J-Rab and I hit up the Dark Knight Rises premier last night courtesy of Nokia, who used the opportunity to officially launch the Lumia 900, and wow, what a brilliant movie.
Because I realise most of you haven’t seen it yet, I’m going to try and keep this as vague as possible in terms of the actual plot.
Co-writer and director Christopher Nolan is nothing if not a master of genius plot twists and the last thing I want to do is give his art away so don’t worry, this review is spoiler-alert free.
For starters, and I think this goes without saying, don’t go into The Dark Knight Rises expecting a movie that is anything like its predecessor.
Co-writer / director Christopher Nolan has wisely chosen a totally new direction for DKR that explores a fresh side of the Batman legend and makes it impossible to say DKR is better or worse than The Dark Knight.
DKR takes place eight years after The Dark Knight during which time Commissioner Gordon (Gary Oldman) has successfully managed to clean up Gotham’s streets by passing an act in commemoration of Harvey Dent that puts an end to organised crime in the city.
Eccentric billionaire Bruce Wayne has all but disappeared off the face of the earth, as has the Batman who, having taken the fall for Harvey Dent’s murder, is widely regarded by Gotham as a monster that the city is better off without.
Enter ruthless mercenary Bane (Tom Hardy), who amasses an army of equally ruthless and unquestioningly loyal soldiers and followers in the sewers of Gotham City.
With the help of Selina Kyle, aka Catwoman (Anne Hathaway), Bane begins systematically dismantling the structures of power that run Gotham City and the ensuing chaos makes The Joker’s efforts to destabilise Gotham look like a child’s attempt to sculpt Michelangelo’s David with edible play dough.
Much like Batman Begins, Christian Bale is in the driving seat once again this time around because where the late Heath Ledger’s Joker was psychotic, unstable and loveable, Bane is methodical, stone-faced and detestable, so there’s no one to steal Bale’s thunder.
His portrayal of Batman is like nothing seen in the previous films and he brings a vulnerability to the character that emphasises the fact that under the suit is just a man, like any other, and that all that sets him apart from the rest of us is his unfailing belief in an ideal for which he is willing to fight to the death for.
Nolan is, as always, masterful in his careful construction of his plot and characters. It’s like watching someone set up an entire football stadium of dominos, each one perfectly placed so that at the right time, all he has to do is nudge one of them ever so slightly and the entire lot come crashing down in a breath-taking moment of utter chaos.
The Dark Knight Rises is the most fitting conclusion to Nolan’s Batman trilogy that any fan or casual movie-goer could ask for.
There is hardly one character, whether it’s Hathaway’s silky Catwoman, Michael Cain’s endearing, scene-stealing Alfred or Joseph Gordan-Levitt’s unflinchingly courageous patrol officer John Blake, that doesn’t light up the screen with every line of carefully weighed and scripted dialogue.
Sure, the characters might not land the one-liners with the panache of a film like the Avengers, but this is not a happy-go-lucky Marvel outing. This is DC, it’s dark, it’s broody and from the first scene right through to the end it had my heart pounding like a Slipknot drum solo in my chest.
Chances are you were going to see this movie whether I wrote this review or not, so I realise that writing this review is almost superfluous, but The Dark Knight Rises is deserving of the best praise a critic can give and I feel it’s my duty to add my voice to that already deafening chorous.
Watch this film. You won’t be disappointed.
Final Verdict: 9/10
-ST
Silver Linings Playbook was a cool movie. Especially the part where Bradley Cooper’s character Patrick throws Hemmingway’s A Farewell To Arms out his bedroom window because he hates the ending.
