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The Batcave Lounge aka The Batusi

frankgutz

ᴅᴄ & ᴅᴀʀᴋ ʜᴏʀꜱᴇ
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I think we still dont have a lounge thread here so...

Did anyone read the 'White Knight' sotry? Ive been thinking it could be a good trilogy to adapt, we could have Nightwing and a lot of villains, it could be a great story, plus the last episode/film can be super epic
 
I’m surprised nobody is using a lounge, since this is a pretty active area now. A mod needs to change the title to “the Batusi” like it should be.

Anyways, finally watched The Lighthouse. Pretty weird, not sure how I feel about it. :hmm
 
The word "lounge" should be dropped from the title of this thread so that it simply reads The Batcave. That'd be pretty groovy.
 
I’m surprised nobody is using a lounge, since this is a pretty active area now. A mod needs to change the title to “the Batusi” like it should be.

Anyways, finally watched The Lighthouse. Pretty weird, not sure how I feel about it. :hmm

how was it weird to you?
 
To be fair, Hitchcockian thriller and weirdness tend to go hand in hand.
 
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The 100 Greatest Movies Of The 21st Century: 100 - 91

94. Batman Begins (2005)

Where The Dark Knight gave us a Joker movie for the ages, Christopher Nolan’s first Bat-film really got under the skin of Bruce Wayne. Taking inspiration from Frank Miller’s Batman: Year One comics, Nolan delivered a big-budget character study – what, exactly, makes an orphaned rich-kid dress as a giant bat and swoop down on unsuspecting criminals? The answer, according to Hollywood’s most psychologically-driven auteur, is fear and the need to conquer it. That, and being subjected to psychotropic flowers in the Himalayan wilderness. From Cillian Murphy’s horror-masked Scarecrow, to flashbacks of a young Bruce trapped at the bottom of a well, to operatic shots of swirling bats, Nolan commits to a layered exploration of what makes Christian Bale’s bereaved billionaire – and the festering underbelly of Gotham – tick. Batman Begins is a film that digs deep thematically – and still gives us epic ninja fights.

39. Joker (2019)

Todd Phillips’ origin story for Gotham’s Clown Prince Of Crime is a paradox. A comic book movie that isn’t really based on any particular comic. An art movie from the director of the Hangover trilogy that divided the art-movie crowd. A nihilistic spectacle that earned the most Oscar nominations of the year. Appropriately, it’s as hard to pin down as the Joker himself. Delighting and dismaying audiences in droves, Joker borrows liberally from established Troubled White Man narratives to deliver a supervillain movie that owes more to Martin Scorsese’s Taxi Driver and The King Of Comedy than it does even to Christopher Nolan’s Dark Knight trilogy. Phoenix is revelatory as the pathetic, pitiable Arthur Fleck, whose growing disaffection and delusions of grandeur spiral into real-life villainy – an exercise in psychological horror that’s justifiably uneasy to watch. Post-Logan, it represented another mature evolution for the comic book movie – and proved that DC adaptations could thrive outside the Marvel-style universe structure.

3. The Dark Knight (2008)

After delivering the ultimate Bruce Wayne movie with Batman Begins, Christopher Nolan put his dark knight to the test – clashing with Heath Ledger’s shuffling anarchist Joker. Everything about The Dark Knight feels grand and mythic – not just its imagery (the Joker setting piles of cash ablaze, the Two-Face reveal, the gleaming Gotham cityscape), but its sweeping narrative arcs that turn heroes into villains, lovers into martyrs, and gangsters into monsters. Nolan’s film reflects an America struggling to come to terms with the trauma of 9/11 – depicting the Joker as an urban terrorist whose motivation is solely to spread fear and dissent among the inhabitants of Gotham. He calls himself a “better class of criminal” – and The Dark Knight is, more so than a superhero film, a crime saga, right from that astonishing opening bank raid. There are action sequences here, including an adrenaline-pumping Batmobile chase, but even its set-pieces – from the race to save either Rachel or Harvey Dent, to the two-boats showdown – are more moral quandaries writ large. It’s a better class of blockbuster, a better class of comic book movie, and a better class of Joker – Ledger’s endlessly fascinating interpretation only growing more iconic as time ticks on.
 
RIP John Bierly. Not sure how many of you guys are familiar with him, but he's a longtime writer for BOF who did comic reviews, he was a part of the old Modern Myth Media podcast with Sean Gerber and he was on another Star Wars podcast with him. He brought a very pure passion for this stuff and I always enjoyed listening to him even when I disagreed with him. Sad to hear the news.
 
RIP John Bierly. Not sure how many of you guys are familiar with him, but he's a longtime writer for BOF who did comic reviews, he was a part of the old Modern Myth Media podcast with Sean Gerber and he was on another Star Wars podcast with him. He brought a very pure passion for this stuff and I always enjoyed listening to him even when I disagreed with him. Sad to hear the news.

I occasionally read his reviews for King's Batman. On top of being a thoughtful writer, he seemed like an all-around good guy. 44 is way too young. RIP.
 
It is a very good list. I’m a fan of the majority on that list. But I just don’t agree with the order, at all.

I agree that there are a lot of great films on the list (as would be a bare minimum requirement for such a list being assembled by professional film journalists), but the order is extremely bad and very much undermines its credibility. The Irishman being near the top and beating out much better Scorsese films is a definite WTF.
 

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