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Joel Schumacher is not a popular man among Batman fans. His Batman And Robin has gone down in history as one of the worst comic book movies ever made (or the worst, depending on who you ask) – his rubber nipple-suited Batman and glittery Mr. Freeze forever punning the film into the history books. It all turned out fine in the end, with Christopher Nolan and a very gruff Dark Knight subsequently rescuing his career with two of the greatest Batman movies of all time (plus the other one), but that does not make Batman And Robin any less terrible.
Often mentioned in the same breath as Batman And Robin is the film’s immediate predecessor, Schumacher’s Batman Forever. With director Tim Burton and star Michael Keaton nowhere to be seen, Schumacher had the unenviable job of following up one of the most iconic superhero films of all time. »
- Joel Harley
Tagline: "His bad day is now your bad day." *full disclosure: an online screener of this film was provided by Uncork'd Entertainment. Director/writer: Jared Cohn. Cast: Jamie Kennedy, Sally Kirkland and Sara Malakul Lane. Buddy Hutchins might have lifted a page from Joel Schumacher's Falling Down (1993). But, the large production values of this earlier film are gone and so is an underlying social commentary. Instead of overcoming social pressures, the central character, Buddy (Jamie Kennedy), breaks down. Blending several genres, Buddy Hutchins is a very sombre film; any possible light moments are forgotten. Buddy Hutchins is so dark and depressing that the film is not entertaining, at least not for this viewer. The film starts with Buddy. And, this character is in every scene. So, you would hope that this character would be fun, confident or comedic, at least. But, he has none of these qualities. Instead, he is a lazy alcoholic. »
- email@example.com (Michael Allen)
If it seemed like the Dark Knight was a poisoned chalice for a good decade or so after Joel Schumacher drove him into the ground with the camp-tastic Batman & Robin, spare a thought for the Man Of Tomorrow. There were eight years separating that monstrosity and Christopher Nolan’s rebooted Batman Begins – there are nearly twenty years between Superman IV: The (inexplicably low-budget) Quest For Peace and Bryan Singer’s Superman Returns.
Not that there weren’t attempts to get Clark Kent back off the ground in the meantime. In fact, once Burton had been shunted off of Batman in favour of Schumacher (abandoning plans for an end to his own trilogy), Warner Bros placated him with a pay-or-play deal on a Superman movie. Which meant even if it didn’t get made, he’d still be paid.
Superman Lives, or Superman Reborn, or whatever you want to call it, »
- Tom Baker
You know you messed up big time when you have to apologise to audiences for a film you directed. That’s exactly what Joel Schumacher ended up doing for Batman & Robin, however, and it’s something that the majority of viewers probably thought was a long time coming. To this day there are still outraged fanboys to be found, on social networks and comment sections across the web, accusing him of killing the Dark Knight.
Y’know, until Christopher Nolan came back and saved his life (and ours). Batman & Robin did wind up being the least successful of Warner Bros’s initial attempt to bring the Caped Crusader to the big screen, but Batman Forever had managed to almost double the gross of Tim Burton’s darker, more brooding Batman Returns.
When Schumacher came on board he threw out the gothic atmosphere Burton loves and went full camp – even more so with his second film, »
- Tom Baker
You have to look far and wide to find Batman fans who.ll defend Joel Schumacher.s contributions to the hero.s cinematic legacy. Normally, when Bat-fans speak of pre-Nolan times, it.s "Tim Burton This" and "Tim Burton That," while conversation drops to a whisper if anyone brings up Batman Forever or . gasp! -- Batman & Robin. Except now, a new theory has been floated that helps explain Why Schumacher.s Batman movies are so different than any other Dark Knight story. and it.s worth exploring. The folks over at Crave have analyzed Joel Schumacher.s two Batman films, and drew strong comparisons to the ways that Gotham is portrayed in the Burton films to the Schumacher efforts. Mainly, the city is dark and somber in Batman and Batman Returns, but lit up like a neon Christmas tree in Forever and Robin. Schumacher has said in the past that »
When Screen Gems releases “The Wedding Ringer” on Jan. 16, the Kevin Hart comedy marks not only screenwriter Garelick’s directorial debut, but also the end of a very long and winding road for the project.
“I wrote it over 13 years ago with Jay Lavender, when it was called ‘The Golden Tux,’ ” he says. (The team also co-wrote 2006’s unusually realistic relationship comedy “The Break-Up” for Jennifer Aniston and Vince Vaughn.) “I was shooting second unit in Dublin on Joel Schumacher’s ‘Veronica Guerin’ at the time, and Jay was in L.A. We sent stuff back and forth, and we sold it in 2002 to Todd Phillips.” Since then, the project may have languished, but Garelick — a Yale graduate who started at CAA before getting his big break as Schumacher’s assistant — has worked hard to learn everything he could about becoming a director.
“I was on the set of ‘Tigerland, »
- Iain Blair
As Above/So Below
The first Dowdle brothers collaboration to hit theaters since the 2008 [Rec] remake Quarantine, As Above/So Below is well worth the wait. Following a group of explorers in search of the Philosopher’s Stone, As Above/So Below was largely shot on location in the Catacombs beneath Paris, and the film’s found footage shooting style convincingly places viewers inside the skull-lined tunnels where shadows threaten to consume you at every turn.
Claustrophobic jump scares, the psychological horror of having your past literally come back to haunt (and potentially kill) you, and the creepily crafted screenplay from John Erick and Drew Dowdle had me anxiously tugging at my shirt collar throughout most of the film’s 93-minute runtime. The scariest part for me? The mysterious wide-eyed woman that Edwin Hodge’s camera-holding character Benji keeps seeing. Her lingering looks into the lens still give me chills.
- Derek Anderson
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