The Dark Knight Rises

I'm thrilled that Christopher Nolan gave us an absolutely incredible trilogy that had me eagerly awaiting each new chapter in Batman’s story for years. It started with a surprisingly great first film, followed by a perfect sequel, and now, the time had finally come for the third and final part. I was both excited and nervous as I sat down in the theater, ready for the conclusion. Comparing the films in this trilogy is nearly impossible—they’re all different, but each one is close to perfection. Nolan crafted a story that kept me hooked, reassuring me that there was still plenty to look forward to in the world of cinema. The Dark Knight Rises closes out a chapter that I, like many others, will never forget. It’s dark, brutal, backed by a phenomenal score, and eerily close to reality in ways I didn’t expect. This film feels the most “comic book” of the trilogy, yet Bane is such a terrifying villain that it’s hard not to imagine someone like him emerging in our world—someone who challenges the system with a violence that hides a vision we’d all secretly long for. As for the cast, I can’t find a single flaw. Christian Bale, Gary Oldman, Michael Caine, Morgan Freeman, Marion Cotillard, Joseph Gordon-Levitt (who, by the way, reminded me so much of Heath Ledger), and even Tom Hardy were all fantastic. Hardy, especially—his portrayal of Bane was terrifying, demanding fear and respect like I’ve never experienced in a film before. Hats off to him. And of course, Hans Zimmer outdid himself with another breathtaking soundtrack. What more can I say? This was a fitting and powerful end to something we’ve been a part of for years. Now it’s time to find the next story that can pull me in just as deeply. (07/08/2012)

It was only after the second viewing that I fully understood and appreciated why Nolan turned the wheel after the acclaimed second film and once again rode the comic book waves, just like he did with the first one. More than anything else, the third film concludes the trilogy. I can understand the disappointed responses that were expecting something in the style of a funny anarchist madman Joker, but I don't buy the criticism about the poorly told story. The phrase "monstrous epic," used by many around here, suits this film better than anything else. The uncompromising Bane brings Gotham to its knees with brute force to make it suffer before giving it a taste of death. As well as its black-caped guardian. This isn't the Nolan brothers expressing their worldview, this is a critique of everyone for whom the idea of social justice is a political idol. Therefore, before the last atom completes the fission reaction, it is necessary to rise physically, but especially spiritually. This is the engine of the entire film, building Nolan's precise narrative that works both in the characters' dialogue and in the surprisingly spare but superbly raw action. All of this is then only perfectly complemented by Zimmer's thunderous music, without which the film would work a third less. If anyone wants to restart this at Warner Brothers, they should be thinking about changing careers by now. PS: Christopher Nolan is, along with David Fincher, the best cinematic storyteller of his generation. No question about it. (26/07/2012)

There are many forms of immortality... The film series from the bat cave does not end with a movie that rewrites or destroys its rules or genres. The laws of Batman stories were determined by the first installment, and the immortality of the saga established with the second. As such, Bruce Wayne rises in a completely logical way at the end. On the one hand, Christopher Nolan makes him the Batman of the comic books by giving him Selina Kyle or references to the League of Shadows. In the other hand, he gives him the determination of the Dark Knight with the anarchy and political/police intrigues. There is no need to rush, no reason to shock. All he has to do is untangle the final plot twists and place the characters of one great story in their final positions. In the end, you get another hour and a half of fascinating and equally breathtaking spectacle full of captivating characters, and a royal comic book trilogy with everything that goes with it. (04/08/2012)

Horse versus hoarse. The Dark Knight Rises and I told myself that I would not be bowled over, but... I was, like a pin. The finale of the trilogy that can be faulted for just one thing. Unlike The Dark Knight, which found it’s own way and not be a mere Hollywood sequel, the conclusion of the trilogy suffers from this syndrome, mainly in the closing third. It’s simply exactly the same as The Dark Knight, just in a more epic, spectacular, dumber and over-the-top packaging during which Nolan is chasing too many birds in bushes. Often less is more, but in that case it is an exception that proves the rule, because even though this is a worse movie than part two due to the fact that Bruce Wayne (or else his alter ego) isn’t “sort of extra" and, in the deep shadow of the Joker, Dent, Gordon trio, this time plays central role (despite being absent for at least half the movie); and thanks to that emotions work and thanks to that consequently the conclusion of the concluding part works SO exceptionally, despite the fact that nobody pays the ultimate price. Which seems almost out of place. However, part one remains unsurpassed, not because it’s so much better, but it’s the only one that isn’t pretentious. P.S.: And if there will be a number four, in view of the trend that has been set, the only person capable of filming it would be Michael Mann. (26/07/2012)

Until the American anthem was played, this the best I've ever seen in an American blockbuster - for a lot of people this means that they'll be bored for about the first hour, but I enjoyed the masterful tension with which Nolan completely controls the screen. He is able to do so without action, and only with a massively built feeling of restlessness. After the American anthem, I began to have issues with the film - the brothers probably heard the criticism that came down against the Dark Knight's ideological background from the left and seemed to want to settle accounts with supporters of social justice and redistribution. However, they chose a destructive "weapon of choice" - Bane is an enchanting, overwhelming and utterly demonic character that allows Bale’s Wayne / Batman to do what they are strongest at: sacrificing themselves for the film / Gotham. In the end, I was missing more systematic work with the story and characters, the pace is deliberately very impetuous and the dosing out of information is cumbersome. The quite contradictory return to the "comic" mythology of the first film is also quite surprising... The final mega-twist, which weakens Bane's pure evil aura a little, tore me out of a pious ravings about one of the best characters in the trilogy. But I wonder in vain when the last time was that I saw something so overwhelming, monstrous, majestic and yet honed in terms of filmmaking. It was said that Batman would be the king of the season - and despite many objections, he definitely was for me. Edit: Only the second viewing will reveal how consistent and yet emotionally fertile this film is. The IMAX copy is stunning, and the film gains through every detail. Grandiose... (19/07/2012)