The Dark Knight Rises

There are many forms of immortality.. The series from one 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 part, and the immortal saga defined the second part. Therefore, Bruce Wayne rises in a completely logical way at the end. In one hand, Nolan gave him the comic book-like Batman in the form of Selina Kyle or references to the League of Shadows. In the other hand, he gave him the determination of the Dark Knight with anarchy and political-police intrigues. There is no need to rush, no reason to shock. Just untangle the final plot twists and place the characters of one great story in their final positions. In the end, another one and a half hours of fascinating and equally suffocating spectacle full of captivating characters, and a royal comic book trilogy with everything that goes with it. (04/08/2012)

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)

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)

The ending of Nolan's trilogy is outright weak, although seemingly everything fits together like a puzzle. In three films, Batman was born, fell, and was reborn only to let the Bat fall back to sleep. In the third film, the theoretical highlights include Anne Hathaway as Catwoman and Marion Cotillard as Talia al Ghul, but even they don't rank amongst the best displays of acting in DC films. (09/05/2022)

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. (19/07/2012)