#358. Police

Whatever your opinion is of law enforcement, they’re generally a necessity to maintain order in society. That’s not to say that police officers aren’t human as well (Robocop (1987) excluded, of course). They make mistakes sometimes, and sometimes they act in their own self-interests. Despite controversy and other shortcomings, there are plenty of police who are full of integrity and do their job to the best of their ability. Over the years, there have been numerous stereotypes formed around the cops. From the donut-eating overweight incompetent to the hard-nosed, by-the-book officer who is continuously stymied by corruption in his department, a lot of police representation in movies can be boiled down to tropes. Consequently, the “police movie” is practically its own genre. This week’s two films highlight some different representations of police.

The Naked GunThe Naked Gun
Year: 1988
Rating: PG-13
Length: 85 minutes / 1.42 hours

There are plenty of movies that portray the police as some kind of joke. Granted, these films also have the police in the role of an antagonist, thus making them incompetent to allow the protagonist to succeed, often to comedic effect. However, there are still many films that have police as the protagonists and remain in the “comedy” genre. Sometimes the situations the police find themselves in are the comedic factor but other times the police themselves are the source of the comedy. The former is best represented by films like Kindergarten Cop (1990), whereas the latter are generally represented by movies like Super Troopers (2001), and Hot Fuzz (2007). The Naked Gun franchise combines both of these types of comedy in a wry and often goofy screwball comedy that features the comedic talents of Leslie Nielsen.

With the visit of Queen Elizabeth II (Jeannette Charles) to Los Angeles coming up soon, it’s up to Lieutenant Frank Drebin (Leslie Nielsen) to clean up a city with a heroin problem before she arrives. All the information Detective Nordberg (O. J. Simpson) has accumulated on the heroin ring point to Vincent Ludwig (Ricardo Montalbán). To distract Drebin, Ludwig sends his assistant, Jane Spencer (Priscilla Presley), to help Drebin with the investigation. After some sleuthing, Drebin and Jane discover that Ludwig will attempt an assassination of the Queen at a baseball game using hypnotic suggestion to awaken a sleeper assassin. As time runs out to stop the killing, Drebin’s dumb luck and clumsy bumbling end up saving the day. Of course, at this point, Jane is turned into a sleeper agent and attempts to kill Drebin. His only defense against her is to call upon the strength of their relationship.

Magnum ForceMagnum Force
Year: 1973
Rating: R
Length: 124 minutes / 2.07 hours

Police work is very serious business, as well it should be. The everyday stories of police can even be used in a documentary format, as was done with The Thin Blue Line (1988). Even fictionalized accounts do have some elements of truth to them, as the dramatic nature of a police officer’s job lends itself to gripping storytelling. Movies like Training Day (2001) show audiences just what needs to be done to affect change as a police officer. Even animated films like Zootopia (2016) highlight the struggles of police who are trying to do the right thing, despite the bureaucracy and other factors that end up being stacked against them. In the end, most police films are about investigations. As the crime is unraveled, the police find themselves deep in the dregs of society as they try to bring justice to their jurisdiction.

Soon after a mysterious shooting death of acquitted Mobster Carmine Ricca (Richard Devon), Detective Harry Callahan (Clint Eastwood) runs across a few rookie police officers who have skills with their guns that surpasses his own. As more undesirable members of society are knocked off, Harry starts to suspect that a gang of motorcycle cops has created a “kill squad” to take out the mobsters and pimps that haven’t received the justice they deserve. Through a shooting competition, Harry manages to retrieve a fired bullet from a rookie officer’s gun. When ballistics analyzes the round, it matches the mob shootings. Cornering Harry with threats and a mailbox bomb, these police officers give him an ultimatum to join their group. With his outright refusal, the officers turn their wrath on Harry, who manages to outsmart them and give them their own justice as well.

2 sum it up: 2 films, 2 police portrayals

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#356. Parodies

There’s a very fine line between a film that’s “self-aware” and a parody. Often, a self-aware film is one that ascribes to the tropes of a particular genre but does so with a tongue-in-cheek knowing wink. Parodies are usually films that play off the success of another film (or series/franchise of films) to make fun of the little foibles that make the referenced film so successful. In terms of straight comedy, these movies rely on previous knowledge of source material endemic to the popular culture surrounding it. Consequently, while parodies are seen as “lower” comedy, and are rarely taken seriously (for obvious reasons), by piggybacking on a pop culture phenomenon, some of these parodies are almost as well-known as the movies they’re parodying. This week’s two films examine some successes from the golden age of parody: the 1980’s.

SpaceballsSpaceballs
Year: 1987
Rating: PG
Length: 96 minutes / 1.60 hours

Despite acts like Abbot and Costello and The Marx Brothers being some of the trailblazers of parodies, the sub-genre of comedy didn’t really take off until the late 1970’s and early 1980’s. Part of this stemmed from the box office successes of big-budget action films, which themselves were ripe for parody. No genre, film, or franchise is safe from parody. Documentaries were parodied in This is Spinal Tap (1984), Frankenstein (1931) was parodied in Young Frankenstein (1974), and the James Bond franchise was parodied by the Austin Powers franchise. Of course, one of the kings of film parodies is none other than Mel Brooks. He parodied Broadway musicals in The Producers (1968), westerns in Blazing Saddles (1974), and the epitome of the space opera, Star Wars (1977), in Spaceballs (1987).

Planet Spaceball is in trouble! They’ve run out of fresh air, and now President Skroob (Mel Brooks) is trying to figure out how to steal the clean air from nearby planet Druidia. By holding Princess Vespa (Daphne Zuniga) hostage, Skroob believes he can get the access codes for Druidia’s atmosphere shield. Before Dark Helmet (Rick Moranis) can arrive to kidnap the princess, she runs away from home, causing her father to hire the mercenary Lone Starr (Bill Pullman) after her. While Lone Starr gets to Vespa first, his spacecraft runs out of fuel, causing them to crash land on a desert planet. While Lone Starr comes across a sage known as Yogurt (Mel Brooks) and learns about “The Schwartz,” Vespa is finally captured by Dark Helmet. It’s then up to Lone Starr to chase after Dark Helmet and use his newly acquired Schwarz powers to save the day.

Airplane!Airplane!
Year: 1980
Rating: PG
Length: 88 minutes / 1.47 hours

Sometimes parodies don’t necessarily poke fun at a single popular film. Sometimes these parodies cover many films within a genre. Sure, with as many Dracula films as there are, you’d expect to see a Mel Brooks film like Dracula: Dead and Loving It (1995). But for each of these films, you’d have parodies for high box office grossing films like Top Gun (1986) that was parodied in Hot Shots! (1991). However, with no Top Gun sequel, the Hot Shots! sequel (Part Deux (1993)) had to resort to parodying war films in general. Likewise, the Naked Gun series was a spinoff of the Police Squad parodies of the “cop drama” genre. Even animated films are not immune, as shown by the parody that is Shrek (2001). And yet, in the 1970’s, the “disaster” genre really took off, thus providing plenty of fuel for the cult classic that is Airplane! (1980).

On a flight from Los Angeles to Chicago, an in-flight meal causes the flight crew and many of the passengers to become ill due to food poisoning. With nobody to fly the plane, flight attendant Elaine Dickinson (Julie Hagerty) contacts the control tower in Chicago, where she learns that the inflatable autopilot should get them to Chicago, but is unable to land the plane. Fortunately, Elaine’s former boyfriend, Ted Striker (Robert Hays), is a former fighter pilot and is also one of the passengers on the plane. Unfortunately, he has PTSD from his military service and has developed a “drinking problem,” as well as an aversion to flying, as a result. It’s now up to Ted’s former commanding officer, Rex Kramer (Robert Stack), to help him land the plane safely at Chicago. While the introduction of his former commanding officer causes some PTSD for Ted, the weather also creates a wrinkle in the landing. Will Ted safely land?

2 sum it up: 2 films, 2 perfect parodies

#354. Gigantic!

How often do we catch ourselves staring upward at an object, in awe of its immense size? When tourists first experience the towering heights of the skyscrapers of New York, they come to grips with the scale of such structures. Sometimes, even the most mundane things in life can be awe-inspiring (or at least attention-grabbing) when reimagined as larger versions of their smaller counterparts. While some of this fascination with gigantic items stems from the art world, there have been many films that have delved into the idea that size matters. In the past, this required building sets to make the actors on the screen seem much larger than they were. Today, CGI can accomplish this task. Even so, some amount of visual trickery is needed to make the actors appear larger than life. This week’s two films examine what it means to be gigantic!

The Iron GiantThe Iron Giant
Year: 1999
Rating: PG
Length: 86 minutes / 1.43 hours

Giant robots are usually a sub-genre of science fiction often promulgated through Japanese manga and anime. While they cornered the market on giant monsters and the giant robots built to fight them (a la Godzilla (1954) and Power Rangers (2017), respectively) America is finally starting to catch up with such films as Pacific Rim (2013) and its sequel, Pacific Rim: Uprising (2018). Granted, most of the American giant monsters and robots before this point were in the form of enormous apes or alien invaders, like the eponymous King Kong (1933) or Gort from The Day the Earth Stood Still (1951). All these giant robots and monsters were created in a variety of methods to make the audience think they are enormous, but there’s been at least one true giant to grace the big screen. In his best-known film role, Andre the Giant played the part of Fezzik in The Princess Bride (1987).

Upon the cusp of the start of the cold war, tensions are high between the United States and the Soviet Union. When a giant alien robot falls out of the sky and lands near a small town in Maine, the United States government is obviously suspicious of Communist involvement. However, what young Hogarth Hughes (Eli Marienthal) learns upon finding this Iron Giant (Vin Diesel) is that the robot is a calm and docile being with no understanding of the world he now inhabits. The robot does not want to be seen as an enemy, but his automatic defense mechanisms are activated to protect him from the assault of the United States military. Despite Hogarth showing everyone that the robot is harmless, a trigger-happy government agent launches a nuclear missile against the robot that would likely wipe out the small town. It’s up to the Iron Giant to save the day and show he’s a hero, not a villain.

Honey, I Shrunk the KidsHoney, I Shrunk the Kids
Year: 1989
Rating: PG
Length: 93 minutes / 1.55 hours

Size is all about perspective. While humans think anything larger than they are is gigantic, an ant would find humans to be tremendously enormous. Plenty of films explore this shift in perspective. From the superhero comedy of Ant-Man (2015) to the social commentary of Downsizing (2017), being shrunk down makes the entire world seem bigger in comparison. Some family-friendly films explore this idea as well, including Alice in Wonderland (1951) and Epic (2013). Despite knowing how to interact with our human-sized world, like The Borrowers (1997) or The Secret World of Arrietty (2010), sometimes the humans shrunk down to these sizes have difficulty adapting. When toy cars are large enough to be real ones, and building blocks can be used as a shelter, it takes some problem solving to fashion the tools needed to survive.

Eccentric inventor Wayne Szalinski (Rick Moranis) is having trouble with his shrink ray. Every time he tries to shrink something, it explodes, thus making the ray gun too dangerous to use on humans. His children, Amy (Amy O’Neill) and Nick (Robert Oliveri) are tasked with cleaning up the house before their mother comes home. Meanwhile, the Szalinski’s neighbors, the Thompsons, are preparing for a fishing trip. Ron Thompson (Jared Rushton) accidentally hits a baseball through the Szalinski’s attic window and is caught by his brother, Russ (Thomas Wilson Brown), and forced to apologize to the Szalinskis. However, when the kids go up to find the baseball, the laser shrinks them down. After Wayne accidentally takes the kids out with the trash, they have to find their way back home in the wilderness that is their backyard. If they can gain Wayne’s attention, they just might be returned to normal size.

2 sum it up: 2 films, 2 enormously entertaining movies

#353. Iron Men

Any metallurgist will tell you that steel is stronger than iron. And yet, the concept of iron being a strong material still remains in our popular culture. Perhaps it’s the weight of iron, and its use for strength training. Perhaps it’s due to the “purity” of iron, itself being one of the elements on the periodic table. In any case, it seems many movies use iron as an advantage. From the campy Ironmaster (1983) to the martial-arts mashup of The Man with the Iron Fists (2012), the characters who can manipulate iron are usually shown as having an advantage. Not only can the benefit be through defense, with iron armors and shields, but through offense as well, with swords and spears. Either way, iron is often associated with war, which itself has intrinsically been a man’s game. This week’s two films highlight some men who use iron to their advantage.

Iron ManIron Man
Year: 2008
Rating: PG-13
Length: 126 minutes / 2.10 hours

While not technically made of iron, but instead of a gold-titanium alloy, the suit worn by the eponymous Iron Man certainly gives Tony Stark (Robert Downey Jr.) an advantage. From the obvious defensive capabilities of the suit to the advanced weaponry installed and integrated with it, whenever Stark dons this armor, he is able to take on super-powered individuals of many varieties. Ironically enough, even though iron is considered “heavy,” the Iron Man suit allows its wearer to fly, mainly due to the immense power contained within the suit. Of course, the very first version of the Iron Man suit was likely made of iron (or steel, if it was available), but that was due to the limitations of the materials Tony Stark had at the time. A fusion of medieval armor and modern technology, the Iron Man suit is what makes Tony Stark Iron Man.

After being captured by terrorists in the mountains of Afghanistan, Tony Stark is forced to build weapons for them as their hostage. Not wanting his company’s technology to get into the hands of terrorists, Stark instead creates a suit of armor that he can use to escape. Unfortunately, his mobility is limited due to a piece of shrapnel trapped in his chest. The only thing keeping him alive is a magnet in his chest, holding the metal in place. After escaping the terrorists, Stark arrives back in the United States and starts improving on his design. In the press, rumors of an “Iron Man” start circulating as Tony tests out his equipment in public. Once a working design is finished, he sets out to punish the arms traffickers who have misused his company’s weapons. In doing so, he gains the attention of the Air Force, as well as his mentor, Obadiah Stane (Jeff Bridges), who has built an “Iron Man” suit of his own to stop Tony.

The Iron GiantThe Iron Giant
Year: 1999
Rating: PG
Length: 86 minutes / 1.43 hours

Iron is not only the most abundant metal found on this planet, but the fourth most plentiful element found here. Not only is iron the main ingredient of the molten core of Earth, but its crust as well. Of course, Earth is not necessarily unique in this attribute, as iron is plentiful on many other planets and stars. What do you think gives Mars its red hue? Oxidized iron, of course. It is then no wonder that an alien robot from outer space would also be made of iron. Much like Iron Man, this Iron Giant has the defensive capabilities provided it by this heavy metal, but also the offensive weaponry provided by alien technology. Of course, even iron has its limits. Given a situation with forces stressing enough, the metal will bend, melt, or break. Iron is certainly a strong element, but it is not indestructible.

On October 4, 1957, the Soviet Union launched the first man-made satellite: Sputnik. Shortly afterward, a mysterious object falls from the sky and lands near Rockwell, Maine. Hogarth Hughes (Eli Marienthal) observes this re-entry and heads into the woods to investigate. When he finds a giant, metal robot (Vin Diesel), he learns that it is not there to hurt anyone. In fact, the robot has no knowledge of Earth or its customs, so the 9-year-old boy takes it upon himself to teach the enormous automaton. Unfortunately, the U.S. military also knows something landed in Maine and sets out to find it. While the military assumes the robot is dangerous, Hogarth shows them that, if they do not threaten him, he will not threaten them. With cold war tensions high, fear causes one of the leaders to launch a nuclear strike against the robot, potentially killing everyone who would be nearby.

2 sum it up: 2 films, 2 metallic men

#352. Wealthy Superheroes

In the realm of superheroes, there is a certain amount of suspension of disbelief when it comes to how a hero obtained their powers. From alien lifeforms who found themselves on Earth (a la Superman) to regular people who encounter deadly energies that mutate them into super-human beings, most superheroes have unbelievable origin stories. Then there are the “wealthy” superheroes. They don’t really have any superpowers other than their intellect and a massive fortune bequeathed to them via their deceased parents who succeeded in capitalism and industry. While heroes like Spider-man are a little more relatable to the common man due to their financial plight being in the lower middle-class, these wealthy superheroes fight crime through an endless barrage of gadgets that could only be afforded by an endless stream of money. This week’s two films highlight some notable, wealthy superheroes.

BatmanBatman
Year: 1989
Rating: PG-13
Length: 126 minutes / 2.10 hours

Surprisingly enough, DC Comics has not one, but two wealthy superheroes in its lineup. Until recently, most people weren’t aware of Green Arrow, but the TV show Arrow has helped to bring this hero into the mainstream. Of course, this superhero pales in the name recognition that comes with Batman. Not only did Bruce Wayne grow up in the lap of luxury provided by his father, Dr. Thomas Wayne, but since both his parents were killed when he was young, he became the sole heir to the Wayne fortune. Because of the way his parents were murdered, his vengeance-filled vigilante attitude toward crime spurned him into crime fighting. While Bruce Wayne trained his body to be the superhero he is today, the money he has spent on gadgets, vehicles, and hideouts far surpasses the amount available to someone just working at a newspaper.

As Gotham City prepares for its bicentennial, many events are taking place to ensure it goes off without a hitch. The mayor has put district attorney Harvey Dent (Billy Dee Williams) and Commissioner Gordon (Pat Hingle) on notice that they need to clean up crime in the city before the big day. Meanwhile, Bruce Wayne (Michael Keaton) is using his influence as a billionaire businessman to host a fundraiser gala at Wayne Manor. When he notices Commissioner Gordon excusing himself from the party, he goes out to investigate as Batman. Through Batman’s meddling, mobster Jack Napier (Jack Nicholson) accidentally falls into a vat of chemicals and emerges as “The Joker,” bringing terror to the city in the form of the “Smilex” chemical. As people start dying with smiles on their faces, it’s up to Batman to stop The Joker before he can unleash the chemical on the bicentennial parade.

Iron ManIron Man
Year: 2008
Rating: PG-13
Length: 126 minutes / 2.10 hours

In the superhero battleground that is DC vs. Marvel, if DC Comics has a wealthy superhero in the form of Batman, Marvel must have a corollary superhero to balance the playing field. While Tony Stark doesn’t have the tragic backstory that Bruce Wayne does, he is still the heir to a vast fortune accrued by his industrialist father. There are other differences as well, including Tony Stark’s focus on engineering to create his gadgets himself, as well as the technological advances that come via this emphasis that allow Stark to gain superpowers through his “Iron Man” armor. And while Bruce Wayne is hesitant to reveal his secret identity, Tony Stark is so much of a narcissist that he welcomes the attention he gains by being connected to the superhero known as Iron Man. In any case, Stark’s “superpower” would not be possible if he didn’t have the money to make it happen.

Tony Stark (Robert Downey Jr.) is so confident in the weapons technology of Stark Industries that he makes a visit to Afghanistan to show off their latest creation: the “Jericho” missile. Unfortunately, through some underhanded dealings, he soon finds his own weapons used against him as he’s captured by terrorists and held hostage. In the scuffle, a piece of shrapnel is caught in his heart and the only thing keeping it from killing him is a magnet in his chest. While his wealth and influence mean nothing in the cave where he’s trapped, he still has his intellect and uses it to fashion a suit of armor that allows him to escape. Once back in civilization, Tony investigates how these terrorists managed to get weapons from his company while also developing an improved version of his “Iron Man” suit to take down terrorists. Upon finding the mole, Tony must fight to maintain the integrity of his company’s name.

2 sum it up: 2 films, 2 very rich vigilantes

#351. The Joker

Perhaps the most recognizable villain in the realm of superheroes and comic books, The Joker stands as a stark antipode to the brooding darkness of Batman. The contrast of insane levity to serious vengeance has made The Joker the best example of an archenemy, a feat that has rarely (if ever) been topped. For decades, The Joker has gone through a number of iterations and style changes, some of which have been notorious for their extreme take on the character. Similarly, there have been many different actors who have portrayed The Joker over the years, with a few of them being somewhat questionable in their interpretation of the character as well. While most people associate the quintessence of The Joker via Mark Hamill’s voice acting for Batman: The Animated Series, this week’s two films will examine some different performances of the character in live action films.

The Dark KnightThe Dark Knight
Year: 2008
Rating: PG-13
Length: 152 minutes / 2.53 hours

Following the superhero movie format, after Christopher Nolan’s Batman origin story, Batman Begins (2005), Nolan proceeded to use the Batman franchise’s most recognizable villain for the sequel: The Dark Knight (2008). Many fans of the Batman franchise were upset with the casting choice of Heath Ledger, not only due to his somewhat recent role in Brokeback Mountain (2005) but because there were plenty of comedians who were considered for the role at one point or other. Considering he posthumously won the Oscar for Best Supporting Actor, these concerns were assuaged by the time the film was released. A similar controversy surrounded the casting of Jared Leto in the role for Suicide Squad (2016), but that controversy was linked more to how The Joker looked, rather than who was playing him.

During a bank robbery that seemed to go wrong, a gang of clown-themed thieves is whittled down until a lone clown remains: The Joker (Heath Ledger). The local mafias of Gotham find themselves in a bind with Batman (Christian Bale) constantly thwarting their criminal efforts. The Joker steps in and offers to get rid of Batman for the mobs in exchange for half of their finances. He doesn’t even want the money . . . he just wants to watch the world burn. To “level the playing field,” The Joker starts interfering with the trial of mob financier Lau (Chin Han), killing people until Batman reveals his identity. District Attorney Harvey Dent (Aaron Eckhart) says that he’s Batman, but The Joker sees through the ruse, thus providing the real Batman with a choice: save Dent or save his girlfriend, Rachel (Maggie Gyllenhaal). With The Joker in control of Gotham, only Batman can stop him.

BatmanBatman
Year: 1989
Rating: PG-13
Length: 126 minutes / 2.10 hours

Before 1989, the only version of The Joker to hit the big screen was Caesar Romero’s in Batman (1966). Using the same cast as the 1960’s television series, this Batman film was far campier than the dark and gritty versions we know today. While Tim Burton is known for his dark imagery, there was still a modicum of camp to his Batman (1989). Comparatively, though, the Tim Burton version did succeed in transforming the caped crusader into a much darker motif and helped evolve the franchise into what we know today. If anything, Tim Burton helped people to understand that comic books aren’t necessarily for children. At any rate, for many years, Jack Nicholson’s performance as The Joker was considered the definitive representation on the big screen, especially as it was faithful to The Joker’s origin story from the comics.

Jack Napier (Jack Nicholson) is in the crosshairs of his mob boss, Carl Grissom (Jack Palance) for taking his mistress. Jack is saved by Commissioner Gordon (Pat Hingle), who wants him as a witness against Grissom. Unfortunately, in the ensuing chaos, Batman (Michael Keaton) arrives and knocks Jack into a vat of chemicals. While most assume Jack is dead, he finds that the chemicals have altered his appearance, giving him a clown-like face with a permanent smile. This disfigurement drives him mad, and he takes on the identity of “The Joker.” Through the chemical known as “Smilex,” The Joker terrorizes Gotham, leaving many people dead with a hideous grin on their faces. Realizing the truth about The Joker’s past and origins, Batman sets out to save Gotham and avenge his dead parents.

2 sum it up: 2 films, 2 takes on a classic villain

#350. Dead on Release

A variety of reasons can exist for an actor to not be alive by the time their movie is released. Some actors are old and die from more natural causes (like Spencer Tracy, who died 17 days after the end of filming Guess Who’s Coming to Dinner? (1967)). Others might be involved in accidents either on the set (like Brandon Lee in The Crow (1994)) or in the course of living their life (like Anton Yelchin from the Star Trek reboots). The entertainment community mourns the lives taken so early on in their careers, but many actors have died via suicide due to either their approach to acting or the pressure of acting influencing their decisions. Sometimes a mental illness that gives an actor their creativity can also drive them into a suicide as well. This week’s two films highlight some actors who died before their films were released.

GiantGiant
Year: 1956
Rating: Approved
Length: 201 minutes / 3.35 hours

At the age of 24, James Dean was a star to be reckoned with. In four short years, he appeared in a handful of uncredited roles, but he also earned two back-to-back nominations for Best Actor in 1955 for East of Eden and in 1956 for Giant. The trick with his nomination for Giant was that he had been killed in a car accident late in 1955, thus making this nomination the first of its kind to be given posthumously. Not only did Dean die before the release of Giant, but he also died before the release of his most iconic role in Rebel Without a Cause (1955). One can only speculate the amount of prestige such an actor would have accrued over a lifetime of acting. Even with only three credited movies to his name, the American Film Institute still placed him as #18 on their list of 50 top actors of the last century.

Jett Rink (James Dean) is a farmhand who works for Bick Benedict (Rock Hudson) on his Texas ranch. When Bick brings home a lovely wife in Leslie Lynnton (Elizabeth Taylor), Jett is immediately stricken with her. He helps show her the ropes of the property, thus inspiring her to change some of the living conditions for the migrant workers. After the accidental death of Bick’s sister, who also ran the household and had a spat with Leslie, Jett is bequeathed a small portion of the property. After Jett finds oil on his land, he manages to become wealthier than the Benedicts. Jett, still enamored with Leslie, eventually starts dating her daughter, which further sours the relationship between him and Bick. After realizing his children will not follow in his footsteps, Bick finally allows Jett to drill for oil on the remainder of the Benedict property.

The Dark KnightThe Dark Knight
Year: 2008
Rating: PG-13
Length: 152 minutes / 2.53 hours

Some actors die before their movies finish filming, leaving a noticeable gap in their performance. Actors like Philip Seymour Hoffman are noticeably absent from certain scenes in movies like The Hunger Games: Mockingjay – Part 2 (2015). Some actors have their performances digitally completed and adjusted using CGI, or even sometimes completely created decades after their death (as was the case with Peter Cushing in Rogue One (2016)). While Heath Ledger had completed filming on The Dark Knight (2008), none of his scenes were altered after the fact by director Christopher Nolan. Ledger died from an accidental overdose of prescription drugs, but some feel his “method acting” approach helped push him over the edge via his role as The Joker. He is only one of two people who have posthumously won a Best Actor Oscar, the other being Peter Finch of Network (1976) fame.

After Batman (Christian Bale) has raised the stakes for Gotham’s crime-fighting, a new force has appeared to oppose him with a gospel of violence and chaos: the Joker (Heath Ledger). As Batman tries to rid the city of crime via his vigilante actions, Harvey Dent (Aaron Eckhart) tries to do so within the confines of the law. The Joker, having taken control of the majority of Gotham’s gangs, continues to escalate the situation to get Batman to reveal his true identity. Eventually, Batman finds himself in a corner as the Joker makes him decide between the lawful justice of District Attorney Harvey Dent, or Batman’s girlfriend, Rachel (Maggie Gyllenhaal). On top of this life-or-death decision, the Joker pits a ferry full of tourists against a ferry full of terrorists in a game of “Who will die first?” Batman, finally able to catch the Joker via an ingenious use of technology, must now retreat to the shadows.

2 sum it up: 2 films, 2 young actors gone too soon