In The Dark Knight Rises, Christopher Nolan tempts all with a story, narratives, and characters destined to be left unwound, fractured, and incomplete. Then relentlessly drives them through the overwhelming noise, violence, and hopelessness of the adventure to thrilling manners of resolution of, and within, all.
The Dark Knight Rises welcomes our excited anticipation with failing characters. The long laboring Villain is the omni-present lie surrounding Harry Dent's demise.
Any resistance to it has long passed in many days gone by. Gotham residents, the intended beneficiaries of the lie, seem comfortably happy, if not somewhat complacent. Order of Law is firm, and quickly passed as thorough of duty. Dent's heritage is enduring as Gotham holds tight to his memory.
Yet, for all of Gotham's comfort, the conspirators to the lie suffer by it. Commissioner Gordon lives the heralded deception, wearing thin from the conflict of the truth nagging at his lips.
Bruce Wayne remains recluse and dispassionate. His intentionless appearance and the cane with which he walks, beg visual question of where his frailty actually manifests itself.
Our once heroes are surely in need of reasons to break free from their hold in the arms of the very worst of themselves.
The reasons are soon to appear and are stunningly fit to the task.
First arrives Anne Hathaway as Selina Kyle. Like her character, Hathaway has no intention of leaving her fortunes to her easy beauty. Selina is hardy of the meanest well-developed deception or betrayal, and singular to her personal mission. Hathaway's Salina manipulates those in her presence, just as well as she brings a physical command to her eventual costume.
Just as committed to singular intention, Tom Hardy's Bane is bent on pure destruction. His mask hides his face, but not his steadied brutally evil words. His physical presence and movement are statement to the fear and hopelessness he will demand, and then extinguish along with their possessor.
Bane's arrival happens Oldman's Gordon to need for the return of Batman. Gotham City's dire isolated distress demands it.
Christian Bale's Bruce Wayne must first rise to fill the armor of the once Batman. Then for good and ever, resolve the dark relationship between Batman and Gotham City.
There will be nothing easy about it. Bruce Wayne and Batman will have to face-up to grave tribulation.
Nolan provides thoroughly capable support with Joseph Gordon-Levitt as the young police officer, who by way of his virtues is thrust into the midst of the story, and his own narrative as intimate observer.
Marion Cotillard carefully plays the persistent Miranda. The caring and hopefully soother of Bruce Wayne's scars.
Michael Caine, as usual, has Alfred stealing his scenes with range from angered fatherly concern, to woefully broken hearted anguish over failed duty.
The audacity of The Dark Knight Rises is in Christopher Nolan's ability to carry us through this conflict and confrontation of disparate characters in what would be a normally overwhelming background of grand explosions, violence, and crowds...
...And not have us lose a clear intimate feel for the narrative to each character, as Nolan pursues each's respective resolution.
Rest assured, Nolan does not wind down in a manner facile nor easy and takes a number of passes at it. Including getting much closer to the horrific Bane than is easily comfortable in realization.
One thing I know,.. it is wholly rare for someone to take on something which presents such grand scope, and still sustain a palpable intimacy with its characters. One almost always suffers the other.
The Dark Knight Rises was a great conclusion to this Batman trilogy. It was loyal and gracious to its characters and stories, and particularly Batman.
One can only fret that Christopher Nolan has made his best adventure and has given everything he possibly can to a movie.
My guess is... in a lighter tone than Batman...
"Not everything.... not yet." ;)
The Dark Knight Rises welcomes our excited anticipation with failing characters. The long laboring Villain is the omni-present lie surrounding Harry Dent's demise.
Any resistance to it has long passed in many days gone by. Gotham residents, the intended beneficiaries of the lie, seem comfortably happy, if not somewhat complacent. Order of Law is firm, and quickly passed as thorough of duty. Dent's heritage is enduring as Gotham holds tight to his memory.
Yet, for all of Gotham's comfort, the conspirators to the lie suffer by it. Commissioner Gordon lives the heralded deception, wearing thin from the conflict of the truth nagging at his lips.
Bruce Wayne remains recluse and dispassionate. His intentionless appearance and the cane with which he walks, beg visual question of where his frailty actually manifests itself.
Our once heroes are surely in need of reasons to break free from their hold in the arms of the very worst of themselves.
The reasons are soon to appear and are stunningly fit to the task.
First arrives Anne Hathaway as Selina Kyle. Like her character, Hathaway has no intention of leaving her fortunes to her easy beauty. Selina is hardy of the meanest well-developed deception or betrayal, and singular to her personal mission. Hathaway's Salina manipulates those in her presence, just as well as she brings a physical command to her eventual costume.
Just as committed to singular intention, Tom Hardy's Bane is bent on pure destruction. His mask hides his face, but not his steadied brutally evil words. His physical presence and movement are statement to the fear and hopelessness he will demand, and then extinguish along with their possessor.
Bane's arrival happens Oldman's Gordon to need for the return of Batman. Gotham City's dire isolated distress demands it.
Christian Bale's Bruce Wayne must first rise to fill the armor of the once Batman. Then for good and ever, resolve the dark relationship between Batman and Gotham City.
There will be nothing easy about it. Bruce Wayne and Batman will have to face-up to grave tribulation.
Nolan provides thoroughly capable support with Joseph Gordon-Levitt as the young police officer, who by way of his virtues is thrust into the midst of the story, and his own narrative as intimate observer.
Marion Cotillard carefully plays the persistent Miranda. The caring and hopefully soother of Bruce Wayne's scars.
Michael Caine, as usual, has Alfred stealing his scenes with range from angered fatherly concern, to woefully broken hearted anguish over failed duty.
The audacity of The Dark Knight Rises is in Christopher Nolan's ability to carry us through this conflict and confrontation of disparate characters in what would be a normally overwhelming background of grand explosions, violence, and crowds...
...And not have us lose a clear intimate feel for the narrative to each character, as Nolan pursues each's respective resolution.
Rest assured, Nolan does not wind down in a manner facile nor easy and takes a number of passes at it. Including getting much closer to the horrific Bane than is easily comfortable in realization.
One thing I know,.. it is wholly rare for someone to take on something which presents such grand scope, and still sustain a palpable intimacy with its characters. One almost always suffers the other.
The Dark Knight Rises was a great conclusion to this Batman trilogy. It was loyal and gracious to its characters and stories, and particularly Batman.
One can only fret that Christopher Nolan has made his best adventure and has given everything he possibly can to a movie.
My guess is... in a lighter tone than Batman...
"Not everything.... not yet." ;)
Top Box Office
- 1.$116.6M
- 2.$20.7M
- 3.$11.0M
- 4.$9.6M
- 5.$8.3M
- 6.$7.1M
- 7.$6.3M
- 8.$6.3M
- 9.$4.1M
- 10.$3.0M