The events of the horrific Aurora Theatre Shooting unfolded on July 20, 2012. The shooting transpired during the midnight screening of The Dark Knight Rises and ended with unthinkable losses.
James Holmes, the sole perpetrator, initially entered the theatre and bought a ticket to the film, sitting in the front row. Approximately twenty minutes into the movie, Holmes exited the theatre through an emergency exit door. He propped this door open with a plastic tablecloth holder and proceeded to go outside to his car. Inside of his vehicle were protective tactical clothing items and multiple firearms. Holmes changed into the protective clothing, which included a gas mask, a ballistic helmet, a bullet-resistant throat protector, a load-bearing vest (which was not additionally bulletproof), bullet-risistant leggings, a groin protector, and finally a pair of tactical gloves. While at his car Holmes also retrieved the guns that he would use in the attack; a 12-gauge Remington 870 Express Tactical shotgun, a Smith and Wesson M&P15 semi-automatic rifle with a 100-round drum magazine, and a Glock 22 .40 caliber handgun.
Holmes then reentered the theatre through the same door he had propped open and entered the auditorium, wearing headphones and playing “techno music” as to not hear the audience’s reactions. He first threw two canisters that discharged a gas or smoke. This smoke caused eye irritation and obscured vision, as well as itchiness to the skin and throat. After this Holmes fired his 12-gauge Remington shotgun at the ceiling, then at the audience. He additionally fired his semi-automatic rifle, but it soon malfunctioned. Holmes lastly fired using his Glock 22 handgun.
Holmes began shooting at the back of the auditorium, then towards people in the aisles. Three people in a neighboring room were hit by a bullet when it passed through the wall, and that area was subsequently evacuated. This room was also screening The Dark Knight Rises. Meanwhile, back in the auditorium where the shooting was taking place, the fire alarm began to sound. The scene was in complete chaos, and some were hesitant to flee due to shouts of an additional shooter in the theatre’s lobby. The first calls to 911 were made at 12:39am, with police arriving in 90 seconds. Some individuals reported the shooting on Twitter rather than calling the police, but officers were already present at the theatre when these tweets were sent.
A total of 76 shots were fired by Holmes in the theatre; six of these were from the shotgun, 65 from the semi-automatic rifle, and five from the Glock 22 .40 caliber handgun. When Sergeant Stephen Redfearn, one of the first police officers on the scene, arrived, he decided not to wait for ambulances. Sergeant Redfearn instead sent a number of the victims to the hospital in squad cars. At approximately 12:45am, Holmes was apprehended behind the theatre by Officer Jason Oviatt. He stated that Holmes was calm and “disconnected” during his arrest.
12 people were killed in the Aurora shooting and 70 non-fatal injuries were reported. 10 victims died at the scene and two more died at local hospitals. Four of the victims, Jonathan Blunk, Matt MqQuinn, Alexander Teeves, and John Larimer, were killed while protecting their girlfriends. Two of the victims were active-duty service members. For a full list of the fallen victims, click here.
Two federal officials had stated that Holmes had dyed his hair red and called himself “The Joker”, but authorities later declined to confirm that statement. However, three days later at his first court appearance, Holmes had reddish-orange hair. Authorities found a first aid kit, as well as spike strips, in his car. Holmes later claimed that he planned to use the spike strips if police chased him or shot at him. Police interviewed a grand total of 200 witnesses during the investigation. Holmes was first incarcerated at the Arapahoe County Detention Center under suicide watch.
The Aurora Shooting had claimed the largest number of victims of any mass shooting in the history of the United States, but was later unfortunately surpassed by the Orlando Pulse Nightclub Shooting in 2016, which had a combined total of 102 casualties. The Aurora Shooting was the deadliest mass shooting in the state of Colorado since the Columbine High School Massacre in 1999, which claimed 13 victims, not including the two perpetrators who committed suicide after their attack.
The name of the long-rumored, Harley Quinn-centric DC movie will be Gotham City Sirens, THR revealed today.
Suicide Squad director David Ayer will return to Gotham along with Margot Robbie, who will play Harley Quinn, and a cast of female superheroes and supervillains from the DC Universe.
Gotham City Sirens the name of a comic book series that starred Harley, Catwoman, and Poison Ivy (Harley’s girlfriend). Both Catwoman and Poison Ivy have appeared in previous film incarnations, with Uma Thurman playing Ivy in Batman and Robin and Catwoman having appeared in three separate feature films – Batman Returns, where she was portrayed by Michelle Pfeifer; Catwoman, played by Halle Berry; and The Dark Knight Rises, played by Anne Hathaway.
Geneva Robertson-Dworet, whio also wrote scripts for the Tomb Raider remake and Warners’ Sherlock Holmes 3, is writing the screenplay.
i saw hans zimmer live yesterday and it was probably the best experience of my whole life
i knew i was gonna get teary-eyed (which i was for probably like 50 % of the show) but i was actually pretty much bawling during the dark knight trilogy’s music when he brought up heath ledger and the aurora shooting, it was very embarrassing
I’d fucking backhand you for listing those 3 fears if u were in range. Stfu and list loneliness and anime like a non fed
I’m totally neutral on anime my guy, I have neither waifu bodypillows nor burning hatred of anime lol.
Loneliness is a valid point but at the same time I’d rather be lonely than my only options be statist scum. I’m all for disassociation with morally bankrupt humans, like my parents, who I have consistently avoided as much as possible throughout my college career and will also be avoiding like hell once I move into my own apartment.
I thought about listing communism and fascism but that was only two and there are three classifications of NAP violations so I rolled with that.
Honest to god? Tom Hardy’s Bane from The Dark Knight Rises is singlehandedly the most terrifying political demagogue character. He’s not scary because he could pulp me in a punch. He’s scary because of what he did to Gotham with a few words. He inspired a whole goddamn city to forsake property rights and the movie, quite realistically, portrayed the dissolution not of the State, but of a whole society. And he didn’t even have to blow it up like a terrorist. He just unleashed the savage animal in humanity. Bane didn’t destroy Gotham; he let Gotham consume itself in barbarism.
If you want to see what an ancom looks like, you need not look any further than Bane. And that fucking scares the shit out of me. Heath Ledger was a brilliant Joker, but Tom Hardy’s Bane is much more terrifying to me, and should be to any civilized person.
My next biggest fear is being black-bagged by the feds. That I just disappear into some cell, doped up to my eyeballs, and am infinitely detained as a threat to the State. Like what happened to Stephen Fry’s character in V For Vendetta. That unpopular ideas like mine–ours–will be criminalized and violently repressed. That “for a safe and secure society”, I am erased not merely from Tumblr or my job, but from memory. I hold no illusions that my name will be immortalized in history textbooks, but I want to pass my knowledge and wisdom on to the next generation. I want a family. And I am afraid that statists would deny me being with someone I love, and my future child or children, because they see my morality as an intolerable threat to their monopoly on aggression.
I’ve experience chase nightmares all my life. From childhood, years before I had ever seen movies like The Matrix, I’ve been on the run from men in suits and sunglasses and bland, merciless, terrible faces, men who possess total immunity to justice. The first few episodes of The X Files I’ve watched recently are rife with them. Agents seeking to cover up truth, destroy knowledge, continue oppression and exploitation.
Recently my philosophy of religion class discussed theories of hell, and one of them was the divine presence theory. Unlike the traditional view of hell in which the damned are separated from God and the saved, this theory holds that God will be all-present to both the saved and damned. The difference is how they react: the saved experience joy upon looking upon the Divine, while the damned experience only agony, and can do nothing but blame God for making them experience this torture. Imagine the person who annoys you the most, being around you all the time, doing nothing but being him/herself, and it drives you mad with rage. You can’t possibly for give him. You’ve done nothing wrong. Your suffering is being caused by that guy over there and you can’t possibly forgive him when he is so constantly annoying, eternally pissing you off, doing you wrong because he won’t leave you the hell alone! This is why, under this theory, hell is a permanent state from which there is no redemption (no eventual universal salvation, no annihilation). How can the damn be redeemed from a painful existence they always are going to blame God for?
In other words, hell isn’t the separation of God and the damned… it’s the eternal, forced association between God and the damned.
I thought of my chase dreams when I heard this description. How could statists hope to convince me of their good intentions, when failure to obey them will result in my being pursued and imprisoned for something so harmless as possessing a marijuana plant? Or being the wrong race, or class, or sex, or liking the wrong sex of person? How can I ever come to appreciate the State they worship when I live in nothing but fear of that same State and its enormous, terrible power to end lives with the push of a button or erase freedom with the stroke of a pen?
I already know what my hell looks like. We’re already here.
They told me there was nothing out there, nothing to fear. But the night my parents were murdered I caught a glimpse of something. I’ve looked for it ever since. I went around the world, searched in all the s h a d o w s. And there is something out there in the d a r k n e s s, something terrifying, something that will not stop until it gets revenge… Me.
who’s the cuddler: Jaune. Ren’s more of an introvert, but Jaune craves physical affection and will dive onto the bed when Ren is lying on it and wrap his arms around his waist and snuggle up to him. If Ren’s up for it, he’ll scratch Jaune’s head lightly or cuddle up to him, but if he’s not, Jaune will (very respectfully) go mope in the corner with a stuffed animal and read his comics or something. When Ren is feeling very relaxed and loose – which happens more around Jaune than it does around other people – they’ll both cuddle each other. Jaune loves when he gets to hold Ren close to him and stroke his hair and kiss the top of his head. Jaune just loves touching Ren’s hair. Jaune just loves Ren. (Look they just love each other a lot, okay?)
(and sometimes they’ll just lie on the bed looking at each other with their foreheads gently resting together and yes, Jaune will stroke Ren’s hair then, too)
who makes the bed: Oh, Ren, for sure. Jaune doesn’t mind at all (he likes climbing into a freshly made bed), he just… doesn’t think of it himself.
who wakes up first: Jaune. Ren is not a morning person, and he needs, like, five alarms and two cups of coffee to wake up. Jaune’s not a morning person either, but he’s so used to dragging himself through life that dragging himself out of bed in the morning is hardly that much more of a challenge.
who has the weird taste in music: They both think each other’s taste in music is weird. Jaune listens to alt rock and whatever Remnant’s equivalents of All American Rejects / Green Day / Vertical Horizon are, while Ren really likes instrumental pieces, usually of a musical style equivalent to Chinese music in our world (something sort of like this). They both theoretically get the appeal, but if it weren’t for their love for each other they would never be able to sit through an entire piece of the other’s choosing. Ren doesn’t connect to songs through lyrics the way Jaune does, and Jaune just gets fucking bored with long, built-to-be-beautiful music. The closer they get though, the more they begin to vividly hear each other when they listen to each other’s music choices, and the more they grow to appreciate them as a result. Jaune may or may not have an orchestral piece or two downloaded on his scroll to listen to to help him fall asleep when he and Ren can’t be togethre for an extended period of time, and Ren may or may not have also downloaded Jaune’s top played songs to try to understand what the heck is going on in his boyfriend’s head when he goes and does That Stupid Thing (no not /that/ stupid thing, That Other stupid thing. No, not that one either).
Bonus: Ren finds something a little like this in Jaune’s music library, downloaded before they started dating. When Ren asks about it (since it’s so out of character for Jaune), Jaune just shrugs and flushes and says, “It reminded me of you.” Because Jaune’s a fucking sap.
Bonus 2: Jaune also really likes Fucking Epic Film Soundtracks (think Dark Knight Rises) and Ren has a soft spot for Epic Celtic-Equivalent Music (maybe something a little like this, except without the sound effects of actual battle in it), and these are both things they can come to an enthusiastic consensus on.
who is more protective: They’re both super super protective. Have you seen this comic? Yeah, it’s like that.
who sings in the shower: Both of them. Jaune does it pretty loudly, usually along to some of his aforementioned alt rock songs, and he isn’t very good, and Ren sighs and puts his hand over his ears because he loves this boy dangit and he will put up with this. Ren sings low and quiet but it’s actually really nice, and Jaune tends to shift closer to the bathroom door and just casually lean his head as close to it as he possibly can without being weird because Ren never sings elsewhere and Jaune loves it.
who cries during movies: Ren tears up during the saddest parts of movies but he’s really good about not letting them turn into full on roll-down-his-cheeks tears, except sometimes he’s not so good at it and Jaune has to dry them off. They’re always silent, though – Ren’s not a sobber, not about stuff that isn’t real life.
Jaune doesn’t cry during movie, he just gets really angry when the movie does things that are Unacceptable, like killing off a main character, or a dog. He always yells at the screen when the dog dies.
(“Jaune, the dog always dies,” Ren reminds him. “That’s no excuse!” Jaune says. “They should dare to be different. Why are we even watching this movie, anyway?” “You’re the one who picked it out.” “Well, I’m an idiot, why’d you let me do that?”)
who spends the most while out shopping: Jaune. Ren grew up without parents, fending for both himself and his best friend, so he’s got less money to begin with and knows how to shop on a budget. Jaune’s easing his way into independence with pocket change from his parents, and while it’s not a lot (raising eight kids means they do have to be economical) it’s more than Ren’s got. Jaune also always tosses treats like candy and hot chocolate into the cart, while Ren is more of a healthy eater (a health nut, Jaune would say. Ren would struggle through a protest, because it sounds like the kind of thing he should protest to, but at the same time Jaune’s not exactly wrong.)
who kisses more roughly: Jaune. Oh god, Jaune. (But Ren does not mind. He does not mind at all.)
who is more dominant: It depends. When it comes to interpersonal stuff, the Jaune-as-team-leader dynamic runs in the DNA of them getting to know each other better, since it didn’t really start happening until after Jaune was more of an effective leader anyway, so there’s an echo of that. At the same time, they also both know and acknowledge that Jaune would be a complete mess without his friends and boyfriend emotionally supporting him, so it kind of gets balanced out. All it really means is that sometimes Jaune will automatically Tell Ren What To Do instead of Asking Him To Do Something, but the moment he realizes he’s done it, he’ll apologize and rephrase the request, and if it’s not that big a deal, Ren will do the thing anyway. Neither of them really sets the pace for the relationship – they just kind of stumble through it together and figure out what they’re okay with and not okay with when they hit a wall. They’ve had a couple of pretty bad bumps because of this, but they’ve worked hard to get through them and they’ve realized that most of them come from bad communication (because Jaune is stubborn as a mule, and Ren is very reserved and… also pretty stubborn, tbh).
When it comes to the eyebrow-waggly stuff, they’re both kind of awkward and hesitant at first so it really depends on the situation. Usually Jaune is the one who will end up clambering into Ren’s lap just to get that one kiss more, and he tends to be the hungrier one in general (I headcanon Ren as being ace-spectrum, and Jaune… definitely not), but every once in a while, Ren gets it into his head that he’s gonna pin his boyfriend down on the bed and kiss him like he really deserves to be kissed – i.e., exhaustively. Jaune has exactly zero problems with this. He always kind of gets a thrill out of watching Ren take control – it’s a gorgeous image.
my rating of the ship from 1-10: This is a good one. I’ll give it a 9. I don’t know what a 9 means. Let them live their fictional lives free of a ratings system!
Whenever I’ve talked about a DC/Warner Bros. movie, I’ve always jokingly prefaced it with “from the studio that brought you Jonah Hex and Catwoman…” but I wanted to find out whether that was a fair assessment, so I decided to crunch some numbers, comparing the Rotten Tomatoes score of Marvel Studios’ entire motion picture output against the last two decades of Warner Bros. movies based on DC Comics.
[Full Disclosure: I am not a statistician, nor am I any kind of expert. I’m not even 100% certain I’ve calculated the averages properly, though that’s largely down to a sort-of general distrust of my own math skills. I checked everything with a calculator, often multiple times, but there may be errors. Sorry for that.]
Marvel’s movies are limited to movies actually produced by or with involvement from Marvel Studios themselves, and so doesn’t include films like The Amazing Spider-Man or Fox’s X-Men series which were not produced by Marvel Studios. It also doesn’t include Big Hero Six, which was produced by Disney but without involvement from Marvel Studios.
I pulled the list of DC movies from Wikipedia, opting to exclude movies based on DC licenses that weren’t produced or distributed by Warner Bros. in any way. This rather generously excludes The League of Extraordinary Gentlemen, which has a Rotten Tomatoes score of 17%. It would also have excluded Watchmen had 20th Century Fox actually pulled the trigger on making the movie when they had the license, but they didn’t. Whoops!
I chose to include A History of Violence, as it was produced by New Line Cinema who were merged into Warner Bros. in 2008. The film has an 87% score on Rotten Tomatoes, so that can only help WB’s case.
So. The numbers, then.
Despite a couple of critical stumbles with The Incredible Hulk and Thor: The Dark World, Marvel maintains a strong average of 81%.
Warner Bros., on the other hand, have an average score of 51% for their films released since 1996. That number drops to 44% if you exclude films based on DC imprints (Vertigo, Paradox, etc.), which critically fare a little stronger. Cast a more narrow net to films released since the formation of the MCU in 2008 and that average shifts just a little more - 49% for all DC films released since Iron-Man, 47% if you exclude the imprint-based films Watchmen and The Losers.
But maybe this is unfair. After all, Warner Bros. have been producing movies for much, munch longer than Marvel has, and this list excludes films like Superman and Tim Burton’s Batman. Films people love!
So what if we pull the numbers from as far back as Warner Bros.’ first in-house movie based on a DC Comics property? How does that look? Let’s take a look.
This list starts with the 1979 Superman and not, for example, the 1966 Batman movie starring Adam West because, according to Wikipedia at least, earlier films were not produced with the involvement of Warner Bros., and so I have opted to exclude them for the same reasons I excluded The League of Extraordinary Gentlemen earlier.
This hasn’t given the numbers the boost DC fans might have been hoping for. There’s a slight buoy thanks to the first two Superman and Batman movies, but it’s dragged down again by the low scores for Superman III and IV, as well as Supergirl - Warner Bros.’ worst-performing movie on this list - and the disappointing score for Batman Forever (which sucks for me - I actually rather like Forever). Simply put, half of the movies suck, and half don’t.
Adding these eight movies only bumps the average score up to 52%, or 47% excluding DC imprints.
What does this mean? Well, going by the numbers, Warner Bros.’ DC films are far more divisive than Marvel Studio’s output. Warner Bros. has a 1-in-2 chance of putting out a movie critics will hate, while Marvel’s has a 1-in-5 shot of pissing off critics. Mathematically speaking, Marvel is making movies that critics enjoy, and Warner Bros. is not.
There are a number of ways to interpret this data. Firstly, though the trailer for Wonder Woman looks fantastic, whether or not the film will be any good is a coin-flip. The numbers are not in WB’s favor, and while I really, really want Wonder Woman to be a great film, it’s not looking good. It looks even worse when you consider the average score of the DC Extended Universe films to date is 36%, meaning that under the current DC/WB regime Wonder Woman has a 1-in-3 chance of critical success. Gulp.
I’m sure some bugger out there is going to look at this post and see it as proof of some massive conspiracy against WB/DC, or that Marvel have somehow “bought” critics.
I don’t believe that to be the case. Remember, WB’s lowest critical scores come from films like Catwoman, Supergirl and Batman & Robin, all movies that predate the MCU by a significant amount. The scores for the three current DC Extended Universe films are bad, and point to a serious mismanagement of the DC brands within WB right now, but they’re not as bad as WB’s lowest period during the layte 90s/early 00s. The idea that there’s some kind of conspiracy also doesn’t explain the high score for The Dark Knight Rises (which was divisive even among fans of Nolan’s interpretation of the character) nor does it explain the fact that Man of Steel’s score is, mathematically speaking, not actually terrible. Man of Steel is a mediocre movie from a numbers perspective. Catwoman is objectively and statistically terrible.
Probably the best way to interpret this data, though, is this: Warner Bros. need a massive, massive course correction. What they are doing right now simply isn’t working. If you want my armchair analysis, they learned the wrong lessons from the success of The Dark Knight Trilogy and the failure of Green Lantern. They’ve also learned entirely the wrong lessons from everything Marvel have done over the last decade, and are scrambling to try to reproduce those results in as short a window as possible. They need a major, major regime change over there - Batman, Superman, the Joker, these should all be really easy characters to execute on and to make fun movies in at least the >60% range, but they’re not.
Marvel, on the other hand, has continually taken risks on characters people know next to nothing about - Iron-Man, Ant-Man, the Guardians of the Galaxy - or characters which may have perception issues among the broader public - Thor and Captain America come immediately to mind - and have knocked it out of the park with audiences and critics alike. A decade ago the general public probably couldn’t tell you Iron-Man’s real name, or the name of Thor’s hammer. Now they can. Why? Because Marvel have been very, very smart since day one.
Some additional numbers:
The lowest-scoring movie from either studio is Supergirl, with 7%.
The highest-scoring movies are The Dark Knight and Iron-Man, both tied for 94% (and both released in 2008).
The film most representative of Warner Bros.’ average score is Man of Steel. Its 55% score puts it closest to the studio’s 47-52% average.
Marvel’s most representative film is Ant-Man, whose 81% score matches Marvel’s average. Captain America: The First Avenger comes in a close second with 80%.
Marvel have never released more than two films a year, though that may be about to change. By contrast, Warner Bros. has that number beat - in 2005 they released five films based on DC Comics or its imprints.
Warner’s lowest-scoring movie, Supergirl, has an Audience Score of 26%. By contrast Marvel’s lowest-scorer, Thor: The Dark World has an Audience Score of 78%. [Edit: I wrote a follow-up post about Audience Scores here.]
That’s it! Again, I acknowledge I’m not an expert and it’s entirely possible I’ve royally screwed this all up, so I eagerly await someone else to come along and do this better. Cheers!
I don't know if you've ever said it elsewhere, but why do you like/love Catwoman so much (as well as the BatCat ship)?
Not sure if I have answered this, so thanks for asking!
Catwoman is one of those characters I grew up with, so I have a lot of love for her. I watched her in the animated shows and in Batman Returns, etc. Really, Catwoman had more of a place in my childhood than even Wonder Woman did. So part of my love for her is through nostalgia. I’ve always thought she was so cool and loved her costume and her relationship with Batman. I liked how funny she was, that she wasn’t intimidated by Batman, and she was an ass kicker in her own right. I even shipped her with Batman before I even knew what shipping was. I just knew they were supposed to be together.
Going beyond the nostalgia factor, I still loved her as I got older. I could appreciate her more in movies like Batman Returns. Her characterization in that movie can be debated, but I’ve always loved her in it. Then I was so excited to hear she would be in The Dark Knight Rises, and I do love Anne Hathaway and it was great to see her in the role. Anne once said something about how she always wanted to be Catwoman, even as a kid, and I totally feel the same way. I wanted to have that confidence and intelligence when I was younger, and I still want to be Catwoman.
I’ve always loved how she is unapologetically sexy. Has that been written badly sometimes? Sure. But as a kid I’m glad I got to see a sexy character who doesn’t find shame in sex. There’s more to her than sex, but I’ve always loved that aspect of her because women, especially from the time she was created, were often ridiculed for being that way. But I dare anyone to call Catwoman a “slut” or a “whore.”
She’s also morally ambiguous, which I always eat up when it’s a female character. We don’t get to be anti heroes a lot. She’s not evil. She’s just out for herself. Like she said in The Dark Knight Rises “A girl’s gotta eat.” But there’s also more to her than that, as Bruce sees, and I’ll get into why I ship them so much but it’s partially because of that. He always knows there’s more than just a criminal to her, and he’s right. She may pretend she doesn’t care, but when it comes down to life or death, she will go back to Batman and save him because she’s not a bad person or a coward. She’d just never admit to being a hero. It’s easier for her to think she’s a bad guy.
So I just touched on why I ship Batcat so much, his believing in her and always seeing the good in her is a part of that.
but she doesn’t let him down is the thing. She comes back and saves him! He really does bring out the best of her and vice versa. This scene was very nicely paralleled in Gotham. They’re just children in that show, but they write their relationship very faithfully:
For some reason, she actually cares what he thinks. She doesn’t want to let him down. When she’s around him, she doesn’t want to be just a criminal, and if that’s not love, I don’t know what it is. Love should make you want to be a better person, and that’s exactly what Batcat is.
What’s important whenever discussing Batcat is to understand just how alike they are. They do not fall under the “opposites attract” trope at all. They’re almost too much alike to work and yet they do. I think they’re two people who have to be with someone who is like them. They’re both seriously damaged people who have been through a lot of hell. This has driven both of them to dress up in weird outfits and go out at night and beat people up. There aren’t a lot of other people like him. You could argue that it wouldn’t be healthy for them to be together, because they’re so alike, but to me, they understand each other better than anyone else ever could.
This brings me to my next point, they make each other happy. It might not seem like that at times, but some of the only joy these two have in their lives is each other. They’re both miserable in their own ways, but despite that, they find happiness together. They see someone who is like them. You’re never gonna see Bruce genuinely smile as much as when he’s around Selina. He acts unaffected by her banter, but he lives for those moments, I’m telling you. We joke about how Bruce is never happy, but around Selina, he is happy.
For god’s sake, at the end of The Dark Knight Rises, he lives happily ever after with Selina, and he couldn’t look happier about it. She also looks so happy and at peace. SHE’S WEARING HIS MOTHER’S PEARLS IN THIS SCENE.
They are soul mates, through and through. They are so alike. They make each other happy. They make each other want to be better. He actually trusted her with his secret identity. They love each other.
I can’t wait to see what they do with Batcat in the DCEU, because they are an OTP to end all OTPs.
#5. Every Critic Immediately Transforms Into a Terrible Version of Cracked
Every time Nolan releases a marginally thought-provoking movie (he tends to present a bunch of ideas without ever actually exploring them to a satisfying degree), everyone feels the need to prove how much smarter they are than the material, like a group of teenagers acting tough in a haunted house. The result is a cascade of “plot hole” lists so nitpicky that even we take issue. … While there’s the obvious back-and-forth Inception invoked, for some bizarre reason movies like The Dark Knight Rises also got bombarded with dull “plot-skewering” listicles. Movieline ran one that asked, “What’s up with that one hug?” between Catwoman and her friend … on an article called (we shit you not) “Holy Plot Holes, Batman! 9 Logical Gripes With The Dark Knight Rises.”
EXCLUSIVE: The New Regency and Ubisoft adaptation of Assassin’s Creed has turned into a Macbeth reunion. Marion Cotillard has signed on to star with Michael Fassbender in the Justin Kurzel-directed Assassin’s Creed, the live-action adaptation of the Ubisoft video game. They starred together in Macbeth, and Kurzel directed the film, which The Weinstein Company will release later this year.
They’re keeping under wraps the role that Cotillard plays, but she’s a versatile actress who won the Oscar for La Vie En Rose, and also played an action role inThe Dark Knight Rises. Like Fassbender, her role is meant to span multiple films if this one scores and becomes a franchise. New Regency and Ubisoft has married pedigree elements to a big-selling video game, a formula that has served Marvel well in building its franchises. Ubisoft’s Assassin’s Creed video game has sold over 91 million units.
Production will begin in early fall for a December 21, 2016 release through Fox, and the film is being co-financed by RatPac and Alpha Pictures. Frank Marshall, Arnon Milchan, Jean-Julien Baronnet, Conor McCaughan, Fassbender and Pat Crowley are producing. Bill Collage, Adam Cooper and Michael Lesslie scripted. (x)
The all-new Ford Mustang has been named the ultimate stunt car by Ben Collins – top Hollywood stunt driver, racing driver and former “Stig” on the BBC’s Top Gear – in his new film “Ben Collins: Stunt Driver”.
In the new Lionsgate U.K. film, the Ford Mustang fastback – powered by a 5.0-liter V8 engine – beats an array of high-performance road and competition cars during 48 hours of explosive, high-speed challenges featuring aerobatic planes, helicopter gunships and military machines.
“The point of this adventure was to find the perfect car for an epic, high octane, Hollywood-style car chase, and it’s the iconic Ford Mustang that gets top billing,” Collins said. “Mustang has starred in many a classic car chase during the past 50 years, and is still the stunt driver’s weapon of choice to leave the bad guys standing in a cloud of tire smoke.”