The Dark Knight Rises Official Thread

Best thing about 'The Dark Knight Rises'?


It's not in 3-D.

 

Christopher Nolan concludes his Batman trilogy in typically spectacular, ambitious fashion with “The Dark Knight Rises,” but the feeling of frustration and disappointment is unshakable.

Maybe that was inevitable. Maybe nothing could have met the expectations established by 2008’s “The Dark Knight,” which revolutionized and set the standard for films based on comic books by being both high-minded and crowd-pleasing. With Christian Bale as his tortured superhero starting from 2005’s “Batman Begins,” Nolan has explored the complicated and conflicting motivations of man as well as the possibility of greatness and redemption within society.

Here, as director and co-writer, he’s unrelenting in hammering home the dread, the sorrow, the sense of detachment and futility of a city on the brink of collapse with no savior in sight. Gotham is under siege in ways that tonally and visually recall 9/11; what is obviously the island of Manhattan gets cut off from the outside world at one point. Rather than seeming exploitative, it’s just one of many examples of the script from Nolan and his usual collaborator, his brother Jonathan, making the franchise feel like a relevant reflection of our times. Identity theft, economic collapse and an uprising of the disgruntled, disenfranchised have-nots against the smug, comfy haves also come into play.

There’s so much going on here, though, with so many new characters who are all meant to function in significant ways that “The Dark Knight Rises” feels overloaded, and sadly lacking the spark that gave 2008’s “The Dark Knight” such vibrancy. The absence of Heath Ledger, who won a posthumous Oscar for his portrayal of the anarchic and truly frightening Joker, is really obvious here. It retrospect, it makes you realize how crucial Ledger’s performance was in making that Batman movie fly.

By comparison, “The Dark Knight Rises” is plot-heavy, obsessed with process, laden with expository dialogue and flashbacks that bog down the momentum and...dare I say it...just flat-out boring at times.
Yes, the Batman world through Nolan’s eyes is supposed to be moody and introspective; you’ve got to admire the fact that he is willing to challenge us this way when summer blockbusters so often feel flashy and hollow. And yet at the same time, it takes some giant leaps with its characters which either make no sense, haven’t earned the emotions they’re seeking, or both.

“The Dark Knight Rises” does feature the kind of impeccable production values we’ve come to expect from Nolan’s films; many members of his core team are back, including cinematographer Wally Pfister, editor Lee Smith and production designers Nathan Crowley and Kevin Kavanaugh. “The Dark Knight Rises” feels weighty and substantive and, thankfully, isn’t in 3-D...but it takes on an even grittier look than its predecessors as Gotham City devolves into desperation and ruin.

But Nolan’s approach is so coldly cerebral that it’s a detriment to the film’s emotional core. It’s all doom and gloom and no heart. There is no reason to care about these characters, who function more as cogs in an elaborate, chaotic machine than as real people whose souls are at stake
It’s been four years since “The Dark Knight” came out but eight years have passed in terms of story. Bale’s Bruce Wayne suffers in self-imposed exile, sulking about Wayne Manor, mourning the loss of his darling Rachel and carrying the burden of blame for the death of District Attorney Harvey Dent. His goal of a peaceful Gotham has been achieved, but he’s left as a man without a purpose. Michael Caine, as the ever-loyal valet Alfred, brings dignity and eloquence to the film as he begs Bruce to carve out his own form of happiness. Fellow veterans Gary Oldman as Commissioner Gordon and Morgan Freeman as gadget guru Lucius Fox are their usual dignified selves, but they don’t register the way they should because the film is so overstuffed.

Several new characters manage to draw Bruce out of his funk in various ways. Anne Hathaway brings some much needed zest to the proceedings as Selina Kyle, otherwise known as Catwoman in the Batman universe, a slinky thief who punctures Bruce’s bubble when she lifts his fingerprints from his safe, along with a beloved pearl necklace. She’s selfish and cynical, only looking out for herself, but at least she goes about her crimes with some verve and style. They never call her Catwoman by name, and she’s never as campy as Michelle Pfeiffer and Halle Berry were in previous film incarnations of the role, but she’s always fun to watch
The other woman in Bruce’s life, however, is woefully underdeveloped...which is a real problem because she plays a key role in the film’s climactic revelations. Marion Cotillard (one of many alumni from Nolan’s “Inception”) co-stars as Miranda Tate, a wealthy philanthropist who hopes to work with Wayne Enterprises on developing clean, sustainable energy. The romance that develops between her and Bruce is utterly unbelievable.

Joseph Gordon-Levitt adds a youthful presence as John Blake, an up-and-coming member of the police force who inspires Bruce to revisit his own childhood as an orphan. Gordon-Levitt as solid as always but there’s not much to his character aside from earnestness.

Then there’s Bane, a muscular mass of pure evil who orchestrates an elaborate takeover of Gotham City. The role is a huge waste of what Tom Hardy can do; his character is so one-dimensional and poorly defined, he’s never so much a fearsome figure as a large and hulking one. It doesn’t help matters that it’s often difficult to make out what he’s saying beneath the cage-like muzzle that covers his nose and mouth and alters his voice. Hardy can be sexy and charismatic (as he proved in “Inception”) but also a dangerous and unpredictable figure. None of that is on display here. He’s all brute force.

But he is the instigator of the film’s dazzling opening sequence, worthy of the best of James Bond: a daring aerial maneuver in which Bane kidnaps a scientist by hijacking his plane from the skies above. That’s probably the most effective of the many set pieces Nolan stages here, although the collapse of Heinz Field during a packed football game also has an urgent, visceral quality, with thrills that recall the most imaginative moments of “Inception.”

This is the problem when you’re an exceptional, visionary filmmaker. When you give people something extraordinary, they expect it every time. Anything short of that feels like a letdown.

** out of ****


opcorn:

 

These are just people with agendas.:Rubio:

 

The point is, 'The Dark Knight Rises' is being fiercely protected by Nolanites...who are NOT fans of Batman or the comics the Batman character appeared in.

I just find it odd how 'The Avengers' or 'The Amazing Spider-Man' fans took most of the heat those movies got lightly, while 'Dark Knight' fanboys usually end up bad mouthing critics going from mysoginistic remarks to death threats. ::

I like 'Batman Begins', but if we're being honest, the only reason 'The Dark Knight' flew was because of Heath Ledger's The Joker.
Period.

 

I agree about the fanboys, they are annoying. But th efact remains, this movie will rock, regardless of what senile old Ebert or some other douche critics have to say. Peo
ple will love this movie.

 

People will love this movie as much as they loved Hotel Rwanda. Fun movie.

 

what?

 

Seriously? :notallthere:

 

Most of the Nolan haters here are butthurt Avengers fanboys. Can't you just watch the film before saying anything?

 

Yep, say the words 'Michelle' and 'Pfieffer' to anyone and you'll get a 100% respose: "Fuckin' Catwoman!"

 

87% on rottentomatoes

 

mask of the phantasm was good

 

Silence!
Or the curse of 'The Dark Knight Rises' will strike you too!

 

Going to watch it tonight

 

Be safe!

 

:NotThink:Bring a bulletproof vest and a handgun.

 

Saw it last night.

Decent, but the least enjoyable of the three...and certainly not as good as Avengers.

Obviously different style of movie to the Avengers...but just making reference to an earlier discussion.

It was dark...darkest of the three, Nolan handled "Catwoman" in a mature manner to keep in line with teh spirit of his films. Hathaway did a good job. Batman was too vulnerable IMO....and didn't pull out enough tricks.

I give it a 7/10

 

Fuck the movie, Sly...
Did you feel anxious or nervous in your seat? :dunno:

 

Haha it wasn't as good as the previous two sure, but it shits on the Avengers from great heights.

 

Spoken like a true Nolanite.:Alabama:

 

Nah just a realist.

 

I believe you - it reminds me ofa few years ago when I went to see 'The Dark Knight' - there was this nerdy, speccy twat of a guy who was literally on the edge of his seat each time Heath Ledger appeared as The Joker and you could actually see him holding his breath and squealing with delight as the lines were delivered. ::


:scratcher:

 

Hardy is a quality actor

 

Sounds good. I'll definitely have to watch this. I still have not watched a Batman movie on the big screen. We know damn well that even if Nolan is ending the series, there's going to be a reboot in the next 5 years or so anyway by Warner. Too much money to be made with Batman.

As for Avengers, it was good but nothing incredible like what most people are claiming. The problem with Avengers is that there was no real threatening enemy. Loki is a little cunt who even I would slap around and those stupid little robots were like termites.
Good movie for brainless fun. Not a movie I will watch again unless it's probably playing on tv and fast forward to the last half of the film where the action picks up.
The Hulk needs an enemy who can kill him and the Avengers. A powerful enemy. Hopefully the next movie will have this.