PUPPET MASTER II joins the ‘better than the 1st movie’ club alongside other sequels that managed to outdo their predecessors.
UNFRIENDED: DARK WEB explores the brutal terror of an unrestricted internet, where privacy from the right people doesn't mean the wrong people aren't watching.
A little more comedy this time around in the first sequel to SLEEPAWAY CAMP. And a lot more Angela!
Blue Skeleton returns. But this time, it isn't near as terrifying.
I tried to enjoy it, I really did.
The return of Samara in RINGS is an unexpected, Gothic treat for fans of the dreaded VHS' tape's mythology.
Adam Wingard & Simon Barrett take us back to the Black Hills in search of answers. But their camping adventurers end up discovering more terror than anything they ever expected.
WHEN A STRANGER CALLS BACK: an unexpected sequel that chills almost as much if not more than the original.
This sequel to William Friedkin's original horror classic is far from perfect. Yet I'll be damned if it isn't my guilty pleasure.
The Texas Chainsaw Massacre 2. 1986. Directed by Tobe Hooper. Screenplay by L.M. Kit Carson.
Starring Dennis Hopper, Caroline Williams, Jim Siedow, Bill Moseley, Bill Johnson, Ken Evert, James N. Harrell, Lou Perryman, & Chris Douridas.
Cannon Films/Golan-Globus Productions.
Rated R. 101 minutes.
Horror sequels are often unduly shit on. Many, in my mind, are actually worth their weight in blood. Some are most certainly worse than the originals, or they simply don’t bring enough to merit considering it as even a worthwhile sequel. But a lot are great, such as the often torn down Nightmare on Elm Street 2: Freddy’s Revenge, Psycho II, Exorcist II: The Heretic, and I’m sure there are a few more.
One of those oft maligned sequels is The Texas Chainsaw Massacre 2, from the director of the original, Mr. Tobe Hooper. Maybe part of why this sequel strays a little past where the original marked its territory is due to the fact Hooper only directs, and the writing duties are left up to L.M. Kit Carson (he did a great screenplay for Wim Wenders’ Paris, Texas). Not saying this movie is poorly written. In fact, it successfully welds together the terrifying steel of Leatherface’s chainsaw with a good dose of backwoods Texas humour. One of the best aspects is the characters. Even Leatherface and his horrific appeal aren’t lost within all the black comedy, but rather we get doses of foolishness which lures us in, then the saw and the family do their work. Certainly not close to as nerve shattering as the original film, The Texas Chainsaw Massacre 2 at least tries to do something different instead of emulating the same style, over and over; a technique studios nowadays use too often, trying to capitalize on the money made from particularly successful movies. In straight up opposition, Hooper switches things up and leaves it all on the table. What else would you expect from a Cannon Films production?
On the air during her radio show, Vanita ‘Stretch’ Brock (Caroline Williams) and L.G. McPeters (Lou Perry) overhear what may just be a brutal murder, when two young college age dude-bros encounter – unbeknownst to the DJ – Leatherface (Bill Johnson) and some of his clan.
In town is Lieutenant Lefty Enright (Dennis Hopper). He’s investigating yet another possible chainsaw killing. His brother’s kids were killed by the dangerous chainsaw family a decade before. For ten years, he’s searched for those killers. When Stretch finds Lefty at his hotel and brings him the tape that possibly contains evidence of the latest murder, he doesn’t seem too excited. But after awhile, Lefty wises up.
Only it may be a little too late. One of the other Sawyers, Chop-Top (Bill Moseley), goes to visit Stretch at the radio station. And he’s bringing along a nice dose of steel with him.
Can Lefty and Stretch hold their ground? Or will they become yet another set of victims to the killer Sawyer clan?
As I said, this movie is all about the characters. Whereas the original Hooper classic focused on the terror, putting innocent young people in the way of murderous psychopaths, the sequel keeps on with the killing, only it shifts towards giving us more of the demented maniacs in plain view. The original kept things in the dark, sorts of closing the family off from society. In this sequel, Hooper and Carson let the Sawyer family loose into the world, as if they couldn’t possibly be stopped. Therefore, we get to see more of Leatherface and learn different things of his character; for one, he’s a horny bastard, or at the very least sexually frustrated to the maximum. Plus, now he does this weirdly creepy and simultaneously funny shake while wielding his chainsaw; it kills me every time, a crack-up, but still there’s something scary about his enthusiasm. Then we’ve got Chop-Top, played magnificently and to cult status by the ever impressive Bill Moseley. He is always a creepy guy, no matter what character he plays (aside from stuff like Dead Air), but definitely amps up his eerie qualities to play this guy; he seamlessly becomes a part of the Sawyer world, adding eccentricity and further questions about exactly how completely maniacal this family is truly.
Aside from the family, though, we’re treated to both Lefty and Stretch. Hell, even L.G. is a decent character thrown in there. Well the stars of this show, aside from Moseley, absolutely are Caroline Williams and Dennis Hopper. Williams is not only a gorgeous lady, she oozes charisma, and having her play the on-air radio personality here was awesome casting. She really makes the character feel like a DJ, she talks like one and acts like one, so there’s an authenticity to her character, instead of that occupation feeling like a vain attempt at making her interesting. Add in Hopper, channeling both a renegade lawman and also some of his Blue Velvet craziness, and this whole thing is a ton of fun. Hopper’s character is a little campy, a little wild, but always interesting. He makes for a good showdown with the family, Leatherface in particular.
Note: the first scene between Leatherface and Stretch is one of my favourites, in any horror film. Because it’s dark and funny at once, then there’s this extremely disturbing sexual angle to it. Most of all, it brings some of the issues surrounding Leatherface to the forefront. He’s essentially a mentally challenged man caught in a murderous rampage, so he doesn’t know how to talk to girls, or impress them, except with his big, hard, long saw. Genius scene, incredibly well-written.
The Texas Chainsaw Massacre 2 contains a hearty dose of nasty blood and violence. One scene is just Chop-Top bashing a head in, over and over, cut back and forth with Stretch trying to get away from Leatherface. Just the sheer amount of blood spurting out onto the floor is enough to make some of the weaker, casual horror watchers uneasy. There’s something else about this though, as it calls to mind the first film where Grandpa tried to use the hammer; here, Chop-Top knows how to use that hammer, and he uses it well. Later, we revisit the Grandpa scene in direct parallel; not as good as Chop, though. Even early on in the film where two of the dude-bros in their car run across Leatherface, we see a nasty, beautifully executed practical effect – a head gets sawed through, a cut going down into the skull and the face. Very nice makeup effects. Not sure how much he did himself, but makeup legend Tom Savini is credited on this picture, so if he supervised this work there’s no wonder much of it looks gruesome, and perfectly horrific. You could never have a Texas Chainsaw Massacre movie with bad effects, or if you do then it’s sure to not live up to its predecessors. For all its faults, this sequel to the original at least matches its vicious brutality at certain times.
With a lot to live up to, The Texas Chainsaw Massacre 2 is a 3&1/2 star horror. Never will it come close to its original. But Tobe Hooper crafts a nice, campy horror romp out of L.M. Kit Carson’s darkly comic, brutal screenplay. On the shoulders of Hopper, Moseley, and Williams, the characters come alive, and they’re able to carry much of the plot themselves. Maybe comedy isn’t exactly suited perfectly to Hooper’s creepy backwoods Texas world. But again, if anything you’ve got to applaud Hooper for not trying to carbon copy what he did previously in the original. If he simply slapped together another rehash, we’d all be complaining about that. Instead, be glad for his dare to be different, no matter the costs. This is still a lot of fun, has a fair share of blood and guts, as well as the fact Leatherface is weirder and wilder than ever. Make sure you toss this on next time you’re looking for a horror with comedy that’s not an outright comedy-horror flick. This can satisfy the need for kills and the need for some laughs in the right sort of way.
Halloween: Resurrection. 2002. Directed by Rick Rosenthal. Screenplay by Larry Brand & Sean Hood.
Starring Jamie Lee Curtis, Brad Loree, Busta Rhymes, Bianca Kajlich, Sean Patrick Thomas, Daisy McCrackin, Katee Sackhoff, Luke Kirby, Thomas Ian Nicholas, Ryan Merriman, and Tyra Banks. Dimension Films/Nightfall Productions/Trancas International Films. Rated 18A. 89 minutes.
So at this point, the Halloween franchise has all but ran its course. Honestly, I do enjoy the previous film a bit. More than that I’m a fan of the entire series. Even the less than great entries can still be a lot of fun, as opposed to some of the later Friday the 13th entries which I find virtually unwatchable at times. But most of Halloween: Resurrection is just bad. Not everything is horrible, not at all. However, the lion’s share here goes to bad horror, forced comedy and not enough of the classic horror which makes Michael Myers so scary.
The effects in many scenes are well done, they’re also pretty gruesome and frightening. The acting is almost laughable in terms of the main cast – they’re almost upstaged by the rambling mental patient who rattles off serial killer trivia, from John Wayne Gacy to Ted Bundy, and so on. And too many times you’ll find yourself wondering how low the series will sink, starting with the opening sequence involving Laurie Strode and Michael in their final confrontation. Director Rick Rosenthal did an amazing job with the first sequel, Halloween II, but 21 years later he came back with a fistful of shit and did no justice to any of the other good movies throughout the franchise.
Laurie Strode (Jamie Lee Curtis) decapitated Michael Myers at the end of the last film. Turns out, Michael actually managed to switch his clothes with a paramedic. He made his way out and hid for three years, while Laurie rotted in a mental asylum. Although, she spent that time preparing for a showdown that had to be coming eventually. When it does finally, Michael ends up once and for all killing his long lost sister: what he always set out to do.
But evil never rests. Michael Myers goes back to the only place he ever knew outside of the walls of a psychiatric ward: home, Haddonfield. Only an internet show is being broadcast from the old Myers place. Freddie Harris (Busta Rhymes) and Nora Winston (Tyra Banks) at DangerTainment have set the whole thing up, selecting six young people to spend a night in the “birthplace of evil in its purest form“. Things don’t go so well, once it’s clear Michael has more definitely come home.
Usually, if anything, I’m able to find a few good kills in any of these films. This one is no exception. Even while almost everything else happening is total junk, there are some interesting and very brutish kills. For instance, what slasher horror is complete without a nice impaling? Well, some of them are, I suppose. But the bad slashers, such as this one, really need those sorts of kills. If not, everything gets stale. Here, we have a character impaled by Myers, which ups the gory ante. Earlier, someone gets stabbed viciously in the head. Later on, the strength of Myers is once more evident in all its savage glory, as Michael ends up crushing a guy’s head into bloody chunks. An homage to the original Halloween sees a victim pinned to a door, hung by kitchen knives, almost similar to one of the deaths in John Carpenter’s masterpiece. But best of all, I do dig how people watch on while the others die, live streaming into the house. And to think – this was 13 years ago now. Today, the bloodthirsty internet audience might actually love this sort of thing. So, despite all the shortcomings of this mostly unnecessary sequel in the franchise, I can find a few little things to enjoy here and there. But not too much.
One thing several of the Halloween films have in common, and make them more enjoyable than their lesser counterparts, is there have been good, solid performances. I can’t say that, at all, about Halloween: Resurrection. While I have a love for Busta Rhymes and his music career, the sentiment does not extend to his acting abilities. All the same, he’s probably the most fun of all the actors because at least Busta seems into it. Otherwise, it’s a cast filled with pretty-to-look-at people who can’t exactly act up to the level they need to in order to make this sinking ship float. With American Pie alumni Thomas Ian Nicholas, the geek goddess Katee Sackhoff, a terribly miscast Tyra Banks and Ryan Merriman whose most well-known credit to date is either The Ring Two or Pretty Little Liars, the entire cast couldn’t save this abomination. Perhaps if better actors wanted to be in this sequel, it might be different. As it stands, the acting doesn’t do anything to push the film to higher heights. I don’t mean to disparage these actors, I’m sure they’ve all done decently in other work, but this movie falls apart quicker than it should due to the lack of much talent, or at least effort, in the respective performances.
I can give this sequel a 2 star rating without feeling too bad about it. Definitely does not deserve any more. With a good deal of brutality and decent make-up effects, some of the slasher elements of Halloween: Resurrection are up to speed with certain other entries in the franchise. Though, this is where the goodness ends. Including too much laughable acting, a terrible and unjust opening sequence involving Laurie Strode, and overall a story that does nothing for the franchise other than try to milk more money out of hardcore fans (who’ll see anything with the name Halloween on it if involving Michael Myers), this really is an abysmal sequel. Not saying there aren’t others, but this is absolutely one of the worst in the entire series. You don’t need to see it for any other reason than to be a completist. I even own it on a collection including the last three movies of the franchise, on Blu ray no less. But only because I’m a collector, and because I love Myers; regardless of how the Hollywood machine decides to pimp him out.
Halloween III: Season of the Witch. 1982. Directed & Written by Tommy Lee Wallace.
Starring Tom Atkins, Stacey Nelkin, Dan O’Herlihy, Michael Currie, Ralph Strait, Jadeen Barbor, Brad Schacter, Garn Stephens, Nancy Kyes, Jonathan Terry, Al Berry, Wendy Wessberg, Essex Smith, Maidie Norman, John MacBride, and Loyd Catlett.
Dino De Laurentiis Company/Universal Pictures.
Rated R. 98 minutes.
The Halloween franchise is one of my favourites in horror. Not a big fan of the last couple. But seriously, from John Carpenter’s original masterpiece Halloween right up to Halloween V, I’m right in there with the biggest of fans. Each of them aren’t equally as amazing. They’ve each got their merits, though. I’ll say this: the first two are slasher horror masterpieces.
In the middle of all the regular Michael Myers pictures, there stands Halloween III: Season of the Witch. What ought to have been marketed as a spin-off from the franchise rather than actually being the permanent third installment has been banished to the world of cult classic verging on generally maligned. There are several camps of people who talk about this Halloween film – some say it’s terrible and has no merit, others (like me) think it’s real good and should’ve done better had the producers marketed it correctly, and then crazier people than I who say it’s the best of the series (sorry that honour belongs to the very first; no matter how much I enjoy some of the others).
What I know for sure is this is a good horror movie. It doesn’t deserve to be torn up, it also doesn’t need to be over praised. If you go into it knowing this is NOT a Michael Myers slasher, then there’s a chance you’ll come at it correctly and find the horror and quasi-science fiction elements enjoyable. Watch a trailer, any trailer for this film and you can understand it’s different from the others. But it isn’t bad different, it’s simply not a typical Halloween entry. Much as I love Michael, this movie has a creep factor wholly of its own and I firmly believe – without any hype – the only reason this movie isn’t more widely loved is solely due to how its been marketed. Take the Halloween title off this, keep Season of the Witch and maybe make a few more tenuous ties to Myers (like showing the original film on a television), you’ve got yourself a solid 1980s horror classic.
Small shop owner Harry Grimbridge ((Al Berry) is attacked by unknown men in the night. He flees and eventually ends up in the hospital. There, he’s later killed by one of these same men. Although, Dr. Daniel Challis (Tom Atkins) is witness to the man’s last words, and shows up just after his murder. Following the killer outside, he sees the man pour gas all over himself and strike a match, blowing his car sky high. This sets him off on a quest to figure out what happened – alongside him is Harry’s daughter, Ellie (Stacey Nelkin).
What they end up uncovering is a vast and horrific plot by businessman Conal Cochran (Dan O’Herlihy); one involving Halloween, threatening every boy and girl looking to put on a mask so they can head out for candy.
The whole opening 20-minute sequence is extremely creepy and a whole lot of fun: from when Harry Grimbridge is attacked by the suit & glove wearing assailants to the moment Dr. Challis watches one of them light himself on fire and the car explodes. Can’t think of a better way this movie could’ve started out. The writing here from director-writer Tommy Lee Wallace is solid and makes the film’s energy pump hard immediately.
Bartender: “What’s the matter – don’t you have any Halloween spirit?”
Dr. Challis: “No”
An obvious viewing of this film holds themes involving big versus small business, consumerism, corporations feeding off the figurative soul of children via Halloween, and more. I’m not the first to try and draw any of that out, nor will I be the last.
I love the character of Harry Grimbridge to start. Right off the bat you’ve got this small business owner, running a hold-out shop against the big supermalls and chain stores, still getting much of his business from kids just out of school – and he’s being hunted down by the robot-like, suit & glove wearing henchmen, the identical looking murderers; they are legion. A little later there’s a homeless man Dr. Challis comes across. He gets his head pulled off by two of them because he’s out rallying against the man. The homeless man happens to tell Challis about how Cochran (Dan O’Herlihy) won’t employ the good ole local boys, but rather imports his workers from elsewhere. Can this get any clearer really? It’s not quite on the nose, definitely in the vicinity. No matter, I think it works great because there’s metaphor yet it’s blatant and still that’s perfect. Makes for a bit of unsettling horror.
The effects aren’t all spot on, though, they are certainly effective. I love when one of the clone-like henchmen pulls Grimbridge’s skull apart by the eye sockets and nose. Incredibly vicious, both during and afterwards! When a woman dies at the motel, I thought the initial parts of the makeup effects looked great, but the the longer Wallace lingers on her the worse it looks. Still, there are other worthwhile effects. Particularly once the science fiction type elements find their way into the screenplay, the practical makeup effects are ghastly at times; in the appropriate sense. The orange juice-looking liquid used at one point is sickly and makes for an uneasy feeling in the guts. Great, great stuff.
A subtle scene involves a drill – we never get to see the brutish stuff, we’re left by Wallace to imagine it instead. Which I often find even more tough. Nice choice by him on this one. Could’ve easily been a gory kill and here it’s something that will probably make you cringe in different way.
Favourite effects scene has to be when the first young boy has his head destroyed by the pumpkin mask. The way the mask looks to start, breaking down and decaying like it’s burning up inside and out, then all the insects, the snake slithering through the boy’s dead mouth… it’s raw and disturbing. Some intense shots here, especially considering the whole family of three dies in the made-up living room set. It’s a shocker of a scene, super effective.
Taken on its own, as a sort of standalone spin-off, Halloween III: Season of the Witch is a 3.5 out of 5 star horror movie. There are plenty of chilling moments, different in subject matter yet similar in tone to the rest of the franchise. As well as the fact you’ll see several wild kills, a few of those even further contain fun practical effects. It isn’t as great as Halloween or Halloween II, but it is damn good stuff. A little different spin on the franchise, and why not? The whole series wears out past the fifth entry, even earlier for some other viewers, so what’s the harm in one movie taking another path? I see no reason why this should be a widely panned film. It’s not perfect, but there is great horror and a dose of science fiction even. Check this one out if you’ve avoided it until now. You may find yourself pleasantly surprised; or horrified, possibly.
Batman Returns. 1992. Directed by Tim Burton. Screenplay by Daniel Waters from a story by Waters & Sam Hamm.
Starring Michael Keaton, Danny DeVito, Michelle Pfeiffer, Christopher Walken, Michael Gough, Michael Murphy, Cristi Conaway, Andrew Bryniarski, Pat Hingle, Vincent Schiavelli, Steve Witting, and Jan Hooks.
Warner Bros./PolyGram Filmed Entertainment.
PG-13. 126 minutes.
A huge fan of Batman now for about twenty five years, I only recently reviewed Tim Burton’s 1989 film; a favourite of mine. While there’s definitely even more of a cartoon-ish vibe with Batman Returns I almost can’t decide which one is my favourite. So many want to say Batman is better, however, this one combines even more of what I loved about the first one: the darkness and the campy nature of the comic books and graphic novels. With this film there’s not only a deepening of the visuals in terms of those aspects, Burton’s sequel to his own film also goes a little deeper into character than the first.
The character of the Joker is fundamentally supposed to be a bit of a mystery, so even the fact we saw Jack Nicholson as Napier before his transformation was more than you might anticipate. With Selina Kyle and Oswald Cobblepot in this film, there’s a lot of chances for Burton to dive into their characters alongside more and more Bruce Wayne. More than this, I find the look and feel of the movie makes things so much creepier than the first. There are plenty who would say creepy is not something Batman ought to be as a film, yet I say different. There’s lots of adventure, plenty of thrill and superhero fun, but Batman and many of the characters – especially those included here – are most certainly at least a bit scary. They aren’t as outright megalomaniac-like, except for the Joker and even he has an inordinate amount of darkness in him as a character. Batman Returns brings the cartoon comic nature of Batman and the villains to the world of film, and at the very same time excels by including so much of the darkness and violence you’ll likely not see in another comic book ever again (except for maybe the violence I anticipate will have found its way into Deadpool; hopefully at least).
Either way, I don’t feel this sequel gets enough credit, nor does Burton in general for making such wonderful adaptations of Batman. This is possibly my favourite of them all, though, I still can’t make a definitive decision whether or not I’m more a fan of this or the previous movie. Too much great stuff in them both, yet I’m always leaning towards this one for whatever reason. We’ll see if maybe I get to the bottom of it.
To start, I love the look of the movie, from costumes to the makeup and special effects, to the scenes themselves. The cinematography in this film is courtesy of Stefan Czapsky, whose work includes Vampire’s Kiss, Director of Photography on Errol Morris’ incredibly documentary The Thin Blue Line, as well as D.P on the odd and wonderful Edward Scissorhands, A Brief History of Time, Ed Wood (another Burton film I dig a ton), Matilda, and more. Czapsky also worked as gaffer and assistant camera on a bunch of awesome movies like Larry Cohen’s God Told Me To & Q, He Knows You’re Alone, Martin Scorsese’s After Hours, and At Close Range among others.
He really does some good work here as D.P. Lots of interesting shots he captures, which really express the Tim Burton style. I imagine after working on Edward Scissorhands a couple years before with Burton they had a feel for one another, their style and methods, so much of that I feel comes out in this film. Throughout the movie, mostly due to the fact the setting happens around/on Christmas, Burton and Czapsky conjure up this incredibly dark carnival sort of atmosphere, and the tone stays pitch dark from start to finish.
Honestly, my pick for top shot of the film is right at the beginning where we get to watch little baby Oswald wash down the river in his basket, down into the sewers where he’ll remain for 33 years; it’s a great sequence following behind the basket, watching it float on through the water. So creepy and immediately makes us aware how grim this film aims to be from the outset.
Moreover, I think Burton and Czapsky draw out so much animal imagery throughout the movie. From penguins to cats to bats, there are a bunch of different moments where the animals show up in interesting ways. Great stuff, even if it may seem heavy handed. I thought Burton did good work in those terms, too.
There’s something in this movie I love even more than the first: score. Fact is, even though I do love the sequence in the museum from Batman set to the Prince song “Partyman”, there’s a little too much of it all the same. Here, in Batman Returns, I think Danny Elfman has more of a chance to branch out, as opposed to the first. Studio involvement made the first a mix, with Prince and Elfman ending up both thrown around in the movie. This time around, though there were apparently troubles in the relationship between Burton & Elfman, I think the score is absolutely fantastic! Each character has their own theme, an aesthetic all to their own, and much of that comes from Elfman’s pieces. Like the bits with the cats and Selina, as they lick and bite her (et cetera), there’s neat idiosyncrasies happening in the score with violin strings scraping and screeching, and more. Elfman has a style all of his own, which really compliments much of Burton and his own aesthetic.
One particular favourite scene of mine is when Selina (Pfeiffer) returns home after being thrown from the window by Shreck (Walken), and somehow surviving. There’s a creepiness and black humour to the whole sequence, alternating back and forth. The way Selina stumbles home, bleeding a little, her entire skin tone has changed to an almost milky white, it’s super weird in all the right ways.
This is another aspect I love even above the 1989 film. In this story, there’s even more violence and a further edge. While Nicholson’s Joker had some highly disturbing aspects to his character (think: Alicia the living & disfigured art installation), I can’t help but think of so many moments in this sequel pushing those boundaries.
Such as the nose biting scene. Of course there’s a darkly comedic feel to that scene, as well as what follows. But the actual visuals are nasty as hell. Penguin (DeVito) has enough black crap trickling out of his mouth as it is, then when he bites the poor unsuspecting Josh (Steve Witting) it is so vibrant, the gushing red from the nose all over the victim’s face, running down Penguin’s chin; such vivid violence while also it stays, at the same time, almost like a cartoon. It’s that fine line Burton manages to tread in so many of his films I find interesting when it comes to his take on Batman.
I know most people will say I’m reaching way too far on this aspect, but here goes..
Batman Returns brings out an incredible aspect of the story between Batman and the Penguin (at least in his current form out of this screenplay). These are each two orphaned children, though, for very different reasons. It shows the difference some times between a hero and villain, that edge where one person falls over while the other person somehow manages to cling on tight. Penguin is the type who fell completely over, letting the darkness take him fully; Batman, while in the dark and very much gripped by it, has managed to hold onto the edge and not let go, refusing to even. While so many people focus on the parallel between Batman and Joker, a recurring plot and thematic device constantly used over and over in the films as well as the literature, I think this screenplay and the way Burton brings things to life really show a strong duality between Bruce Wayne and Oswald Cobblepot.
There’s a ton of further duality happening between Bruce Wayne/Batman and Selina Kyle/Catwoman. Most powerfully is the big costume party, or masquerade; you’ll obviously notice they’re the only ones not masked. Clearly you can tell these are two people more comfortable in their superhero personas, in their own costumes, than in their own skin – out in the open at a masquerade? More like their real face and their actual skin is their costume. Selina is truly Catwoman, deep down, as is Bruce actually Batman underneath it all. While I find the parallels between Bruce and Oswald most interesting, and furthest explored, it’s worth noting this excellent parallel between Bruce and Selina, as well. These are the little nuances of the script which take this above simply being a Batman vs. two villains film, as some see it. An appropriate sequel to the first, there’s even more character explored here than before with Nicholson’s knockout performance as the Joker. Not to mention the fact both DeVito and Pfeiffer are perfect in their roles. No one else could have done these roles justice like the two of these actors. Each are creepy and unnerving in their own right, offering plenty of fun and madness to counteract the more calm, calculated performance out of Michael Keaton.
There’s more of the weird, loner-style Bruce Wayne here out of Keaton. Even more than the 1989 film. Not to say either performance is better, simply I like how more of Bruce comes out in this screenplay. He’s a little more lonely, a little darker in a sense. Further than that, Bruce has also lost Vicki Vale since the first film and he’s got a broken heart. Already a man with a broken heart, Keaton brings out the vulnerability of Wayne. I’ve got to reiterate, for those who also love the Nolan trilogy like myself, Bale is awesome as Batman for me, I enjoyed him; however, Keaton and the screenplay for the two Burton films really emphasize the sadness of Bruce Wayne, the loneliness inside him, even more than anything in the Nolan films. Wayne is a weird guy, there has always been this quality to him even from the original comics. This is something Keaton brings out plenty, especially with a second chance here in Batman Returns.
Overall, while I gave Batman the same 5-star rating, I’ve got to admit over the years Batman Returns has evolved as my favourite of the lot. Still a huge fan of Nolan’s works as well, there’s simply something inescapably interesting and dark about Tim Burton and his two Batman films which draws me back, over and over. As much as I can watch the Nolan films, even back to back, time and time again, there are moments in Burton’s films which are engrained on my soul. Maybe it’s because they’re the ones I originally grew up with, but I think there’s more to it. Again I say it’s the cross of the perfect elements for Batman: the darkness and the grim side of him/the villains in Gotham, plus there’s the campy and fun nature of the comics and some of the original 1960s series preserved, which amounts to a potent combination.
Batman Returns is a vibrant and Gothic story of Batman/Bruce Wayne, including several villainous entities out of Gotham City, and Tim Burton brings it to life in the most wonderful way imaginable. Check this out if you’ve not seen it, especially if you love Burton and I think the same can be said if you do love the Batman comics in particular. This is great stuff and once more I say truly underrated.