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Batman Begins:

Batman Begins discards the previous four films in the series and recasts the Caped Crusader as a fearsome avenging angel. That’s good news, because the series, which had gotten off to a rousing start under Tim Burton, had gradually dissolved into self-parody by 1997′s Batman & Robin. As the title implies, Batman Begins tells the story anew, when Bruce Wayne (Christian Bale) flees Western civilization following the murder of his parents. He is taken in by a mysterious instructor named Ducard (Liam Neeson in another mentor role) and urged to become a ninja in the League of Shadows, but he instead returns to his native Gotham City resolved to end the mob rule that is strangling it. But are there forces even more sinister at hand?

Cowritten by the team of David S. Goyer (a veteran comic book writer) and director Christopher Nolan (Memento), Batman Begins is a welcome return to the grim and gritty version of the Dark Knight, owing a great debt to the graphic novels that preceded it. It doesn’t have the razzle dazzle, or the mass appeal, of Spider-Man 2 (though the Batmobile is cool), and retelling the origin means it starts slowly, like most “first” superhero movies. But it’s certainly the best Bat-film since Burton’s original, and one of the best superhero movies of its time. Bale cuts a good figure as Batman, intense and dangerous but with some of the lightheartedness Michael Keaton brought to the character. Michael Caine provides much of the film’s humor as the family butler, Alfred, and as the love interest, Katie Holmes (Dawson’s Creek) is surprisingly believable in her first adult role. Also featuring Gary Oldman as the young police officer Jim Gordon, Morgan Freeman as a Q-like gadgets expert, and Cillian Murphy as the vile Jonathan Crane. –David Horiuchi

The Dark Knight:

The Dark Knight arrives with tremendous hype (best superhero movie ever? posthumous Oscar for Heath Ledger?), and incredibly, it lives up to all of it. But calling it the best superhero movie ever seems like faint praise, since part of what makes the movie great–in addition to pitch-perfect casting, outstanding writing, and a compelling vision–is that it bypasses the normal fantasy element of the superhero genre and makes it all terrifyingly real. Harvey Dent (Aaron Eckhart) is Gotham City’s new district attorney, charged with cleaning up the crime rings that have paralyzed the city. He enters an uneasy alliance with the young police lieutenant, Jim Gordon (Gary Oldman), and Batman (Christian Bale), the caped vigilante who seems to trust only Gordon–and whom only Gordon seems to trust. They make progress until a psychotic and deadly new player enters the game: the Joker (Heath Ledger), who offers the crime bosses a solution–kill the Batman. Further complicating matters is that Dent is now dating Rachel Dawes (Maggie Gyllenhaal, after Katie Holmes turned down the chance to reprise her role), the longtime love of Batman’s alter ego, Bruce Wayne.

In his last completed role before his tragic death, Ledger is fantastic as the Joker, a volcanic, truly frightening force of evil. And he sets the tone of the movie: the world is a dark, dangerous place where there are no easy choices. Eckhart and Oldman also shine, but as good as Bale is, his character turns out rather bland in comparison (not uncommon for heroes facing more colorful villains). Director-cowriter Christopher Nolan (Memento) follows his critically acclaimed Batman Begins with an even better sequel that sets itself apart from notable superhero movies like Spider-Man 2 and Iron Man because of its sheer emotional impact and striking sense of realism–there are no suspension-of-disbelief superpowers here. At 152 minutes, it’s a shade too long, and it’s much too intense for kids. But for most movie fans–and not just superhero fans–The Dark Knight is a film for the ages. –David Horiuchi

The Dark Knight Rises:

Of all the “most anticipated” movies ever claiming that title, it’s hard to imagine one that has caused so much speculation and breathless expectation as Christopher Nolan’s final chapter to his magnificently brooding Batman trilogy, The Dark Knight Rises. Though it may not rise to the level of the mythic grandeur of its predecessor, The Dark Knight Rises is a truly magnificent work of cinematic brilliance that commandingly completes the cycle and is as heavy with literary resonance as it is of-the-moment insight into the political and social affairs unfolding on the world stage. That it is also a full-blown and fully realized epic crime drama packed with state-of-the-art action relying equally on immaculate CGI fakery and heart-stopping practical effects and stunt work makes its entrée into blockbuster history worthy of all the anticipation and more. It deserves all the accolades it will get for bringing an opulently baroque view of a comic book universe to life with sinister effectiveness.

Set eight years after the events of The Dark Knight, TDK Rises finds Bruce Wayne broken in spirit and body from his moral and physical battle with the Joker. Gotham City is at peace primarily because Batman took the fall for Harvey Dent’s murder, allowing the former district attorney’s memory to remain as a crime-fighting hero rather than the lunatic destructor he became as Two-Face. But that meant Batman’s cape and cowl wound up in cold storage–perhaps for good–with only police commissioner Jim Gordon in possession of the truth. The threat that faces Gotham now is by no means new; as deployed by the intricate script that weaves themes first explored in Batman Begins, fundamental conflicts that predate his own origins are at the heart of the ultimate struggle that will leave Batman and his city either triumphant or in ashes. It is one of the movie’s greatest achievements that we really don’t know which way it will end up until its final exhilarating moments. Intricate may be an understatement in the construction of the script by Nolan and his brother Jonathan. The multilayered story includes a battle for control of Wayne Industries and the decimation of Bruce Wayne’s personal wealth; a destructive yet potentially earth-saving clean energy source; a desolate prison colony on the other side of the globe; terrorist attacks against people, property, and the world’s economic foundation; the redistribution of wealth to the 99 percent; and a virtuoso jewel thief who is identified in every way except name as Catwoman. Played with saucy fun and sexy danger by Anne Hathaway, Selina Kyle is sort of the catalyst (!) for all the plot threads, especially when she whispers into Bruce’s ear at a charity ball some prescient words about a coming storm that will tear Gotham asunder. As unpredictable as it is sometimes hard to follow, the winds of this storm blow in a raft of diverse and extremely compelling new characters (including Selina Kyle) who are all part of a dance that ends with the ballet of a cataclysmic denouement. Among the new faces are Marion Cotillard as a green-energy advocate and Wayne Industries board member and Joseph Gordon-Levitt as a devoted Gotham cop who may lead Nolan into a new comic book franchise. The hulking monster Bane, played by Tom Hardy with powerful confidence even under a clawlike mask, is so much more than a villain (and the toughest match yet for Batman’s prowess). Though he ends up being less important to the movie’s moral themes and can’t really match Heath Ledger’s maniacal turn as Joker, his mesmerizing swagger and presence as demonic force personified are an affecting counterpoint to the moral battle that rages within Batman himself. Christian Bale gives his most dynamic performance yet as the tortured hero, and Michael Caine (Alfred), Gary Oldman (Gordon), and Morgan Freeman (Lucius Fox) all return with more gravitas and emotional weight than ever before. Then there’s the action. Punctuated by three or four magnificent set pieces, TDKR deftly mixes the cinematic process of providing information with punches of pow throughout (an airplane-to-airplane kidnap/rescue, an institutional terrorist assault and subsequent chase, and the choreographed crippling of an entire city are the above-mentioned highlights). The added impact of the movie’s extensive Imax footage ups the wow factor, all of it kinetically controlled by Nolan and his top lieutenants Wally Pfister (cinematography), Hans Zimmer (composer), Lee Smith (editor), and Nathan Crowley and Kevin Kavanaugh (production designers). The best recommendation TDKR carries is that it does not leave one wanting for more. At 164 minutes, there’s plenty of nonstop dramatic enthrallment for a single sitting. More important, there’s a deep sense of satisfaction that The Dark Knight Rises leaves as the fulfilling conclusion to an absorbing saga that remains relevant, resonant, and above all thoroughly entertaining. –Ted Fry

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It’s said that the original is the greatest, and there can be no more vivid proof than Raiders of the Lost Ark, the first and indisputably best of the initial three Indiana Jones adventures cooked up by the dream team of Steven Spielberg and George Lucas. Expectations were high for this 1981 collaboration between the two men, who essentially invented the box office blockbuster with ‘70s efforts like Jaws and Star Wars, and Spielberg (who directed) and Lucas (who co-wrote the story and executive produced) didn’t disappoint. This wildly entertaining film has it all: non-stop action, exotic locations, grand spectacle, a hero for the ages, despicable villains, a beautiful love interest, humor, horror… not to mention lots of snakes. And along with all the bits that are so familiar by now–Indy (Harrison Ford) running from the giant boulder in a cave, using his pistol instead of his trusty whip to take out a scimitar-wielding bad guy, facing off with a hissing cobra, and on and on–there’s real resonance in a potent storyline that brings together a profound religious-archaeological icon (the Ark of the Covenant, nothing less than “a radio for speaking to God”) and the 20th century’s most infamous criminals (the Nazis). Now that’s entertainment. –Sam Graham

It’s hard to imagine that a film with worldwide box office receipts topping $300 million worldwide could be labeled a disappointment, but some moviegoers considered Indiana Jones and the Temple of Doom, the second installment in Steven Spielberg and George Lucas’ 1980s adventure trilogy, to be just that. That doesn’t mean it’s a bad effort; any collaboration between these two cinema giants (Spielberg directed, while Lucas provided the story and was executive producer) is bound to have more than its share of terrific moments, and Temple of Doom is no exception. But in exchanging the very real threat of Nazi Germany for the cartoonish Thuggee cult, it loses some of the heft of its predecessor (Raiders of the Lost Ark); on the other hand, it’s also the darkest and most disturbing of the three films, what with multiple scenes of children enslaved, a heart pulled out of a man’s chest, and the immolation of a sacrificial victim, which makes it less fun than either Raiders or The Last Crusade, notwithstanding a couple of riotous chase scenes and impressively grand sets. Many fans were also less than thrilled with the new love interest, a spoiled, querulous nightclub singer portrayed by Kate Capshaw, but a cute kid sidekick (“Short Round,” played by Ke Huy Quan) and, of course, the ever-reliable Harrison Ford as the cynical-but-swashbuckling hero more than make up for that character’s shortcomings.A six-minute introduction by Lucas and Spielberg is the prime special feature, with both men candidly addressing the film’s good and bad points (Lucas points out that the second Star Wars film, The Empire Strikes Back, was also the darkest of the original three; as for Spielberg, the fact that the leading lady would soon become his wife was the best part of the whole trip). Also good are “The Creepy Crawlies,” a mini-doc about the thousands of snakes, bugs, rats and other scary critters that populate the trilogy, and “Travels with Indy,” a look at some of the films’ cool locations. Storyboards and a photo gallery are included as well. –Sam Graham

Last Crusade

Not as good as the first one, but better than the second. That’s been the consensus opinion regarding Indiana Jones and the Last Crusade, the final installment in Steven Spielberg and George Lucas’ original adventure trilogy, throughout the nearly two decades since its 1989 theatrical release. It’s a fair assessment. After the relatively dark and disturbing Temple of Doom (1984), The Last Crusade (1989) recalls the sheer fun of Raiders of the Lost Ark (1981). With its variety of colorful locations, multiple chase scenes (the opening sequence on a circus train, with River Phoenix as the young Indy, is one of the best of the series, as is the boat chase through the canals of Venice), and cloak-and-dagger vibe, it’s the closest in tone to a James Bond outing, which director Spielberg has noted was the inspiration for the trilogy in the first place; what’s more, it harkens back to Raiders in its choice of villains (i.e., the Nazis–Indy even comes face to face with Hitler at a rally in Berlin) and its quest for an antiquity of incalculable value and significance (the Holy Grail, the chalice said to have been the receptacle of Christ’s blood as he hung on the cross). Add to that the presence of Sean Connery, playing Indy’s father and having a field day opposite Harrison Ford, and you’ve got a most welcome return to form.

Special features include a six-minute introduction by Spielberg and Lucas, who discuss the grail as a metaphor for bringing Indy and his estranged father together and agree that Crusade is the funniest of the three films; “Indy’s Women,” an American Film Institute tribute with leading ladies Karen Allen, Kate Capshaw, and Alison Doody each discussing her character (Capshaw candidly describes Temple of Doom’s Willie Scott as “whiny, petulant, and annoying”); “Indy’s Friends and Enemies,” a look at the films’ various villains and sidekicks; plus storyboards and photo galleries. –Sam Graham

Kingdom of the Crystal Skull

Nearly 20 years after riding his last Crusade, Harrison Ford makes a welcome return as archaeologist/relic hunter Indiana Jones in Indiana Jones and the Kingdom of the Crystal Skull, an action-packed fourth installment that’s, in a nutshell, less memorable than the first three but great nostalgia for fans of the series. Producer George Lucas and screenwriter David Koepp (War of the Worlds) set the film during the cold war, as the Soviets–replacing Nazis as Indy’s villains of choice and led by a sword-wielding Cate Blanchett with black bob and sunglasses–are in pursuit of a crystal skull, which has mystical powers related to a city of gold. After escaping from them in a spectacular opening action sequence, Indy is coerced to head to Peru at the behest of a young greaser (Shia LaBeouf) whose friend–and Indy’s colleague–Professor Oxley (John Hurt) has been captured for his knowledge of the skull’s whereabouts. Whatever secrets the skull holds are tertiary; its reveal is the weakest part of the movie, as the CGI effects that inevitably accompany it feel jarring next to the boulder-rolling world of Indy audiences knew and loved. There’s plenty of comedy, delightful stunts–ants play a deadly role here–and the return of Raiders love interest Karen Allen as Marion Ravenwood, once shrill but now softened, giving her ex-love bemused glances and eye-rolls as he huffs his way to save the day. Which brings us to Ford: bullwhip still in hand, he’s a little creakier, a lot grayer, but still twice the action hero of anyone in film today. With all the anticipation and hype leading up to the film’s release, perhaps no reunion is sweeter than that of Ford with the role that fits him as snugly as that fedora hat. –Ellen A. Kim

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Editorial Reviews

Samsung Brightside Phone (Verizon Wireless)

by Samsung

Technical Details

Product Description

Amazon.com

3.1″ touch screen and slide-out QWERTY keyboard (view larger).

One-touch access to your contacts and messages (view larger).

Samsung Brightside At a Glance: 3G connectivity Battery talk time: 6.5 hours, standby time: 14.6 days 3.1-inch touch screen and slide-out QWERTY keyboard 3.2-MP camera/camcorder Supports up to 32GB MicroSD card (sold separately) Music Player Text to Speech- converts text messages into audio Bluetooth 2.1 Threaded text messaging, picture and video messaging Upload images directly to Facebook and MySpace

Samsung Brightside Overview

Introducing the Samsung Brightside, the phone for anyone looking for constant connection. The combo of a 3.1-inch touch screen and slide-out QWERTY keyboard lets texts and status updates fly out at the speed of now. Unique one-touch social access features let tech savvy students bounce quickly from messages to contacts and back. The built-in 3.2 megapixel camera captures all those must-remember moments, which will come in handy when keeping friends in the loop through Facebook, Twitter and texting. Wake up on the Brightside and light up your scene.

Combo of Touch Screen and Keyboard

Tired of choosing between a keyboard and touch screen to get your message across? With the Samsung Brightside, you get the best of both worlds. Simultaneous use of the 3.1-inch touch screen and QWERTY slide-out keyboard gives you the ability to break free to chat, surf and interact any way you want. With the one-touch access feature to your contacts and messages you’ll be able to stay ahead of your circle of friends and respond to texts, emails and status updates at the speed of light.

Staying in touch is a snap on the Brightside, which has built-in shortcuts for quick access to messaging and networking on the slide-out QWERTY keypad. Just press the spacebar to open the Social Networks app. Function + Z opens a quick list of emoticons for quick messaging. The Star key is a shortcut to your 12 favorite contacts. And there’s a dedicated messaging key as a shortcut for writing texts.

Rise and Shine Your Social Side

The Samsung Brightside is a shining example of how you can get the word out in multiple ways. Send texts, pics and videos quickly to your group of friends. Plus, you can easily stay connected through email and update your social networks.

3.2 Megapixel Rear-facing Camera and Camcorder

Take photos in a flash with the 3.2 megapixel camera, or capture a spontaneous video. There’s a dedicated camera key on the right side of the phone so it’s easy to find. This key also serves as the shutter button for rapid-fire photos. It’s easy to share your pictures and videos with friends, or to upload them to an online album using email, Bluetooth or posting to Facebook.

Vital Statistics

The Samsung Brightside weighs just 4.3 ounces and measures 4.37 x 2.37 x 0.57 inches. Its 1000 mAh lithium-ion battery is rated at up to 6.5 hours of talk time, and up to 14.6 days of standby time. It runs on the Verizon Wireless 3G network, as well as EV-DO: 850/1900 frequencies and at a data speed of EVO-DO Rev 0.

What’s in the Box
Samsung Brightside, standard lithium ion battery (1,000 mAH), wall/USB charger, product safety & warranty brochure, quick reference guide

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Verizon Wireless Services

Reliable 3G Network: With support for the EV-DO high-speed data standard, you’ll enjoy fast access to the Internet and Verizon Wireless multimedia services (additional charges applicable), with average download speeds ranging from 400 to 700 Kbps and peak rates up to 2 Mbps.

Verizon Services: access to apps with Verizon Apps storefront, Media Center, VZ Navigator, V CAST Videos and more!

VZ Navigator Capable: With this GPS-enabled phone, you’ll be able to access the Verizon Wireless VZ Navigator service (additional charges applicable) for voice-prompted turn-by-turn directions, heads-up alerts, local search of nearly 14 million points of interest in the US (such as landmarks, restaurants and ATMs), and detailed color maps.

Backup Assistant: never lose your Address Book contact information again! Sign in or create a new Backup Assistant account from the Setup Wizard and download all of your existing contacts from your old phone.

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Connectivity Verizon 3G connectivity Onboard GPS for navigation (using pre-loaded BlackBerry Maps or optional VZ Navigator) and location services Bluetooth connectivity (version 2.1) includes profiles for communication headset, hands-free car kits, and A2DP audio streaming. Hardware Display: 3.1-inch QVGA, Touch Screen, 262K Color, 240 x 320 Pixels 4-Line Slide-Out QWERTY Keyboard with dedicated text messaging key MicroUSB 2.0 port Removable battery Communications & Internet Full messaging capabilities including SMS text, MMS picture/video and IM instant messaging Opera HTML web browser easily access to all your favorite websites. Speakerphone; Voicemail; Text-to-speech; Picture Caller ID Personal and corporate e-mail access .

Memory Supports up to 32GB MicroSD card (sold separately) Camera 3.2-megapixel camera with resolution options. Video capture capabilities Image Editor: Effects, Contrast, Saturation, Blur, Rotate/Flip and Brightness Multimedia Music player compatible with MP3, WMA, MP4 and AAC/AAC+/eAAC+ Video player compatible with MPEG4, H.264, H.263 Embedded Ringtones, Vibrate Alert and silent Verizon media services More Features 3.5mm headphone jack V Cast Apps Text to Speech- converts text messages into audio Voice Commands TTY capable

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