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Why “The Avengers” is the anti-“Dark Knight” (and that’s a good thing)

A scene from Marvel's The Avengers

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With both “The Avengers” and “The Dark Knight Rises” hitting theaters just months apart, this year is shaping up to be a huge one for comic book movies. Not only do we have the culmination of Marvel’s four-year cinematic experiment in super-team development, but we also have Christopher Nolan’s third and final chapter in his Batman saga, and the follow-up to one of the highest-grossing films of all time, “The Dark Knight.”

Given the presence of both of these high-profile superhero movies in the 2012 schedule, it’s hard not to compare them, but here’s the thing: when you really get down to brass tacks, “The Avengers” is everything Nolan’s trilogy isn’t – and that’s a very good thing.

Ever since Nolan brought Gotham’s favorite superhero to the screen in “Batman Begins,” Hollywood has had a love affair with “dark” superhero movies. The popularity of grim-and-gritty adaptations hit a fever pitch with the box-office triumph of “The Dark Knight” in 2008, and over the last few years, any potential adaptation that didn’t offer a darker spin on its source material faced an uphill battle with studios and audiences alike.

To their credit, Marvel bucked that trend, and gave audiences the bright, clever, and fast-paced action of “Iron Man” in 2008 — just a few months before “The Dark Knight” broke box-office records. Even though Tony Stark’s debut didn’t achieve the same success of Nolan’s moody Batman sequel, Marvel showed little inclination to shift things toward the dark(er) side, and pushed forward with the similarly lighter-toned “The Incredible Hulk,” “Iron Man 2,” “Thor,” and “Captain America: The First Avenger” over the next four years.

Now, with the premiere of “The Avengers” this weekend, we get a film that’s not only the culmination of Marvel’s grand, four-year plan, but also the best example of Marvel’s desire to show that “The Dark Knight” formula isn’t the only path to superhero-movie success.

In my review of “The Avengers,” I wrote that the film “chooses bright, witty, and unabashedly heroic over dark, grim, and conflicted” – but that’s only the tip of the iceberg when it comes to the ways Marvel has offered a photo-negative alternative to Warner Bros’ “Dark Knight” franchise. Along with the obvious 180-degree differences in visual and tonal environments, the qualities of the characters embraced and accentuated by each of the films also stand in stark contrast.

In Nolan’s series of Batman films, the character’s status as one of the DC universe’s greatest detectives is scrapped in favor of making him, well… what’s essentially a bully in a bat-suit. Favoring intimidation and brute force over the keen observation and technical expertise his comics counterpart is known for, even the character we see when Bruce Wayne is out of costume is only slightly friendlier than Batman himself.

In director Joss Whedon’s vision for “The Avengers,” we get a team of heroes who haven’t spun very far off center, despite their more unique attributes. Collectively, the team’s members are generally depicted as funny, polite, and “warm” when they’re not in mid-brawl, and even Whedon’s version of Bruce Banner seems well-adjusted and emotionally stable when compared to Nolan’s take on Bruce Wayne.

Of course, the simple fact that “The Avengers” made it to the screen is a powerful statement on the difference between the two franchises and their centerpiece films.

It’s almost impossible to imagine Nolan’s version of Batman co-existing in a world with other superheroes from DC’s stable – let alone teaming up with them. The Dark Knight as seen through the modern franchise is a martyr figure, with self-sacrifice generally the first and only option he considers when faced with overwhelming odds. When he finally does ask for a helping hand in the first two films of the franchise, it’s to request assistance in keeping everyone but him out of harm’s way and to frame himself as the villain.

In contrast, the heroes of “The Avengers,” while prone to initial misunderstandings that prompt the obligatory hero-on-hero fights, seem to not only realize the benefit of teamwork, but to welcome assistance from their teammates. When there’s help to be had, egos are quickly set aside and there’s minimal resistance to receiving a helping hand (or magical hammer or energy blast) to thwart whatever’s threatening the populace.

Given the two franchises, if a hijacker locks himself inside a plane with hostages and a bomb in “The Avengers” universe, one almost expects Iron Man to divert the plane to an uninhabited area, Captain America to knock out the hijacker, and Black Widow to disarm the bomb in no time at all. On top of that, there’s likely to be a one-liner about “flying the unfriendly skies.”

In Nolan’s Bat-verse, however, the same scenario would likely play out with Batman sky-diving sans parachute from his Bat-plane onto the hull of the hijacked airplane, leaving his high-tech plane to crash with a fiery explosion. After dispatching the hijacker, Batman straps the bomb to his own body, gives a grim look back at the passengers, and leaps out of the airplane, seemingly sacrificing himself for the greater good. (Naturally, he’d disarm or otherwise rid himself of the bomb at the last possible second, coming this close to death once again.)

What’s more, the vast differences between “The Avengers” and “The Dark Knight” are clear from a practical perspective, too.

Like “Iron Man,” “The Avengers” feels like a very loose film, with a story that’s strong enough to bring its characters from the starting line to the finish, but light enough to let the actors play around with the script, filling it out and breathing life into their characters wherever possible. There’s a sense that everyone involved with the film is having fun with it, and that playfulness carries over to the audience.

In contrast, “Batman Begins” and – to an even greater degree – “The Dark Knight” both stick close to Nolan’s tried-and-true style of filmmaking that produces heavy, intense movies that feel carefully planned and expertly executed with little room for divergence. The actors who thrive in Nolan’s films are similarly intense, and there’s a feeling that his Bat-verse is as much of a high-pressure environment on the set as it is on the screen, with the demands of an ambitious plot leaving little time to stray from the script. The effect is to create a feeling of tension in the audience while we watch Batman deal with the scum of Gotham.

Perhaps what’s most important, though, is that while “The Avengers” and “The Dark Knight” function as polar-opposite approaches to the genre in nearly every way, they both succeed as some of the best examples of superhero movies.

The achievements of “The Dark Knight” have been well documented at this point, but the triumph of “The Avengers” is particularly noteworthy for how far it strayed from the norm of recent superhero movies. Where the standard has shifted toward brooding, psychological adventures, “The Avengers” is a light-hearted, action-fueled film that proves that dark isn’t always better, and “fun” superheroes can indeed make for a good movie.

And whether your personal tastes lie more in line with the darker fare that’s been the norm lately or lighter films like “The Avengers,” we can all agree that shaking Hollywood out of a creative rut – no matter how many good films that rut produces – is always a good thing. And in that, as well as being a damn fine big-screen adventure, “The Avengers” succeeds heroically.

“The Avengers” hits theaters today, May 4.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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