Watch Online The Dark Knight (2008) - MovieTimeUs

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The caped crusader gets a stunning dose of hardcore dramatics in The Dark Knight, director Christopher Nolan's ambitious follow-up to Batman Begins. Hailed as the first real big-screen adult take on a popular comic mythos, the film goes to great lengths to show that costumed characters can indeed exist in genres outside of their comfort zone -- which in this case, spells gritty crime drama. Nolan's Gotham City might be beautiful, but it's decaying from the inside out -- as are most of the people in control of it. So at what point do the efforts of a costumed vigilante cease to have an impact on the city he vows to protect -- and when does his mere presence become a detriment to that society? It's these kinds of hefty issues that embody what could accurately be touted as a reinvention of the entire superhero film altogether. Thick with rich dramatics, daring performances, and a few knockout scenes of action gusto, The Dark Knight strives to not only one-up its predecessor, but also to lay down a measuring stick of quality for the rest of Hollywood to live up to.

Viewers' strong reactions to the picture likely have a lot to do with the casting. Heath Ledger's sad passing gives his fearless performance -- and in effect, the movie -- a sense of importance that is hard to counter. For his part, the talented performer gives a full-on show each time he is onscreen. His approach to this anarchist embodiment of The Joker is something truly special to behold and easily one of the boldest portrayals in comic-to-screen history. Take him away and there's still plenty of A-game being brought to the screen, thanks to the talents of Michael Caine, Maggie Gyllenhaal, Gary Oldman, Morgan Freeman, and Aaron Eckhart, whose solid performance as Harvey Dent makes up the tragic backbone of the film. For his part, Christian Bale does a fine job embodying the lonesome hero of his city, even if he persists in giving Batman's voice the same guttural growl that hurt his performance the first time around. Thankfully, the costume has been given an overhaul to address some of the "rubber suit" issues that have plagued the franchise since its Tim Burton days.

Yet just as Burton reshaped the character to fit his own gothic tastes, so does Christopher Nolan paint a picture all his own. By luring audiences in with a consistently light first half and then turning things bleaker as the movie progresses, the filmmaker has created a truly engrossing tale of modern decay. By the end, much has changed and no one is left unscathed. It's not an easy story to either tell or sit through. There are casualties -- and this most certainly is not a crowd-pleaser in the typical sense of the word. By eschewing what many others in his field are doing with similar comic properties and seeking out his inspiration elsewhere, Nolan shows that mature thematic material can have new life when adapted for even the most beloved heroes of the printed page. Critically, he does overshoot things a bit by bringing in slightly heavy-handed messages into the final chunk of the film -- and it seems that a few characters really get the short end of the stick (Scarecrow, anyone?). Perhaps the rumored three-hour cut would iron out a few of the film's issues, including rushed character arcs and especially one seemingly needless late set piece. The action, while improved in this installment, also is a bit hampered by some confusing techno-gadgetry (in one of the only moments where the action is dictated by fantastic spectacle).

Still, with its virtuoso vision and near avant-garde score from James Newton Howard and Hans Zimmer fueling the picture's ever-growing dread, The Dark Knight stands on its own in a world full of easy entertainment. Perhaps someday someone will be able to happily marry the best that both Nolan and Burton have brought to the screen -- until then, this remains an impressive feat of studio-backed artistry. Like its own crime-fighter, the movie is a symbol that aspires to greater things; where it will lead is anyone's guess.

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Watch Online Despicable Me 2 (2013) - MovieTimeUs

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Back in 2010, it was a battle of the baddies at the box office as Despicable Me's chrome-domed Gru took on big-headed Megamind to determine which of the diabolical supervillains had the biggest heart. Three short years later, with no Megamind sequel in sight, proud papa Gru seems to have won the battle by default in Despicable Me 2, a vivacious sequel that's effortlessly entertaining despite its notably diminished stakes.

Once upon a time, Gru (voice of Steve Carell) dreamt of stealing the moon -- these days he's a single adoptive father of three precocious girls. Having given up his spectacular life of crime, Gru now aims to produce a delicious new line of jams with the help of his tiny minions and his old pal Dr. Nefario (voice of Russell Brand). Feeling unfulfilled in his newfound role as a jam-maker, Dr. Nefario announces that he will be departing for more evil pastures just as Gru is approached by the Anti-Villain League to capture the mysterious culprit who just stole a top-secret research lab filled with PX 41 -- an experimental serum with the strength to transform harmless animals into ravenous monsters. The AVL is certain that the culprit is covering his tracks by posing as a small-business owner at a local mall, and assign their best agent Lucy (Kristen Wiig) to aid Gru in identifying him. Meanwhile, Gru's oldest adopted daughter Margo (Miranda Cosgrove) falls for rebellious teen Antonio (Moises Arias), the leather-jacketed son of boisterous Mexican cantina owner Eduardo (Benjamin Bratt). Now, with Gru's paternal instincts kicking into full gear just as a dastardly plot begins to unfold, the devoted new father must divide his time between saving the world from an enigmatic supervillain, and saving Margo from total heartbreak. All the while, a suitable mother for the girls may have been standing right under Gru's pointy nose the entire time.

In Despicable Me, we watched in delight as a scoundrel with global ambitions had his heart melted by three adorable little orphans. Only a few years have passed since Gru kissed his criminal instincts goodbye, and in the opening scenes of this sequel, screenwriters Ken Daurio and Cinco Paul make a point to show us what an adoring father he's become. The result is a string of lighthearted, well-timed gags as Gru throws a princess birthday party for young Agnes, and gets swept off to AVN headquarters by quirky agent Lucy. Colorful and energetic, these early scenes strike the same affectionately comic tone that made the first film a box-office hit. Those good vibes continue as Gru reluctantly begins dating in a bid to find the girls a suitable mother, and starts snooping around the mall with Lucy in hopes of finding the secret serum stash. It's around this point that we begin to realize that the writers have opted to reign in the scope to focus on character interaction, and who could blame them for not wanting to try and top a plot about stealing the moon? Yes, Despicable Me 2 may be much smaller in scale than its predecessor, but it's no less fun as we watch Gru unwittingly fall in love while piecing together the various clues in the PX 41 mystery. Although it could be argued that Daurio and Paul misstep in not revealing the villain's identity a bit sooner, an abundance of sight gags involving the minions confirm that tension was never a priority here, making memorable use of the boisterous yellow blobs as the story unfolds at a leisurely pace.

Of course, for those who savored Carell's gleefully over-the-top voice work in the previous outing, the focus on characters will only serve to double your enjoyment this time around, even if it often feels like precious little is at stake. Once the focus of the story shifts to Gru and Lucy's efforts to stop a disaster from unfolding, the writers do a fairly ingenious job of turning one of the series' most popular attractions into a threat that's as funny as it is frightening, but it's the winning vocal performances and the upbeat tone that make this slightly-lesser sequel highly watchable regardless. For cynics and detractors, it may at time feel like this sequel exists for nothing more than to push the film's most marketable characters front and center. By the time the credits roll even fans will likely recognize that the potential for this series has been exhausted, but ask them if it was a fun ride along the way and odds are they'll simply wring their hands and grin.

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Watch Online Thor: The Dark World (2013) - MovieTimeUs

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Tony Stark may be brilliant, but Thor of Asgard earns his rightful status as Marvel's mightiest Avenger by smashing through the Shakespearean stuffiness of Kenneth Branagh's misguided origin story to deliver a genuinely satisfying sequel. Sweeping, smartly paced, and frequently laugh-out-loud funny, Thor: The Dark World feels much more in tune with the playful tone of The Avengers than its own predecessor, thanks in large part to dedicated performances by a supremely talented cast and director Alan Taylor's talent for seamlessly blending awe-inspiring action with lighthearted comedy.

Having recently defended Earth from a massive interdimensional threat as part of the Avengers, Thor (Chris Hemsworth) returns home to restore the balance of peace to the Nine Realms as his brother Loki (Tom Hiddleston) is sentenced to an eternity in an Asgard prison. Meanwhile in London, Jane Foster (Natalie Portman) is doing her best to move on when her eager assistant Darcy (Kat Dennings) discovers an anomaly that defies the laws of physics. Upon further investigation, Jane is transported to the place where Odin's father Bor had once hidden a powerful, formless weapon -- known as the Aether -- after defeating the Dark Elves and preventing their malevolent leader Malekith (Christopher Eccleston) from using it to spread darkness throughout the universe.

Now infected with the Aether, Jane soon reunites with Thor, who transports her back to Asgard in the hope of healing her. But he's already too late, because Malekith has awoken from his centuries-long slumber and knows that Jane is the key to his plot.

With an important cosmic event known as the Convergence drawing near, Malekith wants to use the Aether to accomplish what Bor had once prevented. Using his evil assistant Algrim (Adewale Akinnuoye-Agbaje) to gain access to Asgard, Malekith launches an all-out invasion of the kingdom in a determined bid to recover his weapon. But Thor has other plans, and with the help of his allies on Asgard and Earth, he must destroy the Aether and make sure that Malekith is defeated once and for all.

In 2011's Thor, Kenneth Branagh endeavored to instill an air of nobility in a film genre typically known for featuring chiseled heroes in spandex suits. But despite his best efforts, the movie suffered from lackluster action, a muddled script, and awkward attempts at comic relief. Two short years and one wildly popular blockbuster (The Avengers) later, however, prolific television director Alan Taylor (Boardwalk Empire, Mad Men, The Sopranos, Deadwood) and screenwriters Christopher Yost, Christopher Markus, and Stephen McFeely prove that you can teach an old god new tricks with a crowd-pleaser that succeeds at widening the scope of the first film while simultaneously giving the sibling-rivalry subplot real gravity. Somewhat unexpectedly, the massive melee that kicks off Thor: The Dark World feels more like Peter Jackson's Lord of the Rings trilogy than anything out of the Marvel universe. It's a smart move that not only plunges the audience right into the action, but also offers Taylor the chance to immediately display his comfort working on a larger canvas. And as the movie returns to Asgard, the writers shift their focus to the seismic tensions between Thor and his renegade sibling Loki, allowing the charismatic Hiddleston to once again steal virtually every scene he appears in.

If the writers can be accused of making any misstep, it's the fact that they once again fall back on the tiresome world-destroying-weapon-and-the-villain-who-covets-it scenario. Although, to be fair, Eccleston is genuinely chilling in the role of Malekith, and Taylor keeps the action moving at a satisfying pace that distracts from the comic-book clichés of the plot. His efforts are perfectly complimented by top-notch costume design by Wendy Partridge (Blade II, Hellboy), who outfits the Dark Elves in some eerily unsettling armor, and a rousing score by Brian Tyler, whose compositions summon an appropriate sense of majesty without ever growing overbearing.

From Anthony Hopkins to Zachary Levi, the cast of Thor: The Dark World all perform admirably in their roles, nailing the jokes and heroics with equal conviction (special mention goes to Stellan Skarsgård and his tighty whiteys for providing the film with some of its best comic beats). It all adds up to one of the rare sequels that surpasses the original in just about every way imaginable. 

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Watch Online Captain America: The First Avenger (2011) - MovieTimeUs

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The run-up to Marvel Entertainment's The Avengers hits an enormously satisfying stride in Captain America, a whiz-bang, retro-futuristic adventure that mercifully eschews the brooding Dark Knight trend to offer an exhilarating thrill ride that perfectly captures the enduring optimism of the 1940s. Eye-catching set and vehicle designs, crackerjack pacing, and a talented, highly watchable cast all help director Joe Johnston create an impressive alternate reality in which Nazis with laser guns seem perfectly logical.

Steve Rogers (Chris Evans) was a 98-pound weakling with the heart of a lion and the spirit of a hero. All he ever wanted was to serve his country by fighting injustice overseas, but as World War II rages and his best friend, Bucky (Sebastian Stan), prepares for deployment, scrawny Steve can't even pass a standard Army physical. Steve gets the opportunity of a lifetime, though, when Dr. Abraham Erskine (Stanley Tucci) gets a glimpse of his true bravery and invites him to take part in a top-secret test to create the perfect soldier. Immediately transformed into a stalwart super-human by a serum that enhances his inherent goodness, Steve earns the nickname Captain America and becomes a piece of government propaganda before answering a higher calling -- teaming with military contact Peggy Carter (Hayley Atwell) and brilliant engineer Howard Stark (Dominic Cooper) to rescue a group of American solders trapped behind enemy lines. During the clandestine mission, Captain America discovers evidence that rogue Nazi Johann Schmidt (Hugo Weaving) is secretly using an ancient artifact to power a revolutionary weapon capable of bringing the world to its knees, saves Bucky from certain death, and finally gains the respect of gruff Army Colonel Chester Phillips (Tommy Lee Jones). Later, Captain America uses the intelligence gathered during that daring rescue to plan a mission that will defeat Schmidt and permanently disable Hydra -- the undisclosed arm of the Nazi regime dedicated to harnessing mystical powers and using them for evil. Meanwhile, Schmidt reveals himself as the Red Skull, a frightening villain whose powers are only exceeded by those of Captain America. With the soldiers he rescued and his best friend Bucky by his side, the fearless super-soldier invades Hydra headquarters and wages the ultimate fight or freedom.

In The Rocketeer, Joe Johnston established himself as a filmmaker capable of creating an atmosphere that was simultaneously antiquated yet tantalizingly futuristic. By ramping up the sci-fi elements considerably and creating a hyper-stylized portrait of the 1940s, he perfects that unique tone in Captain America. Though rooted in our familiar reality and set during a crucial point in world history, Johnston's take on the classic comic seems to exist somewhat out of time. But it's precisely those constant technological contrasts and contradictions (Hydra has surveillance cameras in its headquarters, yet the countdown clocks on their self-destruction devices are flip-number analog) and occasionally sketchy special effects that in the long run will likely make Captain America feel less dated than its moodier contemporaries, even if it doesn't appear to represent a major leap in special-effects technology. Meanwhile, Jeffrey Ford and Robert Dalva's quick-cut editing reveals Captain America as a contemporary action film even as cinematographer Shelly Johnson's fluid camerawork harks back to the era before filmmakers began relying on jittery handheld camerawork to create a sense of urgency. Comparisons to the Star Wars and Indiana Jones sagas are inevitable given both the serial-style nature of Captain America as well as some of the content (namely a motorcycle chase that echoes the speeder bike pursuit from Return of the Jedi, and a climactic scene that recalls the face-melting finale of Raiders of the Lost Ark); however, in borrowing from the best, director Johnston and company turn out an adventure that also stands shoulder to shoulder beside them.

When it comes to a hero's saga, everything else will buckle if the main character's story arc doesn't ring true. With screenwriters Christopher Markus and Stephen McFeely in charge of script duties and the capable Chris Evans behind the shield, though, fans can rest assured that this take on Captain America is built on a solid foundation. Not only do the writers manage to pace the story so that it still feels brisk even while crossing the two-hour mark, but Evans' physical transformation from famished bully-bait to hulking hero is just as convincing as it would have been on the pages of a comic book, and the way he co-opts the costumed character originally created to sell war bonds comes off as entirely natural. Likewise, the romantic spark between the Captain and Peggy (looking every bit like the iconic pinup models of the era) is apparent even before the fuse of the main plot is lit, and the rest of the script is filled with memorable one-liners delivered with zeal by Jones and Cooper, in particular, who truly make the most of their supporting roles. And though he only gets a fraction of the screen time of his other co-stars, Tucci, too, is a major standout as the deeply humanistic Dr. Erskine -- who seeks to atone for creating a real-life monster.

Whether you're a devoted fan of the character or just an average moviegoer seeking to beat the heat with a solid action-adventure, Captain America is that rare blockbuster that offers a little something for everyone (though some of the action may be slightly too intense for preadolescent viewers) while also building impressive momentum for Marvel's forthcoming all-star comic-book adventure that has rabid comic fans everywhere champing at the bit. 

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Watch Online Avengers: Age of Ultron (2015) - MovieTimeUs

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"Hit the ground running" is a wildly inadequate way to describe the superheroic mayhem that assaults the audience within the first few frames of The Avengers: Age of Ultron: There are zinging bullets, crashing vehicles, blinding snow, flying bodies, heaving muscles, fiery explosions, and swirls of technology surrounding Tony Stark (Robert Downey Jr.) inside the Iron Man suit. It's an entire Sistine Chapel ceiling's worth of activity, and when Stark utters an appropriate -- and unprintable -- summation of the chaos, Captain America (Chris Evans) responds with a comedic dart of a rejoinder that's just the right size to puncture the tension.

That skillful blend of thrills and repartee continues in perfect balance for the remaining two-plus hours, as Captain America, Iron Man, Hawkeye (Jeremy Renner), Black Widow (Scarlett Johansson), the Hulk (Mark Ruffalo), and Thor (Chris Hemsworth) must deal with the blowback that ensues when Tony Stark follows through on a modest proposal. Stark argues that his robot drones, combined with his super-intelligent computer program Jarvis (voiced by Paul Bettany), can handle the job of saving the world. So why not kick back and enjoy being ordinary people for once? It's a good plan, until one of the drones is invaded by the artificial intelligence known as Ultron (voiced magnificently by James Spaderin the same creepy, dulcet purr he used to convince women to spill their secrets in sex, lies, and videotape). He's programmed to prevent humanity from stirring up trouble, and since we can't seem to stop doing this, his response is to exterminate mankind.

Most movie adaptations of superhero stories are about finding an angle to give the project legitimacy: make it grittier and darker (Christopher Nolan's Batman films), make it lighter and campier (Guardians of the Galaxy), strip out the extraordinariness (Hancock), ramp up the brutality (Kick-Ass), or simply expose the seams in the genre (Birdman). To do otherwise, to approach the source material as holy writ, leaves room for Watchmen-sized debacles.

Writer/director Joss Whedon, on the other hand, understands the essential nature of superhero comics so clearly that he can handle it straight, no chaser. As a screenwriter, his instinct for "enter late, leave early" keeps the scenes moving along at a lively but not breakneck pace, and he knows how to give the audience the catastrophic battles they crave while still pulling back for softer, more human moments before explosion fatigue sets in. But most importantly, he knows how to speak directly to the preteen self that yearns, via superheroes, for a simpler vision of what adulthood must be like: limitless power and privilege, chaste love, and a desire to do good in a world that hasn't yet been shaded with adult ambiguity and moral frailty. The Avengers: Age of Ultron is everything a popcorn movie should be, with a little Renaissance grandeur on the side.

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