Let’s face it, they could play John Williams’ ominous “Imperial March” over scenes of Uncle Deadly from the Muppets lobbing Green Goblin pumpkin-bombs at Scrat the saber-squirrel (I mean, they literally could, legally, and you could watch it on Disney+ forever and ever), and many of us would still feel emotions stir.
Is it possible, in the world of Joker, to believe in real heroism? Do the filmmakers even care about that question?
Even skeptics of the franchise must admit, I think, that the Pirates of the Caribbean films have generally aimed higher and been smarter than might have been expected.
Thanks to this film, I’ll be adding “Shrinking World Syndrome” to SDG’s Very, Very Little Movie Glossary.
Critics adored Batman for its eccentric, Burtonesque take on a pop-culture icon, for its moody, noirish gothic art-deco Gotham City, and of course for Jack Nicholson’s showy performance as the Joker. Comic-book fans, meanwhile, appreciated the film for rescuing the Dark Knight from the over-the-top camp comedy of the 1960s series and making him suitably dark and brooding. For all that, though, the film’s flaws are hard to overlook.
It’s not just that the banter and camaraderie of Luke and Han and Leia was so much more fun than the often wearying interactions of Anakin and Amidala and young Obi-Wan — though that’s part of it. More importantly, the stories themselves largely lack the strong center of good versus evil that was the heart of the original trilogy.
Crippled as he is by the decisions of the first two films, Lucas still manages to invest the final chapter of his sprawling space opera with the grandly operatic spirit of the original trilogy. It’s still cornball, yes, and with all the usual weaknesses. But Episode III at last has heart.
Copyright © 2000– Steven D. Greydanus. All rights reserved.