Elektra the warrior survives a near-death experience, becomes an assassin-for-hire, and tries to protect her two latest targets, a single father and his young daughter, from a group of supernatural assassins.
Will Yun Lee
Superman returns to Earth after spending five years in space examining his homeworld Krypton. But he finds things have changed while he was gone, and he must once again prove himself important to the world.
Fate deals young orphan Matt Murdock a strange hand when he is doused with hazardous waste. The accident leaves Matt blind but also gives him a heightened "radar sense" that allows him to "see" far better than any man. Years later Murdock has grown into a man and becomes a respected criminal attorney. But after he's done his "day job" Matt takes on a secret identity as "The Man Without Fear," Daredevil, the masked avenger that patrols the neighborhood of Hell's Kitchen and New York City to combat the injustice that he cannot tackle in the courtroom.Written by
The Braille writing on the charm pendant spells "Ailektra". First character is single dot in the middle - Braille letter "A" (characters with dots only in first column "K" and "L" are placed in the middle). See more »
When they are at the party at the fictional "Grand Hotel" in Manhattan, we can clearly see the lobby of the Los Angeles Biltmore hotel in the background. The Los Angeles Biltmore just happens to be located on a street called "Grand Avenue". See more »
There is a scene in the closing credits: Bullseye is in a hospital ward with a full-body cast, but is able to use a syringe to take out a fly. See more »
The R-rated director's cut contains 30 minutes of extra footage. In addition to the added material, some footage was removed. The following is a list of the changes between the PG-13 and R rated versions:
The confession booth scenes between Father Steven and Matt Murdock have been removed.
The love scene between Elektra and Matt Murdock has also been removed.
A flashback scene where young Matt is seen with his adopted mother featured in the comic books.
There are more scenes involving The Kingpin at his most vicious, at point killing two of his own bodyguards by breaking their necks.
The introduction of Bullseye arriving at the airport and going through a metal detector.
The fight scene in the playground with Matt and Elektra is longer.
The scene in the bar where Daredevil takes out the bikers is longer and more violent.
An exchange during the Natchios' party where Foggy and Wesley have a verbal exchange, that ends by Foggy saying "What a dick."
The scene where Matt returns from his battle in the opening of the film, he is seen in his apartment pouring Epsom salt into the water of his coffin and as he is about to lay down he starts to hear noises and sounds from the outside world as far as seeing a woman crawling on the floor and ends by him laying down inside the coffin and the top sealing.
The subplot involving the character of Daunte Jackson (Coolio) who is accused of a murder is reintroduced in it's entirety with Matt Murdock and Foggy Nelson defending him.
Matt and Foggy break into the apartment of Lisa Tazio, the murder victim in the Daunte Jackson trial and finding a clue.
A late night scene where Foggy is working at the office trying to figure out the clue found in Tazio's apartment in which Karen (Ellen Pompeo) discovers the answer.
The scene in the morgue with Ben Urich and Kirby is longer in which Foggy ends up calling him on his cell phone and telling him about who murdered his informant from the clue that Matt had found in the murder victim's apartment.
More scenes between Matt and Ben discussing some personal issues.
Matt interrogating a corrupt police officer played by Jude Cicolella by smashing his car in a parking lot.
The scene where Bullseye demands his own costume is restored to "I want a fucking costume" as opposed to the theatrical version where he says "I want a bloody costume"
The fight between Elektra and Bullseye is longer and ends with Bullseye giving her a kiss before he throws her onto the roof of the adjacent building.
The final confrontation between Daredevil and The Kingpin is longer and more brutal.
During the finale, Daunte Jackson celebrates his acquittal by hugging Foggy on the steps of the courthouse as Matt looks on and the scene shifts with Matt walking by the church where he sees father Steven after the afternoon mass had ended.
Daredevil is the movie that Burton's 1989 Batman should have been. I know Special Effects have moved on since then, but Daredevil has the pacing, storytelling, character development, direction and overall style that Batman lacked. The director obviously has a lot of fondness for the character, and drops a shed-load of comic book references into the film, like creators names and situations, making it a labour of love - but with the technical ability to make an accessible film for all audiences.
From the opening shot of Daredevil grasping the cross atop the church, the excellent origin structure and the character interaction between Daredevil and Electra, Bullseye and the Kingpin - this movie bridges the gap between the original Comic Book sources and the end film magnificently.
There are a few sections of the film that did not come up to par - the opening titles are a nice idea (braille to letters) but it looks a little cheap and computer-generated, and Daredevil being entombed in the water filled coffin (to block out all outside noise?) seemed surplus to requirements. The end piece with the Kingpin is a little rushed, but I suppose we had all the Super-Hero Slug-Fest we could ask for with the Bullseye church section? I would have preferred a standard music score throughout, and not the "alternative rock track" that got dropped in occasionally. But these little gripes aside - the movie really does hit the spot throughout.
Daredevil also marks the first mainstream venture into a mature audience market for a "kids" super-hero character. The comic character was always a darker version of Spider-Man, with mature storylines supplied by the likes of Frank Miller. But it's still a gent in spandex underwear leaping around New York after hours, brawling with other costumed nut-cases, and leading the customary double-life (Lawyer by Day, Hero by Night) of your regular Super-Hero. The 1989 Batman film, and even Spider-Man, moved Comic Character movies away from the younger audience - but Daredevil really pushed it further without an all-out on-screen blood and sex agenda. A brave move as the potential audience must be reduced by this approach, and it has to be a harder sell to the studio and money-backers.
I am sure there are a legion of Spider-Man and X-Men fans out there that would wave the flag for these to be crowned "best super-hero movie", but my vote would go to this horned devil. Bring on Daredevil 2, by the same team ..
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