Schumacher films or the TV series might expect. Ambitious, well made but not exactly rousing, lavishly produced Warner Bros. release will ride heavy promotion and want-see to big openings worldwide, but is too dark and talky to appeal to kids and won't inspire much repeat viewing, which casts sought-after blockbuster B.O.B.O. in some doubt.

After so much to-and-fro about how to revive the Dark Knight (the studio's last entry in its four-picture set, the lamentable "Batman and Robin," appeared just eight years ago), it was a fairly gutsy bet on Warner's part to entrust the job to Nolan, a crafty young director whose "Memento""Memento" and "Insomnia""Insomnia" evinced storytelling smarts, visual flair and good instincts with actors.

But these matters aren't at issue. Rather, it's the story that's been chosen to be told, and the degree of gravity invested in it. From the opening scene, Nolan and co-screenwriter David S. GoyerDavid S. Goyer ( the "Blade""Blade" series) foreground the demons that haunt and drive Bruce Wayne, and it's a full hour before "the Bat-Man" (as he was originally called) shows up. Psychological depth is all well and good, but it's an open question how much time you want to spend on it when the subject is a cartoon character.

The filmmakers seem intent upon making Bruce/Batman and his actions as plausible (one resists saying realistic) as possible, emphasizing that he's a distinctly human hero with no super powers. All the same, guys, he was still born in a comic book, and it's doubtful Batman would have lived very long had the original DC ComicsDC Comics been as drained of sheer childlike fun as this film is. There is talent and cleverness here, but not much excitement.

Jumping around in time during the opening stretch, pic details how Bruce Wayne (Christian BaleChristian Bale as an adult, Gus Lewis as a kid), the only child of a wealthy philanthropic industrialist, is traumatized at an early age upon accidentally falling into an empty well that's home to an enormous number of bats; feels guilt over the murder of his parents at the hands of a derelict robber; leaves his palatial home upon reaching maturity to investigate criminality in the darker corners of Asia, and is rescued from a dreadful prison (in what the press notes indicate is Bhutan) by a mysterious fellow named Ducard (Liam Neeson). A tough taskmaster, Ducard teaches his specially selected pupil about achieving justice and becoming a legend.

Although shot in Iceland amidst spectacular terrain that recalls the Alaskan setting of "Insomnia," this long instructional section is filled with philosophical gobbledygook about developing strength by facing your deepest fears, methods of focusing anger and vengefulness, and how "you must journey inwards."

Some of this is delivered while Ducard and Bruce face off with large swords on a frozen lake, and one must be forgiven for imagining that what's onscreen are outtakes from "Star Wars: Episode I -- The Phantom Menace," with Neeson's Jedi knight teaching Obi-Wan Kenobi dueling techniques.

It doesn't stop there, however, as "The Last Samurai""The Last Samurai" is invoked with the entrance of Ken Watanabe as the charismatic leader of a vigilante ninja org called the League of Shadows.

In the end, Bruce proves himself a worthy student, returning home to take on the rampant corruption in Gotham (or is it Sin City?). Half the city is in the pocket of gangster Carmine Falcone (Tom WilkinsonTom Wilkinson). Others up to no good are Dr. Jonathan Crane (Cillian MurphyCillian Murphy), a young psychiatrist who leads a double life as the sinister Scarecrow, and Earle (Rutger Hauer), who has taken charge of the Wayne family industries.

Although none of these figures qualifies as a great villain, Bruce begins developing his alter ego with help from ever-loyal butler Alfred (Michael CaineMichael Caine) and company high-tech expert Lucius Fox (Morgan FreemanMorgan Freeman). Fox functions much like "M""M" in the Bond films by turning Bruce on to useful gizmos, including a very powerful armored vehicle ("Does it come in black?" Bruce inquires, in one of the better lines).

Batman begins modestly by disrupting a drug shipment and handing Falcone to the police, one of whose few honest officers is Detective Sergeant Jim Gordon (Gary OldmanGary Oldman). Also on the good team is Bruce's childhood friend Rachel (Katie HolmesKatie Holmes), a very young-looking assistant district attorney who is disappointed that Bruce appears to be a dissolute playboy with no ideals.

Nolan and Goyer dwell on the idea of the masks one chooses to put on for the world to see, as well as the notion of character being defined by deed not word; concepts are entirely appropriate to Batman, but are hardly new or worth belaboring. Then there's the late-on surprise of who the main bad guy turns out to be, which is all right but further splinters the villainy.

All along, pic emphasizes the real-worldliness of Bruce. This is even a Batman movie in which the Batcave is an actual bat cave. But when it comes to Batman's attacks on adversaries, the film fudges it, throwing a flurry of images on the screen with quick editing that obscures how the winged one manages to so easily drop in on his enemies.

What this incarnation of Batman lacks is theatricality, a sense of showmanship to put over the new approach. Although little jokes and quips are gradually introduced, only slowly does Nolan dare to begin having any fun with the material, and even then far too cautiously. It's not that the film is prosaic, but it is terribly sober, afraid to make grand gestures and build to major payoffs. It's as if, out of a desire to appear smart and not to pander to the large public destined to see the picture, Nolan restrained himself from providing moments that might prove too audience pleasing.

As opposed to the highly designed Gotham City of the Tim BurtonTim Burton pictures, this one features cityscapes that recognizably belong to the real Chicago, with a fictional monorail system added in. Nor is there anything fetishistic about the Batman costume, which is plain and functional.

With an ideal physique and bearing for the role, Bale makes for a committed, driven, urbane and intelligent do-gooder; only oddity is the somewhat electronic quality of his voice as Batman. Neeson is a fearsome mentor, and Murphy makes a strong impression as the corrupt doctor, although the Scarecrow persona is woefully undeveloped. Oldman is effectively cast against type as the most decent man in GothamGotham, Holmes is OK, and Caine dryly does all he can in the butler role that could have benefited from some posthumous additional dialogue by Preston Sturges.

Unusual soundtrack collaboration by Hans Zimmer and James Newton Howard results in a moodily churning score that adds an extra sense of momentum to the tale. Tag promises a sequel in which the Joker is specifically indicated as the chief villain.

Gostei bastante da crítica! O cara foi direto e ignorou todo o hype em cima do filme. Apontando os erros sem rodeio.

felipef38507.1185648148

[felipef]

Uma outra:

This is Bruce Wayne. This is Batman.

I think Nolan did it. He nailed the Bat-movie all the Bat-fans wanted to see. I'm just gonna break this down bit by bit. I won't cover everything, you'll have to see the movie for all of it. And remember, this is just my opinion. If you don't like it, you're free to bugger off


The Batman:
Dark, scary, menacing, full of precarious posing on building ledges. . . this is the Batman I always wanted on film. Bale's mentioned in several interviews that he wanted a more animalistic Batman. We got it. This batman growls when he speaks, and he is never just standing around like previous Batmen. He's always looming, brooding, or prowling. And they set the tone right with his first appearance. Wait until you see it. It's the stuff of good horror films! One of the things I liked most about the Batman's portrayal was that when he was in action, you were almost removed to a third person POV over the victim's shoulder. What I mean is that we didn't follow Batman into the fight. We followed his prey. And from this view, you can see why these guys aren't prone to laughing at the guy in the cape. They're too busy wetting themselves. That was my big "FINALLY!" We got a Batman that's actually scary.

Bruce Wayne:
Bale's brief yet amusing stints as the pompous, arrogant, billionaire playboy that is Bruce Wayne were fantastic. For the first time on film we get to see the "Bruce Mask" in all it's glory. And it was friggin hilarious!

Jim Gordon:
I loved Gary Oldman in this film. I want more of him. Lots more. Gordon in this film is a compassionate cop who cares about his job and justice, but is smart enough to stay out of trouble. Though his part was briefer than I'd have preferred, it was great to finally get a Gordon who's active in the plot, and not just bellowing orders through a megaphone.


Ducard:
Liam Neeson must love playing mentors. And quite frankly, I love it when he does. This role felt a lot like his Jedi role, but quite frankly, none of what he was preaching to Bruce didn't make sense for this story, so it all worked really well, I thought.

Rachel Dawes:
I was scared for this part. I wasn't sure what they were going to do with her, really. And while I wasn't entirely satisfied with her character arc, it definitely feels like they're not done with her. I'm hoping they avoid the previous franchise's route and get a new girl each time. Honestly, I want to see her come back and continue to grow within this world. Her life-long relationship with Bruce is really interesting to me, and I really hope that it remains, instead of being brushed off suddenly to satisfy a sequel. I don't want "new film, new girl" any more.

Jonathan Crane:
The scarecrow is a hard villain to make practical. But they did it REALLY well, imo. I saw someone describe somewhere the effect being like the scene in Fight Club where the film is jumping out of the cage. I couldn't describe it better myself. The action figures that were released don't do this character justice. He's a very practical, and very creepy villain. Being a fan of the scarecrow, I'd obviously love to see the full on costume, but that's for a different movie. The scarecrow in this film fit the tone perfectly. And Murphy's eyes are creepy.

Ra's al Ghul:
Ken Watanabe has presense coming out of his EARS! That's all I'm saying on that. Ra's is another villain who I couldn't figure out how to make practical. That's been one of my biggest interests since he was announced. They said it was to be grounded in reality, but they were using an immortal villain. But they made it work. They left Ra's with enough ambiguity to leave him very mysterious, but answered enough questions about the character to make him really interesting. I'm secretly harboring hope that we'll see him again.


The Toys:
What is batman without his toys? Well, I always prefer my batman toy-light, but I'm in a minority there. I like him to do things with his own bare hands, and I think the film strikes a balance. He makes good use of all of his toys, and they're all very practical. There's no bat-mastercard to be seen in this film. By far my favorite, though, was the Tumbler. I've never been part of the 2Bat2Furious crowd that thinks Batman should drive a customized Viper or something equally showy. Batman needs a tank, in my opinion, and he's got one now. This thing kicks ASS. I want to buy one. Seriously, I'm saving my money. I want one. The magnetic grapple gun was great, especially considering that you rarely see him actually using it, just the results he could get when he did, if that makes sense.

The Suit:
I like the comic suit. I do. But it would NEVER have worked in this film. Never. While I wasn't sure about running back into a suit so familiar to the previous franchise, I thought it looked bloody fantastic on screen. It was definitely Batman I was seeing, and at the end of the day that's all that mattered. The whole suit is explained for practicality's sake, and it all makes enough sense to suspend your disbelief. There are those concerned about mobility, and I never noticed any problems, really. And if there WERE some, they didn't bother me at all, aparently. I mean, with all the shots(like the ones in the trailers) of him perched on corners of buildings and stuff, he looked anything but stiff.

Overall:
I thought the film had a couple rocky points but definitely no deal-breakers for me. I think if you're a fanboy you're gonna enjoy this film immensely. Every scene is wading around waist deep in Bat-lore. The movie isn't just Year One, or Long Halloween, or any other single graphic novel. It's like Nolan and Goyer took the best parts of many stories, and crafted this world in which they were all more closely connected to one another. I thought the relationships between the villains and heroes of Gotham flowed really smoothly. There were two relationships that I really appreciated though.

1) Bruce and Thomas Wayne: The relationship between Bruce and his father is played up in this one WAY more than ever before, and I loved it. It gave Bruce a person to miss, not simply a generic "dead parent." It wasn't until seeing this film that I really realized how shallow and hollow Bruce's relationship to his dead parents seemed in the past films. I mean, their death is WHY he's doing this, and in this film you really get that. Bruce struggles at times with what Thomas might think of him. I love that about Bruce in the comics, and I'm glad that someone put it on screen. There is a real human, loving, admiring relationship there that makes Bruce's pain even more acute.

2) Bruce and Fear Itself: Bruce isn't just a man in a bat suit in this film. He's a master of fear. He almost makes previous Batmen look un-scary. He's intimidating as all hell (especially in one great rainy scene!), and he's consciously aware of his own fears, and how fear can be used against the fearful. Fear is a running theme in this film, and with Batman and Scarecrow, it couldn't be more appropriate. In fact, the guilt Bruce feels over his parents has even been ever so slightly altered from the generally accepted comic explanation. . . just enough to make fear mean all the more to Bruce.

The final thing I'll talk about, and a thing that struck me as the film was wrapping up, was that this film couldn't have been more aptly named. I have been describing it to people as a REALLY elaborate prologue. While it holds it's own, it also acts as a MASSIVE setup for what could potentially become the Bat Franchise of my dreams. I mean, there are SO many events that happen in this film that leave doorways for more of the bat-universe characters to step into. I can't help but feel that as happy as I was with the familiarity I felt with the world of this film, it will only get more-so as the ranchise goes along. And I'm certain it will.

While the film isn't necessarily for everyone, it's by far the best Batman film yet. I can't see this film having any trouble warranting a sequel.

Okay, well, I know I didn't cover everything. Mostly cause I'm friggin exhausted. If there's anything else you want to know, just ask away. I'm not terribly inclined to hand out spoilerish info because there were some spoilers I'd read/heard relatively accidentally that I wish I hadn't. I encourage anyone who can to go in fresh. Anyway, that's that for now. I may write up more, particularly spoilerish info, after the film's actual release.

http://www.bluetights.net/theplanet/showthread.php?t=3006&am p;page=2&pp=15

[felipef]

"BATMAN BEGINS kicks ass!
Author: Jett
Saturday, June 4, 2005 - 1:58 PM CST: OK, I'm back in Texas where I belong. It is hot and humid, and I'm tired as hell from this trip. BUT, it was well worth it! BATMAN BEGINS is awesome! And I know what people will say, "Jett is Warner Bros.' bitch!" Well, say that away, it won't take away from the fact that this film is awesome - I couldn't care less! And mark my words, it is going to get some Oscar run. With that said, I've recieved several emails telling me that Ebert and Roeper have given BB "Two Thumbs Way Up!" And well they should. I'm going to check out their show and see for myself. But who gives a damn! I'm telling you how good it is. I can't wait to see it again...."

A crítica ainda vem. Agora, "mark my words, Oscar"?! Será isso tudo mesmo, ou ele ainda está muito empolgado?

[adam_jones_1]

"it's more Bruce Wayne than Batman; it's too dark and talky to appeal to kids and won't inspire much repeat viewing"

 

Interessante a questão das sessões repetidas. Quanto ao too dark for kids' date=' o filme não é para maiores de 13? A crítica completa. Spoilers, claro.

 

It's more Bruce Wayne than caped crusader in "Batman Begins," a telling of the legendary character's formative experiences that gives precedence to psychology over super-heroics. While developing an elaborate backstory for the 66-year-old comic book figure, director Christopher NolanChristopher Nolan delivers a very serious would-be franchise launcher that, perhaps inadvertently, bears closer thematic comparison to "Kill Bill""Kill Bill" and aspects of "Star Wars" than to what audiences primed on the Burton/Schumacher films or the TV series might expect. Ambitious, well made but not exactly rousing, lavishly produced Warner Bros. release will ride heavy promotion and want-see to big openings worldwide, but is too dark and talky to appeal to kids and won't inspire much repeat viewing, which casts sought-after blockbuster B.O.B.O. in some doubt.After so much to-and-fro about how to revive the Dark Knight (the studio's last entry in its four-picture set, the lamentable "Batman and Robin," appeared just eight years ago), it was a fairly gutsy bet on Warner's part to entrust the job to Nolan, a crafty young director whose "Memento""Memento" and "Insomnia""Insomnia" evinced storytelling smarts, visual flair and good instincts with actors.But these matters aren't at issue. Rather, it's the story that's been chosen to be told, and the degree of gravity invested in it. From the opening scene, Nolan and co-screenwriter David S. GoyerDavid S. Goyer ( the "Blade""Blade" series) foreground the demons that haunt and drive Bruce Wayne, and it's a full hour before "the Bat-Man" (as he was originally called) shows up. Psychological depth is all well and good, but it's an open question how much time you want to spend on it when the subject is a cartoon character.The filmmakers seem intent upon making Bruce/Batman and his actions as plausible (one resists saying realistic) as possible, emphasizing that he's a distinctly human hero with no super powers. All the same, guys, he was still born in a comic book, and it's doubtful Batman would have lived very long had the original DC ComicsDC Comics been as drained of sheer childlike fun as this film is. There is talent and cleverness here, but not much excitement.Jumping around in time during the opening stretch, pic details how Bruce Wayne (Christian BaleChristian Bale as an adult, Gus Lewis as a kid), the only child of a wealthy philanthropic industrialist, is traumatized at an early age upon accidentally falling into an empty well that's home to an enormous number of bats; feels guilt over the murder of his parents at the hands of a derelict robber; leaves his palatial home upon reaching maturity to investigate criminality in the darker corners of Asia, and is rescued from a dreadful prison (in what the press notes indicate is Bhutan) by a mysterious fellow named Ducard (Liam Neeson). A tough taskmaster, Ducard teaches his specially selected pupil about achieving justice and becoming a legend.Although shot in Iceland amidst spectacular terrain that recalls the Alaskan setting of "Insomnia," this long instructional section is filled with philosophical gobbledygook about developing strength by facing your deepest fears, methods of focusing anger and vengefulness, and how "you must journey inwards."Some of this is delivered while Ducard and Bruce face off with large swords on a frozen lake, and one must be forgiven for imagining that what's onscreen are outtakes from "Star Wars: Episode I -- The Phantom Menace," with Neeson's Jedi knight teaching Obi-Wan Kenobi dueling techniques.It doesn't stop there, however, as "The Last Samurai""The Last Samurai" is invoked with the entrance of Ken Watanabe as the charismatic leader of a vigilante ninja org called the League of Shadows.In the end, Bruce proves himself a worthy student, returning home to take on the rampant corruption in Gotham (or is it Sin City?). Half the city is in the pocket of gangster Carmine Falcone (Tom WilkinsonTom Wilkinson). Others up to no good are Dr. Jonathan Crane (Cillian MurphyCillian Murphy), a young psychiatrist who leads a double life as the sinister Scarecrow, and Earle (Rutger Hauer), who has taken charge of the Wayne family industries.Although none of these figures qualifies as a great villain, Bruce begins developing his alter ego with help from ever-loyal butler Alfred (Michael CaineMichael Caine) and company high-tech expert Lucius Fox (Morgan FreemanMorgan Freeman). Fox functions much like "M""M" in the Bond films by turning Bruce on to useful gizmos, including a very powerful armored vehicle ("Does it come in black?" Bruce inquires, in one of the better lines).Batman begins modestly by disrupting a drug shipment and handing Falcone to the police, one of whose few honest officers is Detective Sergeant Jim Gordon (Gary OldmanGary Oldman). Also on the good team is Bruce's childhood friend Rachel (Katie HolmesKatie Holmes), a very young-looking assistant district attorney who is disappointed that Bruce appears to be a dissolute playboy with no ideals.Nolan and Goyer dwell on the idea of the masks one chooses to put on for the world to see, as well as the notion of character being defined by deed not word; concepts are entirely appropriate to Batman, but are hardly new or worth belaboring. Then there's the late-on surprise of who the main bad guy turns out to be, which is all right but further splinters the villainy.All along, pic emphasizes the real-worldliness of Bruce. This is even a Batman movie in which the Batcave is an actual bat cave. But when it comes to Batman's attacks on adversaries, the film fudges it, throwing a flurry of images on the screen with quick editing that obscures how the winged one manages to so easily drop in on his enemies.What this incarnation of Batman lacks is theatricality, a sense of showmanship to put over the new approach. Although little jokes and quips are gradually introduced, only slowly does Nolan dare to begin having any fun with the material, and even then far too cautiously. It's not that the film is prosaic, but it is terribly sober, afraid to make grand gestures and build to major payoffs. It's as if, out of a desire to appear smart and not to pander to the large public destined to see the picture, Nolan restrained himself from providing moments that might prove too audience pleasing.As opposed to the highly designed Gotham City of the Tim BurtonTim Burton pictures, this one features cityscapes that recognizably belong to the real Chicago, with a fictional monorail system added in. Nor is there anything fetishistic about the Batman costume, which is plain and functional.With an ideal physique and bearing for the role, Bale makes for a committed, driven, urbane and intelligent do-gooder; only oddity is the somewhat electronic quality of his voice as Batman. Neeson is a fearsome mentor, and Murphy makes a strong impression as the corrupt doctor, although the Scarecrow persona is woefully undeveloped. Oldman is effectively cast against type as the most decent man in GothamGotham, Holmes is OK, and Caine dryly does all he can in the butler role that could have benefited from some posthumous additional dialogue by Preston Sturges.Unusual soundtrack collaboration by Hans Zimmer and James Newton Howard results in a moodily churning score that adds an extra sense of momentum to the tale. Tag promises a sequel in which the Joker is specifically indicated as the chief villain.

 

Gostei bastante da crítica! O cara foi direto e ignorou todo o hype em cima do filme. Apontando os erros sem rodeio.

[/quote']

 

 

 

bicho, se voce tem essa capacidade, faça isso para nós

 

aqui do fórum, traduza isso, pois eu só consegui

 

entender parcialmente...(porém o suficiente pra

 

saber que esse cara foi extremamente seco)

 

 

 

preciso de uma tradução apropriada pra destacar

 

cada ponto que me chamou a atenção.

 

 

 

o chato é que ele usa umas gírias fodas de entender...

 

 

 

muita gente vai ficar com raiva desse cara, se com

 

razão ou não eu não sei....

[Movie Freak]

Uma banca no caminho pra facu tem o poster do filme grandaço colado. Agora sim, o marketing vem com força total..

Vi os bonecos e o Batmóvel. Os bonecos são visualmente bem-feitos, mas tem umas articulações esquisitas. E o Batmóvel custa R$ 189,00 então só compre se vc gostou mesmo..

[O_Imperador]

 

Valeu felipef...Por minha conta e risco...estou baixando...

 

 

 

Aliás eu estava  passando no centro de Sampa e vi este carro..tirei uma foto com meu celular...o que vcs acharam.???..

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

[Big One]

À critica negativa da Variety...

 

 

 

"O filme não eh para crianças"...ótimo...

 

 

 

"Eh muito dark"...ótimo

 

 

 

"E mais sobre Bruce Wayne do que Batman"...ótimo de novo, eh sobre como Bruce se tranformou em Batman.

 

 

 

Comparou o visual de gothan com SinCity, bom, não vi nenhum dos 2...fico quieto.

 

 

 

"Muitos diálogos"...só assistindo pra saber.

 

 

 

Na verdade dá a impressão do a pessoa que fez o review da Variety

estava esperando algo com ação initerrupta, algo mais na linha SW e

Spiderman. E não um filme sério.

 

 

 

Depois comento + deste review...

 

 

 

E Adam...se pudesse eu traduziria cara, mas tb não entendi tudo...my english is too bad

 

 

[O_Imperador]

 

À critica negativa da Variety...

 

 

 

"O filme não eh para crianças"...ótimo...

 

 

 

"Eh muito dark"...ótimo

 

 

 

"E mais sobre Bruce Wayne do que Batman"...ótimo de novo' date=' eh sobre como Bruce se tranformou em Batman.

 

 

 

Comparou o visual de gothan com SinCity, bom, não vi nenhum dos 2...fico quieto.

 

 

 

"Muitos diálogos"...só assistindo pra saber.

 

 

 

Na verdade dá a impressão do a pessoa que fez o review da Variety

estava esperando algo com ação initerrupta, algo mais na linha SW e

Spiderman. E não um filme sério.

 

 

 

Depois comento + deste review...

 

 

 

E Adam...se pudesse eu traduziria cara, mas tb não entendi tudo...my english is too bad

 

[/quote']

 

 

 

Ou seja, até com críticas negativas a gente se empolga!!!

 

 

[Aragorn]

de fato....as críticas negativas empolgam mais que as positivas, porque só criticam o que está corretíssimo....

 

 

 

 

 

vai ver nunca leram um Batman na vida e achavam que o correto eram as versões Burton, Schumacher e seriado anos 60....

 

 

 

 

 

bando de otários.....olhem bem as críticas negativas, só criticam o que faz o filme melhor que tudo feito anteriormente!!

 

[felipef]

Big, valeu pela foto do carro e pela breve tradução! adam, eu sou uma preguiça humana.

Movie Freak, fotos! Não nos deixe na seca.

Imperador e Aragorn, todo mundo tem o direito de achar o que quiser, certo? Pelo menos o crítico foi lúcido e direto. Diferente de muitos. Mas eu acho que agora o tópico finalmente entendeu o porquê das minhas expectativas em relação aos reviews negativos. No tempo certo...

Detalhe para um ponto do que ele falou e o Big traduziu: "Muitos diálogos". Ele só pode estar brincando.

felipef38507.5550231481

[felipef]

Da Empire. Não tem link pois acho que o menino pegou direto da revista. 

 

As the title suggests, this sets out to be radically different from the series inaugurated by Tim Burton’s Batman in 1989 and trashed by Joel Schumacher’s Batman & Robin in 1997. Indeed, director Christopher Nolan gets even further than Burton from the camp of the 1960s TV show, to the point where you wonder how cartoonish Bat-foes like the Penguin could ever appear in Nolan’s rusty, economically desperate Gotham City.

Whereas Burton sketched an Art Deco hell and shoved Michael Keaton on screen in a Bat-suit in the first minutes, Nolan puts off the moment when Christian Bale dons the mask for almost an hour. Influenced by the look and feel of the X-Men films, Batman Begins spends a lot of time in a world only just removed from reality before getting to the superheroics. The first act finds Wayne
in a Chinese prison and a Himalayan monastery, transforming from bearded brawler to black-clad ninja as he flashes back to a lifetime of trauma that — in this version — began even before his parents’ deaths, as he falls down a well and is terrorised by the bats which later inspire his night persona. Burton had Wayne’s mom and pop killed by the hoodlum who would become The Joker, but Nolan reverts to earlier comics and makes the murderer a panicky no-one named Joe Chill, blurring the set-up so young Bruce and even Wayne Sr. (Linus Roache) must take some blame for the killings.

The Nolan who made Memento and Insomnia is at home with extreme psychological states — this might complete a Three Colours Of Neurosis trilogy by following memory loss and sleeplessness with phobia. It’s certainly a smart move to cast the former Patrick Bateman as a Batman who always seems about to crack up. Bale even makes the old playboy-idiot act work, suggesting — as Michael Caine’s dry Alfred notes — a man who needs to pretend to have fun because he might accidentally enjoy himself.

Batman maintains a secret identity, but he’s recruiting an army for a war — forming alliances with Gordon (Oldman), the only honest cop in Gotham, and Wayne Enterprises’ R&D man Lucius Fox (Freeman), while treating childhood sweetheart/Assistant D. A. Rachel Dawes (Holmes) as much as an informant as love interest (she takes the role played in comics by Harvey Dent, who becomes the disfigured villain Two-Face, suggesting
a possible career-changing stretch for Holmes if this thread carries through).

With a city that looks less fantastical than Burton’s, Nolan hits the streets and slums of Gotham to show a horrific escalation of evil that demands Batman’s presence even as Gordon suggests he might make it worse; old-fashioned Mob guys (Tom Wilkinson) are edged out by masked freaks (Cillian Murphy, starily creepy even before he pulls on his Scarecrow hood) and a fanatical force run by the bastard sons of Fu Manchu and Osama bin Laden. Unlike Burton, Nolan doesn’t skimp on action either, with brutal fights, vehicle chases and, in one great sequence, a mass escape from Arkham Asylum of serial killers and maniacs doped up with the Scarecrow’s fear serum.

In terms of big-screen comic-adaptation triumphs, it’s recently been Marvel who’ve been ahead (X-Men, Blade, Spider-Man…); but, by learning several tricks from Marvel franchises, Batman Begins undoubtedly gets rival comics house DC back in the game.

[Sandro*]

Na clássica seção Da Frigideira o Omelete escreve sobre filmes no calor da saída do cinema, sem pensar muito, ainda sob o efeito narcótico da telona e o crítico ainda está maquinando idéias, enquanto o fã já tem a sua já na ponta da língua.

Em Batman Begins a frase "você tem que cair para aprender a se levantar" é martelada na cabeça dos espectadores (e do Bruce Wayne) algumas vezes. Parece que a Warner Bros e a DC Comics levaram a mensagem a sério. Depois do tombo espetacular com os filmes de Joel Schumacher, o Homem Morcego, um dos maiores super-heróis das histórias em quadrinhos, ganha a oportunidade de reerguer-se com honra em seu novo longa-metragem.

A idéia é simples: esqueça tudo o que você já viu sobre o personagem nas telonas. Nada de bat-mamilos, bat-cartão de crédito e metralhadores com neon... o novo Cavaleiro das Trevas tem os pés plantados no chão (exceto quando está voando com a capa por Gotham, mas essa é uma outra história). Todos os detalhes sobre a origem do personagem são esmiuçados. Descobrimos quais suas motivações, como ele encontrou a caverna que lhe serve da base, como treinou suas habilidades, de onde vêm seus apetrechos e, principalmente, como foram forjadas suas alianças. Batman realmente "Begins" aqui.

Mas não é só o lado emocional que funciona. A ação também é das melhores (superbacana o Batmóvel em ação) e muito da mitologia do personagem é misturada e colocada pra funcionar em conjunto. Só assim mesmo pra explicar a aparente salada que é misturar vilões como Ra´s Al Ghul (Ken Watanabe), o Espantalho (Cillian Murphy), o maníaco assassino serial Zsasz (Tim Booth) e o gângster Carmine Falcone (Tom Wilkinson).

Alterações na origem, claro, são realizadas, mas nada que vá deixar os fãs irados. Na verdade, muito do que aparece na telona deveria mesmo é ser incorporado nos quadrinhos. O treinamento de Wayne e sua transformação física e mental no defensor de Gotham City, por exemplo, é uma das melhores HQs nunca realizadas do personagem.

Quanto aos atores, outro ponto extremamente positivo da adaptação. Christian Bale é o primeiro Batman do cinema que não incomoda em momento algum. Keaton, Kilmer e Clooney, apesar de bons atores, pareciam apenas Michael, Val e George vestindo uma fantasia. Bale grita, aterroriza, põe ordem na casa quando veste o uniforme. Michael Caine como Alfred - leve alívio cômico da produção, pra evitar que ela se leve a sério demais - e Gary Oldman, o sargento Gordon, também aparecem excepcionais.

Claro, há defeitos, mas nada que impeça Batman Begins de despontar como o melhor blockbuster da temporada de férias 2005. Sim, ele é superior a Cruzada, Guia do mochileiro das galáxias e Star Wars: Episódio III. Resta saber se Quarteto Fantástico e Guerra dos Mundos conseguirão encará-lo.

[felipef]

Valeu Sandro*! Mas alguém já tinha jogado pra cá dias páginas atrás. Vamos esperar pela crítica completa. O pessoal do tópico está curioso.

[begins]

mtv.com.br analisa "Batman Begins"

· arquivado em: Cinema

Cheguei, cheguei!

Esta manhã, a redação do mtv.com.br assistiu à pré-estréia de “Batman Begins”,
aguardadíssimo filme que vinha promentendo pôr a saga de Bruce Wayne
nos trilhos, após uma batelada de infames adaptações cinematográficas.
Acaloradas discussões se seguiram à sessão, e decidimos colocar aqui
uma resenha multi-facetada, para você poder meditar sobre várias
opiniões. A elas:

Te cuida, bandidagem

SPICEEE: “Batman Begins”, de Christopher Nolan
(de “Amnésia” e “Insônia”), funciona bem como veículo da franquia
Batman: dá uma revigorada no personagem, trazendo-o mais perto do que
já se fez de adaptações de heróis de HQ nesses últimos anos (pense
“X-Men” e “Homem-Aranha”). O roteiro é bem amarrado e, depois de um
começo lento que mostra as origens ninjas e jiu-jiteiras (!??) do
homem-morcego, engrena de vez e faz um bom balanço entre os diálogos
cheio de frases de efeito (”Você é aquilo que você faz e não o que é
por dentro”, “Treinamento não é nada, vontade é tudo”) e a ação per se.





Só que Nolan optou por mostrar o mundo de Batman sem se valer do look
dos quadrinhos, e o desenho de produção, embora competente, fica em
segundo plano sempre. Gotham está mais para uma São Paulo cinza do que
a metrópole gótica e escura que conhecemos dos quadrinhos e, porque
não, dos filmes de Tim Burton.
A fotografia, que se mostrou tão importante em recentes adaptações de
HQs que deram certo como “Hellboy” e “Constantine”, deixa bastante a
desejar em “Batman Begins”. Batman me parece um personagem que
viva muito mais na sombra do que sobre a luz de holofotes, como Nolan
em grande parte da fita preferiu fazer. É algo que até ajudaria a
esconder o efeito caricatural que emana de um homem já feito vestido de
uma armadura de borracha que o impede de expressões corporais mais
elaboradas.



O próprio Christian Bale não ajuda muito em tirar o estigma do super-herói múmia deixado por Michael Keaton.
Ele está visivelmente mais à vontade como o alter-ego playboy Bruce
Wayne do que como o cavaleiro morcegão - ele inventou um tom de voz
para retratar batman que irrita, não soa natural.



Apesar dos deslizes, Nolan é competente e armado de um elenco estelar, que além de Bale conta com belos trabalhos de Liam Neeson, Michael Cane, Gary Oldman, Morgan Freeman, Rutger Hauer, Tom Wilkinson e Katie Holmes
(ufa!), entrega um filme que tem seu mérito e fica muito acima de
adaptações puramente caça-níqueis como “Elektra” e “Demolidor”. “Batman Begins” só decepciona porque tem os ingredientes certos para ser o zeitgeist do cinema inspirado em HQ, mas talvez nas doses erradas.

Porradaria artística no gelo

GUSTAVO MARTINS: Não vá ao filme achando que vai encontrar o “Batman Ano 1”,
gibi de Frank Miller que humanizou e tornou realistas as origens do
Homem Morcego. O filme tem clãs de ninjas no topo de montanhas,
explosões apocalípticas, crianças indefesas e as malditas cenas do
herói colocando a armadura em close.


Os diálogos são duros de engolir, uma pérola motivacional
atrás da outra. Repare nas semelhanças com outro filme de Homem-Animal,
como aparições de ponta cabeça, trens que precisam ser detidos e gente
escalando paredes. Não é uma adaptação à altura de um quadrinho genial,
é um filme de super-herói, com tudo exatamente no lugar em que deveria
estar – exceto, talvez, por aquela verruga bizarra do Christian Bale.
Tendo isso em mente, é possível se divertir. E o Espantalho é jóia.

Qualé?

JORGE PAPA: "Batman Begins” ressuscita o Cavaleiro das
Trevas em grande estilo, e dará fôlego extra para as adaptações de
quadrinhos no cinema. Sim, o filme traz à tona todos os clichês do
gênero... Mas “explosões apocalípticas” são um pré-requisito para um
filme desse porte, da mesma maneira que um bom romance requer uma cena
de sexo.


O elenco é tão bom que até Katie Holmes se salva. O veterano
Michael Caine como o Mordomo Alfred fará Anthony Hopkins se arrepender
de ter recusado o papel. Mas o grande show é mesmo do ator Christian
Bale, que entre tantos nomes consagrados se destaca como o playba fútil
Bruce Wayne e seu atormentado alter ego.


Entre tantas acrobacias e malabares, é a análise realista do
transtorno mental vivido por Wayne que proporciona ao filme o seu
grande diferencial. O competente diretor Christopher Nolan mergulha
fundo na psiquê do Homem-Morcego e explica de maneira plausível toda a
trajetória traumatizante que levou um “bon vivant” a trocar sua coroa
de principe por um capacete chifrudo. O Morcegão estourou a teia do
Aranha como o melhor dos filmes de super-herói já feito. Que venha o
Coringa!

O novo Batmóvel

CITADO, GUSTAVO MARTINS SE DEFENDE: O gibi de “Batman Ano
Um” é legal exatamente por conseguir dispensar todos os
“pré-requisitos” (ou seja, clichês) para uma história de super herói,
coisa que esse filme, a meu ver, não teve a moral de fazer. Ainda fico
com o Batman do Tim Burton, que tinha o Coringa e aquele saquinho de
risadas do mal. E desde quando ninjas no topo de montanhas são
plausíveis?

E agora, será que vão querer me ver?

RITA COSTA: Não se deixe iludir pelo artístico mas nada impactante pôster de divulgação de ”Batman Begins”.
O filme causa mais efeito do que o esperado, a começar pela certeira
escolha do elenco: com exceção de "A Vida Aquática de Steve Zissou",
não me lembro de um diretor recente ter conseguido reunir, em um só
filme, atores consagrados como Liam Neeson, Christian Bale, Michael
Cane, Gary Oldman, o estranho Cillian Murphy (de "O Extermínio"),
Rutger Hauer e uma bem-comedida Katie Holmes. Quando você começa a se
acostumar com as certeiras atuações, eis que vão surgindo
exaustivamente na tela um e outro personagem novo e tão bom quanto o
anterior.


O espectador pode até sentir falta de um certo cuidado visual
ou efeitos especiais num trecho ou outro, mas é exatamente nisso que o
diretor Chris Nolan acerta. A veracidade do que vemos em uma Chicago
suja e real, e do que o personagem principal sente em seu conflito
interior, dispensa quaisquer efeitos a que estamos mal-acostumados a
ver massivamente em filmes de ação e de super-heróis em quadrinhos. Em ”Batman Begins”, dá pra torcer pelo herói, e não pelo inimigo!





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flw galera.vai ser demais