Whilst the dust settles on Christopher Nolan’s final Batman films release and the true horrors of the nerdgasm apocalypse that has stricken down the majority of mankind is realised; it is time for us at WhatCulture towers to take our retrospectives on the most anticipated ending of a trilogy since Star Wars.
Whilst many of my compatriots in the noble art of opinion giving have lauded The Dark Knight Rises and focused on its many mysteries I have taken a more pessimistic angle with my view of The Dark Knight Rises, whilst also maintaining the core belief that this film is one of the greatest comic book films ever. Everything has its flaws, and this has a few ones, but The Dark Knight Rises is just as strong and loveable because of them as much as they could put you off.
Fair warning: There will be spoilers; and a little bit of self ego massage at the end.
Low Point 1: The Opening Act
Now I’m not going so far as to say that the entire first hour of TDKR is an unenjoyable experience however it comes across as a haphazardly put together blur filled with erratic character appearances, motivations and as many anti-capitalism lines as you can shake a stick at.
This section is meant to be a whirlwind of new events that sweep you off your feet but comes across as an unwanted addition there to fill in the gaps before the first Bane/Batman confrontation and the story Nolan clearly has more interesting in telling begins and the film really begins to soar.
Selina Kyle (Catwoman) is given little development other than a taste for anarchy and willingness to do a lot of things with her feet and the Miranda Tate (Marion Cotillard) – Bruce Wayne love angle is so botched, rushed and unimpressive that when the film latter plays this as a big emotional edge it is incomprehensible how a loveless one night stand could cause such emotions.
Low Point 2: Batman’s Arrival
Bruce Wayne appears in the Batman suit poignantly two times; and both times they are handled with the majesty of a dog scratching itself in public.
As opposed to playing on the epic fact that audiences are, at the beginning, wanting to see him return and, at the end wanting, him to come save the world and would happily buy in to Nolan marking these arrivals with the circumstance of the second coming of Christ.
Instead it’s ever so slightly disregarded as unimportant; of course this story isn’t just about Batman it’s about the people of Gotham. But the audiences want their protector, they want him back and instead of marking these moments of arrival with pant wetting awe, it’s more of a ‘…Oh hey Batman when did you get here?!’
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