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I've been rereading The Devil's Candy and remembering why he annoys me most of the time. First read it a couple of years after the events and now at a distance so much of it feels simultaneously just-yesterday and from a weird alien world. Phantom is good I just wish the music was better. Eckhart speaks a bit some spoilerish stuff in the story, be warned:. Being the guy under all that, well, that was a lot of fun for me. It's like you would feel if you met someone whose face had pretty much been ripped off or burned off with acid. I can't talk about it beyond that because I don't want to give away too much of the plans by Chris.

In the comic books, the wounds come from a splash of acid thrown at the attorney by a gangster on the witness stand, but there are hints that in this film it might be the Joker who is responsible for the scars. Eckhart won't discuss that, but he did say that the wounds are structurally deeper than in the comics: They're thinking small; Chris is going way farther than people think. But The Joker looks less sinister and imposing in this one. Maybe it's unfair to compare it to the first trailer.

I'm not sure if I like these new Batman character designs. In the first movie we had pumpkin-head Batman, and now there's the greasy-haired Juggalo Joker. Yeah, it's really still the only one I'm all opening-night-must-see about over the next couple of months. I'm not an uber comics geek, but weird. I guess it makes sense these days A non-USA exhibition source told me this evening that The Dark Knight's running time has been confirmed at minutes. HE reader Mgmax has explained the evolution in two lines: In the 21st Century we have long, self-important movies about Batman.

Jack Nicholson all the way, but at least this Batman is trying to bring the scary back, this years Joker ain't nothing to fuck with. Its not crass to say that because of Heath's tragic death and everything this movie is going to SELL? I'm mad excited for DK and yeah it is definitely a see-it-in-theaters thing for the first time maybe of the year? It almost makes me a giant Batfanboy feel bad about being so apathetic to the huge amt of work that must have gone into making all these websites for an imaginary city. Dark Knight theatrical release will supposedly include Watchmen teaser trailer.

To their credit, most municipal websites all kind of look like each took about 45 minutes in Microsoft FrontPage, so kudos on that front. Most exciting trailer yet: First trailer beats it by a mile, for a lot of reasons, not the least of which is that most of the good lines in the new trailer are recycled from the first trailer tho I'll grant you the greatness of the "This town is mine now" line when The Joker and Batman are face-to-face, which appears in the new trailer for the first time.

When did the rules on posthumous Oscar noms change? I guess that's directed to you, jaymc. I know Peter Finch had to die between being nominated and awarded to do it for Network. I think its pretty cool that, other than the final shot of the last movie, there hasn't been a lot of "That's the JOKER. I appreciate how comics engender such fervent discussions here. Means we all had at least a modicum of fun as kids.

Morbius won't watch this, who are you kiddin Alfred. Unless Morbz has secret mancrush on Ledger that I don't know about. I'm really excited for it, etc. He was quite prominent in The Long Halloween , which I think this movie is partially based on. My guess is Dark Knight will only give us Two-Face's origin story since in the trailers Eckhart is only shown as Dent, not as Two-Face , and he will be a more prominent villain in the possible future Batman movies.

I seem to recall speculation that Joker was more of a supporting character in this flick and Two-Face was the surprise for opening day. I expect that if that was true say, at new years, a re-edit made for a big difference. Was Two-Face a marquee villian in the Batman comics? After that, my impression was that everyone was B-List or below. Yeah, that's my recollection of the relationship between Joker and Dent too.

Maybe some bigger Batman buff can confirm if this is true? The Riddler didn't become a prominent villain before the 60s TV series, and I don't think he's been very popular in the comics ever since.

Two-Face is certainly more of a A List villain. I think it was originally some random jerk who acid-faced Harvey, but later it got retconned to Joker. Two Face's gimmick is you can never tell what he's going to do, cause of that damn coin. Riddler's gimmick is that he tells you what he's going to do with some mildly clever word play.

He was never caught in Begins, and i wouldn't mind seeing Cillian Murphy again. Two-Face has always been a really significant villain for Batman - and its easy to see why he would be attractive for serious treatment, the concept behind him as with the Joker is way stronger than the Penguin or the Riddler. Oh, I liked the Burton franchise. Keaton was a great choice for Batman and, these days, unfairly maligned for his work in the role. The animated series seriously best batman ever did really well with this, I hope the movie does as well.

Some feel that the Riddler's elevation by the 60s series was never truly deserved, and in recent years he's been treated by some writers as little more than a joke. The 90s cartoon version of the character was great though. I've never come across any reference to the Joker being responsible for Harvey becoming Two-Face. It's usually attributed to Sal "the Boss" Maroni, a mobster. It wrote two more riddles before it blew up! An egg - nature's perfect container. The container of all our hopes for the future. A unification and a container of hope? And there's a special meeting of the Security Council today.

The Riddler's criminal modus operandi is so deeply ingrained into his personality that he is virtually powerless to stop himself from acting it out. He cannot simply kill his opponents when he has the upper hand; he has to put them in a deathtrap to see if he can devise a life and death intellectual challenge that the hero cannot solve and escape. However, unlike many of Batman's themed enemies, Riddler's compulsion is quite flexible, allowing him to commit any crime as long as he can describe it in a riddle or puzzle. He often has two female assistants, named Query and Echo.

His name, Edward Nigma, is a pun on the word enigma, which means riddle or mystery Edward Nigma: In his very first appearance, Nigma was depicted as an employee of a carnival who enjoyed cheating his customers out of their money with his bizarre puzzles and mindgames, most of which were rigged in his favor. He soon finds himself longing for greater challenges and thrills, and dons the guise of the Riddler to challenge Batman, whom he believes could possibly be a worthy adversary for him.

Some notable writers, such as Alex Ross and Shane McCarthy, have suggested that the Riddler's compulsion stems from parental abuse that he endured as a child. After scoring high on some important tests in school, his father, unable to grasp the fact that his son was brilliant, beat him out of envy.

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This, in theory, left him with a strong internal desire to tell the truth, and prove his innocence. This desire manifests itself in the form of his obsession with riddles. I can't remember all the episodes but I do remember Scarecrow being seriously badass, which left me a bit upset with the last Batman movie because the scarecrow didn't do half the scare tactics he did in the tv show.

Anyone remember the episode where batman is at a graveyard and he gets trapped in some lethal tomb as a trick. And there are like tons of traps in the graveyard. Who was that villain? Also, the tv show had the stupid villains that were just big tough guys that knew shit. I remember an episode where one of these guys is playing poker with all the great villains. I found the pairing to be quite funny. Who is this Clayface of whom you speak?

Is he the D. Comics version of Marvel Comic's The Sandman? Clayface a bit more fucked up psychologically than the Sandman. Suffering from hyperpituitarism, Payne works at S. Labs searching for a cure. He obtains a sample of the then-living Matt Hagen's blood, and isolates an enzyme which he introduces into his own bloodstream.

Although he is briefly able to shape his own appearance, this effect is short-lived: Payne builds an exoskeleton anti-melting suit to prevent himself from touching anyone, but he learns that he needs to spread his melting contagion onto others to survive he feels pain if he doesn't melt anyone. During this time his mental health starts to slip as he falls in love with a wax mannequin he names "Helena", appearing in Batman Annual 11 thinking she is the only woman immune to his touch.

After another breakdown, he thinks Helena enjoys watching men "fighting over her" when he battles Batman yet again in front of the wax doll. Although he doesn't give her up, he keeps her in Arkham Asylum, saying "we're both too polite to admit divorce, but she can't live forever". Too cheesy for this dark Batman franchise, I think. I'm not sure, but I think you're talking about "The Cape and Cowl Conspiracy", which featured a one-off villain who was good with traps. Adapted from a 70s comic story. Clayface is in this?! I'm way too excited but I'm not so excited that I'm gonna spoil it and watch the first five minutes.

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Wooh I appreciate that someone has that but I'd rather wait, I think it ruins the anticipation although to be fair, I'm going to watch it for free anyway Yeah Burton did great work with what he had for Batman Returns, it brought it back from the brink a little. I LOVED Walker in that, I think he was miscast tho, he needed to have been placed as a more theatrical villain or someone with more of a development.

Penguin was artfully done. Does anyone feel Walken could have been Two-Face? We pan to a beautiful woman: She is the hottest woman in the world, but she wears glasses because she is also the smartest woman in the world. IMAX hype fuelled here:. I will go see it again when it opens July My brain starts to shut down when it gets over-pixillated, and this film goes on for two and a half hours. I am going to see this after three days in screening rooms watching awful short films at Soho Shorts festival.

The service says "many" of those 12 a. A sequel to Christopher Nolan's hit franchise reboot, Batman Begins, the new movie is receiving ecstatic early reviews—Variety called it "enthralling"—and Oscar buzz for the late Heath Ledger for his performance as the seriously unhinged Joker. As early as two weeks ago, three weeks before the July 18 debut, Fandango was reporting "dozens" of premiere-night sell-outs. As of 10 a. Not only are several midnight screenings here in Cleveland sold out, the midnight IMAX screening in Columbus is sold out, and the 3: Ledger's eerie performance as the Joker has already won him plaudits from international critics and co-stars, making him an unlikely forerunner to posthumously win the Academy Award for best supporting actor next February.

Ledger was nominated in for an Oscar for best actor for his role as a brooding gay cowboy in "Brokeback Mountain. It turns pulp into dark poetry. Well Batman was initially conceived in, and has most often occupied, the schlockier end of the comic book medium. I don't for a second think this guy grasps there are non-schlocky pockets of said artform, though. I certainly prefer the better end of the comics medium to the tons and tons of shitty "dark poetry" out there. Could you give some examples along the path of schlocky to non-schlocky comics so I know whether I agree with you or not?

My first reaction is that you don't know what you're talking about. That's actually a great article, just for all the background information on the creation of the series and all that. Dude wrote Papillon , that's all I need to know. This is Batman, not "Hamlet.

Two points of note. One is that he seems to recall that his pilot script, which featured The Joker, was the first one aired. Actually, the first episode that aired featured The Riddler and the second week featured The Penguin. It wasn't until the third week that The Joker showed his white face So something is wrong in his recollection.

Dozier used to tell the story of how he came across a Batman comic book in an airport gift shop and that's how he got the idea to do the show. I seem to recall that in one telling, Dozier even described the issue in question well enough that guys like me could identify it was Batman — which featured The Riddler and which contained story elements that turned up in Semple's script for the first episode aired.

I'm pretty sure Semple's right about all the other stuff but those two matters have me a little puzzled. But then the novelty wears off and the lack of imagination, visual and otherwise, turns into a drag. The Dark Knight is noisy, jumbled, and sadistic. Instead of enjoying the formalized beauty of a fighting discipline, we see a lot of flailing movement and bodies hitting the floor like grain sacks. All this ruckus is accompanied by pounding thuds on the soundtrack, with two veteran Hollywood composers Hans Zimmer and James Newton Howard providing additional bass-heavy stomps in every scene, even when nothing is going on.

At times, the movie sounds like two excited mattresses making love in an echo chamber. In brief, Warner Bros. And it has one startling and artful element: That part of the movie is upsetting to watch, and, in retrospect, both painful and stirring to think about. I think these reviewers need to come to terms with the fact that well-established comic book characters, and even some less-than-well-established characters, are the modern day's mythology.

The manner in which you cast, paint and tell a myth depends on what you want to express through the telling. Burton's muse was slightly different than Nolan's, to be sure.

I can't fucking wait to see this movie. I've got the animated series to watch which will hopefully gimme a decent Batman fix. I bought the Batman box set that was out a few years ago. Some of the Burton stuff still works, some doesn't, there's some atrocious editing and the plot in the first one is still a bit wispy. Keaton better than I remember. And the shields on the Batmobile are hand-drawn animation! As is Joker falling to his death! Gotham Knight" has some really, really good stuff. For all of Marvel's box office success lately, DC owns the animation ground. The origins of 'Gotham' as a nickname.

I don't know about Oscar-worthy, but it was something-worthy alright. And please if you can, see it on an Imax screen. I saw it on a regular screen and it was disorienting enough, I can't imagine how unsettling it must be on Imax. Yeah, we found this out yesterday when my wife stopped by after work. The moron I talked to over the weekend just had no clue, and their website was down. So excited that over the last four days I've watched Batman Begins, Gotham Knight, and seven episodes of the animated series first season.

What's the deal with preview screenings? I don't understand how it can be so easy to get in to see a film before its general release? If you so much as walk aimlessly around certain malls especially in big cities there will be people who are giving out, if not actively harassing you to take, free screening passes. The last two movies I was directly offered passes to I turned down and they both, ironically, were gigantic hits Borat and Knocked Up.

If you register at seefilmfirst, you'll get emails offering you tickets for preview screenings. It works on a first come first serve basis though, so there's no guarantee that you'll actually get a seat even if you've got a ticket. I've seen loads of pretty good films this way though.

I have a Visa credit card and received some rewards-type e-mail last week offering free advance tickets. I hope they're for real and that I won't return home to find my apartment ransacked. Also, a soundtrack review. The idea is that Dent proves heroism is improbable or unlikely in this life. But how great of an actor was Ledger to accept this trite material in the first place? If you fell for the evil-versus-evil antagonism of There Will Be Blood, then The Dark Knight should be the movie of your wretched dreams. Such effects used to be called cheap.

All it takes is a push. I had no idea Armond White was an old bald black guy. I'm totally anxious to see this, and I'm not often interested in big-budget Hollywood movies. But I wonder when I read praise like this:. Batman is good, yes, The Joker is evil, yes. But Batman poses a more complex puzzle than usual: The citizens of Gotham City are in an uproar, calling him a vigilante and blaming him for the deaths of policemen and others. And the Joker is more than a villain.

I've read this over-and-over in other reviews. But none of this is new. It's the same key conflict at the heart of a lot of comic-book movies, e. The hero is often a haunted vigilante who teeters on the edge of good and evil; The villian often is a rouge monster who challenges the hero's self- identity as virtuous. There's more to Ebert's review, to be sure including a lengthy discussion of what looks like the best thing about the movie: It's hypercool feel and Ledger's performance , but there's something that rings hollow about all the reviews saying that the plotline and the characters' internal struggles "raise the bar" for comic book movies.

Anyone seen it yet? Is there something to this notion that the movie takes "comic book films" to a newer, deeper place? But that kind of comment is everywhere: NY Daily News "this new Batman action-drama - 'action-adventure' is too slight a description - marks the moment superhero movies turned serious" ; Seattle Post Intelligencer "With The Dark Knight, the cinematic superhero spectacle comes closest to becoming modern myth, a pulp tragedy with costumed players and elevated stakes and terrible sacrifices" ; Miami Herald "Nolan, who co-wrote the screenplay with his brother Jonathan, uses the story to explore the nature of heroism and the futility of playing by the rules in a world that has no use for them.

In The Dark Knight, doing the right and proper thing often backfires on the good guys, and it's the extremes to which Nolan pushes this idea that gives the film its subversive streak. By downplaying the fantastical elements of the scenario -- Gotham City has never looked this much like a real city, with practically no computer-generated embellishments -- the filmmakers give The Dark Knight an urgency and gravity that is uncommon to comic-book pictures" ; many others. Movies have a much stronger emotional pull for me than comic-books ever could.

And, to reiterate, I'm totally into seeing this film. But only because it looks very cool, well-made, and the marketing campaign has been extremely good. I'm not sure how Ledger's death impacts my interest in seeing the film, if at all morbid, I know; just being honest. Apparently lots of film critics didn't get the memo that you can treat comics seriously.

I think, if you weren't so busy trying to be right and failing, btw , you'd realize that all art forms can do things unique to themselves, and that these differences don't intrinsically make one or the other better, unless you're expecting sound from a book, or pictures from a novel. But that's not even the issue. I sort of prefer Michael Keaton's take on the role, but I'm sure I am the only one who feels that way. I just think Keaton's better in the role, but he's a relic of his era, and Bale makes more sense now, obv.

I like Keaton's Bruce better as well. It only occurred to me on my second viewing that Bale didn't mean to make Bruce look like such an unconvincing playboy. Frankly, all the protagonists of Nolan movies I've seen are rather bland and uninteresting outside of the predicament they're in for the film. I can't get into why without spoiling the first two and I don't think I need to exhume any discussion on Katie Holmes in BB.

I liked Bale in BB but he is out-acted by pretty much everyone in TDK except for gyllenhaal, and only because her character isn't given much to do. The guy can brood with the best of them and his billionaire-brat act is fine but his Bruce Wayne is a personality-free blank. I think this is way less boring than BB. I wanna know who had the genius idea of casting Nestor Carbonell in a Batman movie because I had to resist the urge to giggle and yell "I am Superhero movies by necessity needs the cheap thrills and spills - can you imagine one where the hero sits around in their tights and have long, intense conversations about morality or the limits and ethics of vigilantism?

Really the only question is whether a particular superhero movie delivers or not is whether it gives the audience more than standard "good guy meets bad guy, they fight, some shit get blown up, good guy wins" plot and manages to capture some of the nuanced storytelling that comic-book fans already know the genre is capable of. But I think TDK works because it's so focused in what in wants to say. I'm a comics dilettante at best and even I know this isn't saying anything really new.

I'm more inclined to agree with omar upthread that TDK works because it tells this story well, which is frankly more than you could ask for in a 2-hour plus superhero movie. Does this mean it "transcends the genre" I'm not so sure. Which are not the same thing. But none of the super hero movies quite do. If it rises above it's form and I'm not sure it does -- I like X-Men 2 best of the comic adaptations I've seen , it's the form of the movie-adaptations, not of comic books themselves.

Pixar shouldn't just be making films for the kid market, anyway. Everytime I'm sitting through a Pixar film with my wife and daughter, I think: A Pixar version of Jaws. Black rubber again t'night? Ow, the birds really go fer that, eh? Or Caine as Harry Palmer: I was just about to make an omelette. Do us a favour and bring us back some tinned mushrooms.

And get the expensive ones this time, cos there really is a difference in the flavour. Not flatten a street full of cars and fill an apartment block full of bat droppings. Or as the old hippie in Children of Men: Think you're funny, eh? Come on, pull my finger. How about the film ending with a real cliffhanger ending, with the Batmobile balancing on the edge of a cliff and Alfred says "Wait a minute, I've got an idea"? Saw this in IMAX last night. Take those three movies and you've got a thesis on the American psyche in this decade, I guess.

I loved the heavy Mies van der Rohe influence on the interiors which fits with the whole Chicago skyline. Also interesting how careful Nolan was to exclude any easily identifiable landmarks Sears Tower, Hancock Tower, etc. No idea if NCfOM the screenplay was circulated much before then, or if it's just coin cidence. I've only seen enough of Saw clips to know it's a manclown taunting people and setting traps for them from afar.

The joker IS a 'manclown' and two-face DOES make decisions based on the toss of a coin, these are established characters devised way before 'saw' or 'no country' and as such it's bullshit to suggest they are derivative of the saw bloke and anton chigurrrrrrr. The coin, the clown, you guys are right. As a moviegoer, and as far as thinking about what fears they're playing on, they made me think of these other movies. I don't know if perhaps I've just changed tastes over time, or if they've really tampered with the formula, but I absolutely abhor movie theatre popcorn now.

It actually makes me feel sick to have more than a little of it, and I used to ingest it as a kid. I feel sorry for Mamma Mia. I didn't see anybody going to see it at the theatre I went to. Oldman was brilliant, but did anybody else think his accent poked out a hell of a lot more than it did in Batman Begins?

Oldman was brilliant, but did anybody else think his accent walrus 'stache poked out a hell of a lot more than it did in Batman Begins?

Behold the bew summer servant

I remember the angry messages on Yahoo! MOvies when Sixth Sense came out for that reason. That is not to imply that I did not gain weighty moral insights from this masterpiece. I was pleasantly surprised at how well-behaved our crowd was. Normally they're bringing crying babies and actually taking pictures of themselves in the theatre seriously, wtf?

They didn't hold up for me as well as I thought. I still liked Burton's Batman but hated Batman Returns on repeat viewing. I might have to see that again now, actually, to wash all this coal-dust-colored moral gravity off me. At least the Batman credit card "never leave the cave without it" was saved for the next movie. Usually for the war on terror, or Iraq, or what have you.

You know what we really need? I very much forgive it in No Country, because that kind of thing is a Coen Bros trademark, if not partial invention. I've gone off before about the sequence in No Country when Tommy Lee Jones drives up just in time to see the aftermath of what must have gotten pretty ugly. One of my favorite sequences. I have kind of a big question about the ending of TDK and wanted to gauge satisfaction or dissatisfaction.

Maybe after the weekend when more folks have seen it. No, it was spectacle, and camp, and very shallow, and totally pissed on any notion of Batman as brooding Nietzschian superman. Schumacher's Batman is much different, much sillier animal. I thought Val Kilmer looked totally out of place, didn't enjoy myself at all and I was only about 15 at the time! Only downside to this movie is that the next 10 Halloweens will look like this: The first movie was shot in full-on CG Chicago that was mostly unrecognizable save for a few landmarks, and this movie was just plain shot in Chicago.

I can't remember how many times they were in someone's office with the windows looking out on a very real view, and I thought, "I know exactly where that is" or "I used to work there! Dude who drinks the poison? I worked in that building. In fact I had to look it up, took me a sec I took this picture out the window of that building. Heh, the usher even told people to be quiet before the movie started which was nice.

Not to mention the Watchmen trailer before the movie! Liked it a little bit more than BB, but the series is still not as strong as Spider-man when it comes to storytelling and general structure. Most of the things I liked about the film others have already touched upon in great detail so I'll skip to things that bugged me. Pop-psychology and "philosophy major" speeches from the Joker about human nature and the nature of evil were irritatinf. Some of the Jokers' rhetoric about society and violence was the type of pretentious nihilism I would expect from a school shooter's blog entry the day before the big shootout.

I cringed when it went on long. Tying right into that: Nolan's Batman universe seems to take a pessimistic, gloomy, and nihilistic view of the world, and yet the Joker's "social experiment" towards the end and the decision the people come to and the way they come about it is oddly reminiscent of the type of upbeat, populist messages you might expect from the Spider-Man movies during scenes where the masses get involved in the film "We New Yorkers stick together like family!

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Everything about the way Nolan portrays Gotham city and its people hints that they'd act in the exact opposite way than the way they did. Boy, it's hard to describe that scene without giving away spoilers He goes from trying to emulate the world of Blade Runner to giving us the good-natured world of Spider-man, where people aren't selfish and greedy when it "really matters. The Joker isn't a nihilist, he just thinks he is. All of his "pop-psychology" babble is undone by the choices the people made in his modified prisoner's dilemma. I think the choices made by Batman and Gordon at the end are a pretty good reflection of the Gotham Nolan has portrayed.

Then why's the city such a sewer if everyone including convicted murderers are really saints? You are exactly right, exactly, I thought that was a weak bit in about eight different ways, but primarily because by any real world logic, the joker's idea would have worked perfectly, and people would have stepped on their elderly mother's head to get to that goddamn button. Unless the criminals were faster, and overtaking that little pale dude holding the button would not have taken much, since everyone on that boat seemed pretty much without physical restraint this is not how prisoners are transported, I pray.

And Batman's confidence that nothing would happen was based on what? His intimate acquaintance with human nature? The same acquaintance that leads him to, for instance, take to the streets and fight crime because he doesn't feel anyone else is quite up to the job? What the fucking fuck. I actually love this film almost unreservedly, really.

Couple of things didn't work -- very ending spoken bit was 'hmmm, no' and it did stretch out a little too long but compared to the complete pacing fuck-up of the Indiana Jones movie it was perfect. Patrick Leahy cameo eh but I loved how they went right ahead and brought back Cilian Murphy as the Scarecrow and then almost immediately dispensed with him again. The pencil trick was definitely my 'holy shit the hype may be right' moment re: Nearly all the deaths surprised me. Even the one fake one. One reason why I felt a bit flattened by the ending was who DID finally die for real -- felt like setting up one mean headfuck of a third movie and then it was jerked away from under the audience.

We seem to be on the same page here. For all this talk about a comic-book film where "there is no black and white, just shades of gray, everyone is corrupt etc etc Zzzzzzzzz" we get a climax that is right out of the first two Spider-Mans in its reliance upon innate human decency to help our hero when he can't do it all. Do we not want to see a movie where modern day society is not only criticized in words but in our actions? In a way the scene is typical PC. The only person willing to push the button is a person from the citizens boat and he, with his hands full with a briefcase and papers, is probably hold your booing!

There they go again only thinking of themselves! The rest of us wouldn't do that, only they would. My sixteen-year-old brother told me he knew how the leading criminal on the boat would act because he said that because the only two previous black characters aside from Freeman were thuggish criminals who died no less they wouldn't let all of them be portrayed unsympathetically for the sake of not wanting to draw suspicions of racism or profiling, which I though was a pretty interesting insight. There are certain rules like that in film that people remember and guide them almost unconsciously.

Well, all the principal actors are signed on for a third but Nolan isn't obligated to direct. I think he's going to breathe a sigh of relief at not having to figure out where to go next with this. Good luck to the people who have to figure out how to tie-up that gigantic loose end. My brother's idea of the similarly blond-haired Owen Wilson stepping in to replace the Joker, and his delivering of the Joker's lines in Wilson's famous "yaaah" twang, had me laughing pretty hard.

Mmm, wouldn't blame him. Yet I'd heard he'd been toying with a three picture arc? I would really enjoy at least one more from him. The two previous black criminals were also not merely thuggish, but thuggish and apparently high-ranking and in pretty nice-looking suits.

I think we are on the same page -- all this crossed my mind as well. Nihilism is a pretty complex subject, so I'm naturally a bit hesitant to bandy it about. Anyway, the Joker doesn't just want nothing or pure destruction, he wants confirmation of his view on humanity. I don't think Batman's belief that nothing would happen was out of character. In the first film he feels all they need is hope to get them out of the depression, and I don't think anything has changed.

He knows that he's lost himself in his vigilante role, and as much as he might wish he could leave it all behind and be with Rachel and have a normal life etc The only thing that separates him from the criminals is his belief in the people. There is a certain degree of self-deception there, but I did find it to be in character. Anyway, it's an amazing film, especially considering that it's a big-budget tentpole. These don't come along very often. I suppose he should have had one blow the other up, because then it really would be Ayn Rand-esque. If the Joker was right about how awful we all are but still wrong in thinking it means that we're all worthless, that would be some moral ambiguity I could get behind.

Beware the Owl Hinting at Akane's treachery. My Name Is Not Durwood: Really hates that Hangetsu insists on calling him Noko.

Tropes That Apply to The Beast Knights

To Hangetsu, like any dog would. Shinonome Mikazuki and Mu, the Crow Knight. Mikazuki is the second Shinonome son, and second only to Hangetsu in their family's martial arts style. He gets along well with others, much like his brother, but mostly through acting clownish and cheery, always prepared to be the life of the party. This friendly outer persona hides a near-insane bloodlust and battle hunger that comes out whenever he thinks he's found a worthy opponent.

Mu the Crow Knight is the boisterous Mikazuki's opposite, refusing to speak and answering everything with a cold, sharp glare. When doing work for the Mafia. Blood Knight - To the point Mikazuki attacks other Beast Knights looking for a good fight, until the golems become dangerous enough to keep him satisfied. Devil in Plain Sight - Blatantly set up as one then gradually subverted. He's actually a really great guy when he's not trying to coerce someone into being his new fighting companion.

Heroic Comedic Sociopath Hidden Depths: Mikazuki is exactly as he seems, yet also nothing what he seems. He claims to fall in love with Sami immediately, though then again he also did with Hiwatari at school. Doesn't seem to notice Subaru's crush on him. Until the last chapter Sociopath with a Heart of Gold - He doesn't actually try to kill anyone and he's actually quite friendly when his fighting fix has been satisfied.

He's even a perfect gentleman around Yuki and Subaru, even though others are convinced he'd do something sinister. Furthermore, he used his wish to feed a starving child in India. Worthy Opponent - Desperate to find one, attacking even other Knights if he thinks they'll give a good fight.

Batman carries on beginning in ... The Dark Knight

It's also the pronunciation of a Japanese term meaning, loosely, "nothing" or a lack, which goes well with Mu's lack of characterization silence and refusal to react as a form of characterization. The name could also be a reference to Mu ninn, one of Odin's ravens. Gender Reveal - In the one time she speaks in front of anyone, is revealed to have a woman's voice.

Anima transforms her into the Phoenix for one last battle against Yuuhi and Noi. Samus Is a Girl The Voiceless. Nagumo is a middle-aged former police detective. He is also a potent close combatant, infamous for a "hundred kick" flurry of blows used to overwhelm an opponent. As a former detective, he brings a much-needed sense of order and experience to the Knights, helping turn them into a coherent unit instead of just a group of random fighters with their own eclectic styles.

He is also fiercely protective of the younger Knights, considering them "just children" who shouldn't be fighting. Dance Dark, the Horse Knight, complements Nagumo with a similarly serious mien. Dance does what he can to advise and help Nagumo, though there's one line he won't cross - no rides, no way. Amicable Exes - He is separated but not yet divorced from his wife, and they seem to get on at least politely, if not very closely. Badass Longcoat Extremity Extremist: Fights primarily with kicks.

In some of the fights Last-Name Basis - As friendly as everyone gets, nobody really refers to Nagumo by his given name. Except Mikazuki, of course, who calls him "Sou-chan. Real Men Wear Pink - Very easy to miss, but every time any of the Knights go out to have coffee or a meal together at a nearby family restaurant, Nagumo gets a very fancy, rather "girly" parfait.

Dance Dark Berserk Button: Anima chooses him to become the Unicorn. He's rather embarrassed about it. Yayoi is a young woman in her early 20s who hides a terrible secret: She is gentle and kind in manner, tall and pretty, and in many ways prime material as an ideal Japanese housewife. Just one who also practices swordplay on a regular basis and could probably thump most men she comes across.

Many of the Beast Knights look up to her, and trust her combat abilities implicitly. Shea Moon the Snake Knight is far more open and forward than Yayoi, as he tries to encourage her to be open with her hobbies and share them with others Action Girl Closet Geek: And is mortified when found out. Cool Big Sis Cosplay Otaku Girl Gainaxing - She tends to, uh, "bounce around" considerably in a fight, though never takes advantage of it as a distraction even when just sparring with others.

Eventually becomes one with Shimaki Secret Secret-Keeper: She learned fairly early on that Yuu and Sumi planned to destroy the world, but doesn't mention it to the others. She eventually confronts Yuu about it, making her just a normal Secret Keeper. Shea Moon Shipper on Deck: Tries to get Yayoi and Yuuhi together Tarou knows where he's going in life. He's worked hard at learning to cook and intends on heading to a vocational school once he graduates high school, inspired by the cafe that his neighbor Hanako's family once ran.

He's not the bravest of the Knights, nor even the most capable, but as one of the kindest he makes friends easily with the others. He agrees to fight for the sake of protecting Hanako, who was also recruited. He also not-so-secretly loves Hanako but is afraid of changing their relationship. Lance Lumiere, the Mouse Knight, complements Tarou quite well - if only as one coward trying to bolster the spirits of another.

It's unfortunate for Lance that his partner is so close to the Mantis Knight's partner, as Lance and Kil hate each other deeply. Non-Action Guy - Always a bit of a crybaby and coward, and while he attempts to learn some of the others' basic moves, he fumbles them more often than not. Playing with Fire Senseless Sacrifice: As Kil points out, he didn't actually need to take the bullet for Hanako, since his wish would have saved her anyway. He tried to block Hanako from the 9th's lance, though he simply went through them both.

Admits to be this, but has higher morals than Kil, Irony - Possibly a coincidence as it relies on an English-language pun, but Tarou dies on the 9th golem's lance, and wouldn't have if Lance hadn't drawn him into the war. Either way, a "Lance" is directly and indirectly responsible for Tarou's death. Hanako is an intelligent, talented high school student, and Tarou's next-door neighbor and classmate. They've been together as long as they can remember, and even though they are the same age, she has always been his "responsible older sister.

Her partner is Kil Sonne, the Mantis Knight, who is harsh and cold with an overdeveloped sense of martial pride. Or maybe he's just a bloodthirsty Jerk Ass. An Ice Person Playing with Fire: Learns to do this after Tarou dies. Beware the Nice Ones: She used her wish to kill a criminal, and reacted with only mild interest when it actually worked.

Childhood Friends - With Tarou Important Haircut Mundane Utility - She used domain control to cool water during summer, and went further to devise her ice attacks. Karma Houdini - Rather literally, as her wish was to kill a criminal. The consequence of wishing for someone's death is to take the burden of their karma upon yourself, making you more likely to suffer an unpleasant end as a result. Tarou dies to save her, both by diving in front of the blow and using his wish to heal her when that proves fruitless. Smart People Wear Glasses - She's studious and serious, and has often had to help Tarou study as well.

Shimaki is a genial man in his late 20s who values knowledge and the joy learning brings him. He's heavy-set and tall, with a smile almost perpetually on his face. He's an old friend of Sami's sister, Hisame, and knew her before Hisame and her mother moved to France. He is a natural teacher, urging others to learn and think critically, and come to their own conclusions. His partner is Coo Ritter the Cat Knight, a polite black cat that likes to help and encourage Shimaki wherever he can, but knows when to stop pushing. Badass Bookworm - Not a direct fighter, but don't think you can take him down easily.

Eyes Always Shut Hidden Depths Improvised Golems - His wish was for the ability to conjure golems similar to Animus, since he doesn't have any real fighting ability. Not So Different - Animus also tries to tempt Shimaki over to his side, because he knew Shimaki's first idea for a wish had been access to the Akashic Records , and considered Shimaki almost kin because of that desire for knowledge.

However, Shimaki considers knowledge a means to an end, while Animus considers it an end to itself. Becomes one with Yayoi. His earliest golems are named after the days of the week in German, starting with Sunday for the very first. Yuki is a sweet and friendly girl in middle school with her classmate and best friend Subaru. She is slight and unimposing, but with an eager and outgoing personality that gives her a presence on par with the older knights. She and Subaru were informally apprenticed to the Master after meeting him in a park, and he focused Yuki's education on martial arts.

When pressed, she is also ridiculously Hot-Blooded. Though she does open them when things get serious. Little Miss Badass Official Couple: With Akane in the epilogue. She's also much more boisterous and Hot-Blooded of the pair. Ron Yue Shrinking Violet: He is very meek and shy. Subaru is a gentle and quiet girl in middle school with her best friend and classmate Yuki.

Subaru is short, skinny, and reserved with a shock of bright red hair that stands out, and she is by far the more sensitive and easily embarrassed of the two. She and Yuki were taken under the Master's wing as young children, and he focused Subaru's education on strategy. Subaru's partner is Lee Soliel, the Rooster Knight, an opinionated and noisy rooster that rides around on her head. Lee has a protective father's attitude when it comes to Subaru, which mostly manages to embarrass the girl whenever he speaks up which is often.

Lee Soliel Innocently Insensitive: Often makes oblivious opinions to his partner, Subaru Motor Mouth: Talks constantly compared to his slower ally. Noble Alexander: Books

Wise, kind, brilliant, humble, and with a flair for the dramatic, the Master is too cool for this or any other narrative. Seriously, this guy was awesome. He lived for over years, knew everything and could do almost anything, but never let it go to his head. About college and stuff. Hell on Wheels Robert McCarthy writes this strip. I used to draw it. Lowbright Derek Kirk draws beautiful comics and puts them online. You should go look at them.

You can also see the guest strip he did for Narbonic here. Aaron Neathery's Comix "Albert" is my favorite. Plus he did a whole week and a half of Narbonic strips, which I love.