![]() What could anyway ever go with the set pieces showcased throughout this movie? The visuals remained chaotic and vividly colourful, with a bit less neon for more glow-in-the-dark effects, and every corner of Gotham city is always a wild and cacophonic spectacle. Unfortunately, once again, nothing this movie had to offer could top Danny Elfman’s scores in Batman (1989) and Batman Returns (1992). ![]() ![]() (c) Entertainment Weekly.įor some, the release of Smashing Pumpkins’ hit single The End is the Beginning is the End thanks to this movie might be its only saving grace. While somehow the villains’ portrayal of their respective characters are entertaining in their own way, in a so-bad-it’s-funny way, and allow this movie to seek absolution from moviegoers, it’s its heroes, including the latest addition in Alfred Pennyworth’s series of horrible secret-keeping mistakes that takes the form of Batgirl (Alicia Silverstone), that really offer nothing noteworthy in the grand scheme of things. And then you have Uma Thurman who doesn’t hesitate to put on the skintight rubber suit and its countless costume variants throughout the movie to portray a femme fatale that could only dream of rivaling Michelle Pfeiffer’s Catwoman in Batman Returns (1992). While it might not have been the performance of a lifetime or the best iteration of the character’s tragic and tearjerker background, he restlessly delivers an onslaught of pseudo-poetic, cheesy ice-related puns throughout the movie and he just never stops. Once you know what you’re getting yourself into, there are some moments that are salvageable, without having some of your neurons frying in the process. From the butchering of Bane’s character, only for fans to rejoice at the sight of a one-word grumbling and submissive muscled pet mutant, to the awkward love triangle induced by Poison Ivy upon the oblivious Batman and Robin, the myriad of catastrophic plot threads weaved into this comic-book-nonsense-infested tapestry is an indecent mess. It’s not even because of the surprise Bat-credit card that I will forever and always have a hard time erasing from my memory. This isn’t just because of the enhanced Bat-Nipples, Batskates, Batbomb, Bat-heat ray gun, Batskiff, or Bathammer. What director Joel Schumacher achieves with Batman & Robin is a tragedy disguised as a psychedelic comedy of undesired baloney. This is what you get when you all-out embrace the campy, whimsical, and absurd without a care in the world for all things that will give anyone a reason to sit down and enjoy your movie. (c) IMDb.įorget about logic and reasoning. Freeze and Poison Ivy will intersect as they set themselves on course to bring forth a plan of world domination, unless Batman and Robin can do something about it. As if they didn’t have their hands full already, the lives of both Mr. Jason Woodrue and is then assaulted by him to keep her mouth shut only for her to accidentally mutate into the plant-manipulating seductress Poison Ivy. Pamela Isley (Uma Thurman) witnesses the birth of Bane at the hands of the lunatic Dr. While their first encounter won’t be their last, later on, the botanist Dr. Freeze (Arnold Schwarzenegger), who seeks large diamonds for his own delusional scientific projects. What is Batman & Robin (1997) about? Upon learning about a robbery in progress, Batman (George Clooney) and his sidekick Robin (Chris O’Donnell) race against time to stop their new foe, Mr. However, some might say that the world needed this movie if only to change the future and make way for something better for all fans of the Dark Knight and his beloved city. With lead roles now given to other famous 90s actors and some already-introduced characters reprised by talentless actors, the final movie of the initial Batman film series will be one for the history books, and not for the best of reasons. ![]() mandates director Joel Schumacher to dish out another sequel like none other, further descending into the flashy and neon-crowded Gotham City depicted so far in the Batman live-action movie franchise, with the only condition that it must be apt for the toy- ification of its characters and their gadgets, as money-making remains the driving force doctrine of this cinematic production. ![]() With director Tim Burton completely out of the picture, Warner Bros. ![]()
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