Directed by:
Christopher NolanCinematography:
Wally PfisterComposer:
Hans ZimmerCast:
Christian Bale, Gary Oldman, Tom Hardy, Joseph Gordon-Levitt, Anne Hathaway, Marion Cotillard, Morgan Freeman, Michael Caine, Matthew Modine, Alon Aboutboul (more)VOD (5)
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It has been eight years since Batman vanished into the night, turning, in that instant, from hero to fugitive. Assuming the blame for the death of D.A. Harvey Dent, the Dark Knight sacrificed everything for what he and Commissioner Gordon both hoped was the greater good. For a time the lie worked, as criminal activity in Gotham City was crushed under the weight of the anti-crime Dent Act. But everything will change with the arrival of a cunning cat burglar with a mysterious agenda. Far more dangerous, however, is the emergence of Bane, a masked terrorist whose ruthless plans for Gotham drive Bruce out of his self-imposed exile. But even if he dons the cape and cowl again, Batman may be no match for Bane. (Warner Bros. Home Entertainment)
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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.
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A monumental film – maybe too much so. It exhausted me as if I’d had to carry Bane on my back for three hours. The Dark Knight Rises has a massive scope, it follows about a billion different characters and the network of motivations and relationships among them it’s never very clear (at least not after watching it once). In all this burnt-out expanse, it needs to resort to various shortcuts (someone always comes and meets someone – without it being clear how they knew that said someone would be there – then they say something important and carry on – repeat and rinse after a bit) and pathetic holy speeches (and I won’t even mention the bus full of orphans), while Bane’s plan and its execution feels very dodgy. Yeah, it’s (only) a “comic book movie” and you also can find similar “comic book” twists, motifs and dialogues in the previous two parts, but here it’s a bit too much and Nolan is trying to take his very realistic concept too far. Naturally, the movie is technically flawless. In the end, it’s the character of Bruce the one who gets most of the attention, so as a conclusion to “his” trilogy, it does work well in all its fatality and epic (8/10). As a standalone film, however, it grinds a little. Let’s hope that in two years Christopher will go for something smaller. PS: Of course, it’s very likely that watching it a second time will make the film feel more cohesive, complex and clear (as usual with Nolan), but I don’t feel like going through it again so soon.
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I am happy that Christopher Nolan offered me an absolutely amazing trilogy after a long time, with which I incredibly looked forward to every installment of this Batman story for several years. It all started with a surprisingly great first part, a perfect second part, and it was time for the final part of this series, which I have been looking forward to for several years, but also dreading, until I sit in the cinema chair and the last story begins. Comparing the individual parts of this trilogy simply cannot be done. Each part is different, but almost perfect each time. Christopher Nolan started a story that convinced me for a while that I will always have something to look forward to in the world of cinema in the future. The Dark Knight Rises thus concludes another chapter of something that a viewer like me, living in this era, will certainly never forget. The Dark Knight Rises is dark, cruel, musically magnificent, and worst of all, it approaches reality much closer than it might seem at first glance. This part is probably the most comic-like, but Bane is such a monster that it is, in my opinion, only a matter of time before something similar appears in our western world. Someone who stands against consumer society and hides a life behind violence that everyone would wish for. As for the actors, I have no complaints here. Everyone who appeared in the film played absolutely brilliantly and was incredibly likable to me. Christian Bale, Gary Oldman, Michael Caine, Morgan Freeman, Marion Cotillard, Joseph Gordon-Levitt, who by the way terribly resembles Heath Ledger and even Tom Hardy. He's extraordinary. His character exuded tremendous fear and respect. This has never happened to me in a film before. Hats off. On top of that, Hans Zimmer once again surpassed himself and composed an absolutely beautiful soundtrack. What more can be said? A dignified conclusion to something we have been a part of for several years. Now it's time to look for a new subject that can captivate me so strongly for several years to come...
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In the opening scene, the viewer witnesses two prisoners being escorted on an airplane to some prison. The men have bags over their heads and the leader of the escort tries to mentally break one of them and probably force him to confess. He opens the door and pulls the prisoner to his knees facing a bottomless pit that can scare not only those who suffer from a fear of heights. Automatically, I would expect the next step to be the removal of the bag, as otherwise, the act does not make sense. However, that does not happen. The purpose of that bag was not to disorient the prisoner but to surprise the guards and especially the viewer with a moment of revealing the prisoner's identity. In the world of Nolan's Batman trilogy, everything is done for immediate effect and you cannot find any logic or functionality in it. It was only here that I fully understood when it came to The Dark Knight why some people were irritated by the total brevity and stupidity of practically everyone on the set. I also agree with the sentiment that people don't know why The Joker was trying to bring chaos with his plans when in the end he is almost the only one whose actions make sense to some degree. All the others, Batman - the police, and the mafia - exhibit such a heap of insanity that cannot possibly come from a member of the Homo sapiens species equipped with self-preservation instincts. Something like that might belong in a comic book, but this is outwardly presented as a sophisticated detective story with elements of noir and psychological drama. Nolan does not spare any special effects and generously provides attractions, but in terms of content, there's not much to be ha. Batman Begins had the reputation of being a dark drama in which the comic had finally matured and successfully transferred the literary source to the real world. I don't fully agree with that, but I agree that the mentioned tendency was there and that it was an interesting step within the genre. The Dark Knight Rises is evidence that Nolan got stuck in a dead end when it came to grasping the material. It is pompous, megalomaniacal, and content-wise, excuse my language, stupid. Forget about any deeper psychology, this blockbuster only pretends to be mature and is about as good at it as little children playing mommy and daddy. I consider the last part to be unquestionably the weakest part of the trilogy, partly due to very problematic ideological starting points. Frank Miller, the author who has most influenced the current form and mythology of the Batman world, is known as a right-winger and represents a counterbalance to left-leaning anarchist authors like Alan Moore. However, here his individualism and contempt for "scum" has essentially become a manifesto for questioning democratic orders and for authoritarians like Spanish caudillo Franco and especially for General Pinochet, and for them, Batman would undoubtedly be an ideal movie hero and this piece would occupy a very honorable place in their film collections. Overall impression: 25%. If Dunkirk and The Prestige represent the peak of Nolan's work so far, then The Dark Knight Rises represents the bottom.
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The wow! effect of surprise that would mask the heartless treatment of characters is no longer there. Said treatment was still somehow forgivable in the previous instalment, but number three is drowning in it. It is impossible to absorb every twist and its influence on the characters, who are too numerous and keep appearing and disappearing as if on cue, just to do something cool and say a catchphrase (not one of which is worth remembering). Moreover, Christopher Nolan once again (after Inception) underestimates the audience’s intelligence and feeds them cheap non sequiturs. Tom Hardy’s Bane is a dull mountain of muscles. He is interesting thanks to his muzzle and voice, but he does not arouse either fear or respect. The only good thing about Catwoman (or whoever that is) is her pert behind when she rides a motorcycle. The only one who does the best work from the trilogy is Hans Zimmer. He uses the motifs from previous instalments, adds new ones (the Balkan piano from Sherlock for the treacherous Catwoman and anarchist chorales for Bane are invigorating), transforming the flat mass of dark depression from before into a bombastic, orchestrally rich action background. So why am I awarding four stars after all this criticizing? Because the movie still has that colossal quality in which Nolan is unrivaled. You will enjoy being carried away by all that epicness and immense drive, even if you don’t care what is happening or why, or where it will all lead.
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