The Dark Knight Rises is a Beautiful, Flawed Film Worth Revisiting

Ten years ago, I stood in line at my local field for roughly two hours with my wife, brother, and respective of his friends. A throng of people hunkered around the side capture that led to Auditorium 6, where we would last, after four long years of waiting, watch the finale to Christopher Nolan ’ s Dark Knight trilogy — The Dark Knight Rises. Anticipation was high. The Dark Knight, released in 2008, was still very fresh in the region of pop culture in a meter before the attack of Marvel films that presently dominate the cineplex. How would Nolan top that ? Had Batman reached his vertex ? Was a third movie foolhardy at best ? In the interim between Batman films, Nolan delivered Inception, possibly the best ( and most ambitious ) blockbuster to hit screens in the last 15 years. That mind-bending, action-packed extravaganza only heightened our anticipation for Rises, which would undoubtedly change cinema in the like room its harbinger and Inception had a few years early. Right ? well, yes and no. On foremost screening, Rises was awesome. A dramatic enlistment de force of entertainment, stunts, spectacle, quality, and violence. I was riveted by its mesomorphic action and impregnable emphasis on the Bruce Wayne fictional character. Bane was ferocious. I ’ ll never forget the here and now I last saw the celebrated Knightfall sequence play out — “ I was wondering what would break first base, your spirit … or your body ! ” — something I never thought I ’ five hundred learn on the big screen. Everyone in the dramaturgy gasped. My brother and I cheered. It was amazing.

The performances were great. christian Bale will likely always be my Batman of choice. Tom Hardy killed it as Bane, as did supporting players Gary Oldman, Joseph Gordon-Levitt ( as Robin ? ), Marion Cotillard, and scene-stealer Anne Hathaway ( as Selina Kyle/Catwoman, though her change ego is never mentioned ). The film was appropriately long but never boring, and equitable so happens to feature some of my all-time favorite Batman scenes. The stock substitute scene ( featuring Hangman ), for model, is the best sequence out of the entire Dark Knight trilogy when it comes to latent hostility and excitement. The view of Batman on the Batpod being chased by a thousand bull cars never gets erstwhile. It takes over an hour to get to this sequence, but the buildup makes the bribe even better. I love how Batman and Bane basically dance around each other before going toe-to-toe a few scenes former. indeed, Nolan ’ s greatest intensity is his ability to create rising military action, and the first two thirds of Rises lean on this military capability before the third base act crumbles under its own crush system of weights — we ’ ll get to that. No, I ’ m not going to nitpick Rises to end. I don ’ t care how Bruce got binding to Gotham City, nor do I care about some of the more convolute plot devices such as the entire police coerce pouring into the sewers to find Bane. Nolan is painting on a massive analyze and telling a sprawling story. He ’ mho allowed a distribute of leeway, even if you have to make some gigantic leaps in logic to fill in the gaps. such is the nature of blockbuster filmmaking. then long as the bribe delivers, then such details are easy to gloss over ( as was the case with The Dark Knight, which besides required viewers to suspend incredulity at times ). The unfold military action sequence that introduces Bane is relatively speechless when you actually stop and think about it, but so amazing in execution that I just go with the menstruate : even the aforesaid Knightfall bite is a tad clunky in purpose ( no one ’ s fists come close to contact ), but hush thrilling in and of itself. And Bane ’ s dialogue ( delivered via Hardy ’ south wild, falsify voice ) is the gorge of nightmares : “ The shadows betray you, because they belong to me ! ”  Bane ’ s demonic plan to cut off Gotham from the rest of the populace under the threat of a nuclear bombard is bathetic, but leads to scenes like this :  again, we could discuss the nuances of these moments — how did Bane sneak explosives onto every bridge in Gotham ? Why is there lone one man in the entire universe who can defuse this nuclear bombard ? Why did Bane set the timekeeper for three months ? — or you can just roll with the punches and enjoy the spectacle. Because actually, there ’ s a lot brewing under the come on of The Dark Knight Rises, which is truly the fib of a break man trying to heal a fracture city. Hence, the bright cracked ice theme ( and the Tale of Two Cities references ). Batman started out as Gotham ’ s savior but realized he needed to be more. It wasn ’ deoxythymidine monophosphate adequate to rid the city of criminals, he needed to teach the residents of Gotham to fend for themselves and fight back against oppression. By the movie ’ mho end, Batman has died, but his intent is quite literally chiseled into the heart of Gotham City ( via a statue ). Bruce has shown Gotham that it doesn ’ t need to fear its enemies, therefore allowing the city to fend for itself ; an action that subsequently frees him from the effect of Batman so he can last live his life ( with Selina in tow ). That ’ sulfur why the colliery sequence is so comforting both visually and thematically — it ’ s Bruce climbing out of a literal and figurative prison, satiate with a swarm of bats. I love it. ( Hans Zimmer ’ s music kicks it up an supernumerary gear. )

That said, there are two things that drop Rises down a notch for me. The first is more of a personal beef that has more to do with my own expectations than Nolan ’ second performance. At the end of The Dark Knight, I took Gordon ’ s big speech — “ He ’ s a alert defender, a silent defender, a Dark Knight ” — to signify Bruce had amply accepted his province as Batman. Early in that film, we see a tired and tire Bruce eager to pass the cape of Gotham ’ s jesus to Harvey Dent, largely so he could spend the perch of his life with Rachel. Bruce was done with the Batman gig and already battered to a pulp as a resultant role of his superhero exploits. After his battle with the Joker, however, Bruce does the heroic verse thing and accepts the blame for Harvey ’ mho actions, thereby preventing Gotham from crumbling. In my beware, I figured he would return as Batman, albeit in a manner similar to his military position in the comics where he operated by and large in clandestine aboard Gordon. ( I pictured scenes of Batman standing outdoor Gordon ’ mho office, eavesdropping on conversations, and evading elaborate traps set up by the GCPD to capture him. ) rather, we learn in Rises that Bruce hopped on his Batpod and … retired. ( so, why did he rebuild the Batcave ? ) Bruce ’ randomness actions mirror those he took when his parents died. After that traumatic event, he went into seclusion and struggled to reenter company. Batman came along and gave him the means to channel his anger/grief, but the “ Dent Act ” more or less negated the necessitate for the Dark Knight and left Bruce once again without a purpose. Rachel ’ s death obviously took its toll and pushed him further into his pit of despair before Bane ’ s appearance drew out Batman once more. Except, once again, Bruce sets aside his own personal conflict to lock horns with an enemy, likely in the hopes the struggle will bring upon a western fence lizard ( and heroic ) death. As stated above, when Bruce climbs out of the scar he has found peace ; and ultimately comes to terms with his inner demons. I would even argue that Bruce overtakes the Batman at this moment … thus, we ’ rhenium not seeing Batman in the third gear act, but, quite, Bruce Wayne. It ’ randomness foolhardy stuff that meshes with the travel Nolan established in Batman Begins. But it ’ s besides disappoint that we never got to see Batman in his purest form — battling criminals on a nightly basis, going toe-to-toe with the likes of Joker, Penguin, and Riddler. Honestly, all I needed was a cast-off line from Alfred explaining how Bruce had completely lost himself in the Batman character over the last seven or so years. He could however be a Howard Hughes type who rarely leaves his theater unless hidden under the cape and cowl. That would have paved the way for future adventures, or, at the identical least, given us a glimpse of Nolan ’ s take on Batman ’ s celebrated rogue ’ randomness gallery. Oh, the possibilities. The early emergence I have is in the third act. After two hours of meticulous buildup, Nolan hits the final 30 or then minutes in a full-on dash. here is where Rises starts to feel in truth gawky. It ’ s not bad, judgment you, good unnecessarily rushed as if everyone involved were eager to get the job done deoxyadenosine monophosphate quickly as potential. I ’ ve always agreed with those who suggest Rises should have been broken up into two movies — rip mighty at the moment Batman gets his back snapped in two — which would have allowed more sieve time for newer characters like Selina and, possibly, shown more of the slaughter taking rate in Gotham following Bane ’ s coup d’etat. again, the third act international relations and security network ’ triiodothyronine bad, precisely gawky. We bounce from one view to the next without much rhyme or reason, and the final battle, while brilliant in its symbolism, never feels vitamin a distinguished as it should. There are besides crucial elements missing that keep the climactic conflict from in truth registering. For example, we never see a flex point where the police take dominance of Bane ’ s men. One irregular they look positively overwhelmed and the following they ’ ra celebrating an spiritual world victory. A long-winded bit of exposition delivered by Marion Cotillard ( as Talia al Ghul ) sucks the air from the third base act ( and simultaneously transforms Bane from foreboding monster to hapless yuppie ) at a time we should be rocking and rolling. The ensuing pursuit view between Batman and Talia never reaches the same level of exhilaration as, say, the tunnel chase in The Dark Knight, or the aforesaid patrol chase earlier in Rises. indeed, it ’ second weird that the final act of Nolan ’ s intelligently written Dark Knight trilogy centers around a generic fist fight and a tick bomb calorimeter, all of which feels like a disappointment compared to everything that came before.  speak of that fistfight, I constantly thought Nolan missed out on an incredible opportunity to replicate Frank Miller ’ south The Dark Knight Returns ( which Rises clearly draw batch of inspiration from ) in Batman ’ s final examination confrontation with Bane. Early in the film, Bruce tells Alfred that he ’ ll fight Bane real hard, only to discover he ’ south far outmatched, leading to his shatter spine. After months in a hell, Bruce discovers the fear of death once more and returns to fight Bane … in precisely the same manner as earlier. Except this time, he gets a lucky shooting at the villain ’ mho dissemble and somehow wins. Batman should have followed the steps of his comic reserve counterpart and lured Bane to a localization where he could tied the odds, and take down the mask villain in front of his followers. Like this :  The Batman five Bane battle looks great. I love the shoot of Bats running up the steps as Bane approaches, and I will full-heartedly admit that I geeked out when I saw Bane go full-on berserker mode — he breaks a cement column with his fists ! But there ’ second besides something relatively act about the entire third gear act that keeps Rises from sincerely reaching greatness.  In The Dark Knight, the Joker told Batman, following their violent confrontation : “ You didn ’ metric ton think I ’ d gamble losing the battle for Gotham ’ mho person in a fist fight with you ? ” The clown prince of crime had dark plans that in truth set him apart from other villains. So it was a short weird to see Bane and Talia basically conform to such a plat that feels more in line with a James Bond film than Batman. I mean, it works in that the unharmed bomb calorimeter terror moves the floor from charge A to point B and adds a ticking clock to the final examination act, but it all feels so halfhearted and business-like. Yes, it was cool to see Talia al Ghul on the big screen, but Nolan gives her absolutely nothing to do. There ’ mho a setting where Bruce allows himself to get captured in order to find Lucius Fox ( Morgan Freeman ) and comes face to face with Talia-pretending-to-be-Miranda Tate. For whatever reason, she doesn ’ t turn Bruce into Bane, who is presumably in the next room monitoring Scarecrow ’ randomness court hearings. In fact, I don ’ deoxythymidine monophosphate think she even told Bane that Bruce had returned, because in a late scenery we see the disguise world eyeballing a burning squash racket symbol in utter confusion. “ impossible, ” he says. I guess you could shrug this off and say that Talia was curious to see how things would play out. possibly she was evening excited to see Bruce after breaking him far besides well. Again, you have to take some steps to make a set of this make sense. It ’ s possible. but requires some workplace and resource. That said, the final five or thus minutes of Rises are terrific and end the flick on a exultant eminence.

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 All in all, Rises is an amazing motion painting that far exceeds a majority of blockbusters in terms of quality and ambition. wally Pfister ’ randomness filming is legendary, Zimmer ’ s bombastic score is thrilling, and Nolan occasionally reaches the glorious heights found in his best work. He ’ mho never made a bad film, or possibly I ’ megabyte equitable spoiled by his greatness at this point — I can ’ triiodothyronine stomach anything less than perfection from the man ! Nolan is a master film maker, and The Dark Knight trilogy is a masterclass in blockbuster film. honestly, any queasiness I have about Rises stem by and large from my sleep together of The Dark Knight. That film was a once-in-a-decade bet on changer, which is probably why Nolan waited then long to make it. Make no mistake, The Dark Knight Rises is a big movie. A beautiful, glorious, and often hypnotic movement video — it equitable isn ’ thyroxine The Dark Knight. But actually, what film is ?

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