REVIEW: “Interstellar”

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While some people may not love his movies, even they would have to admit that Christopher Nolan is a cinematic artist who has given us a number of movies known for their artistry and uniqueness. Personally I find myself smitten with every feature he brings to the screen. Nolan creates experiences. Through breathtaking visuals and challenging narratives, he takes his audiences places that must be navigating by the senses AND the intellect. I think he is a brilliant filmmaker, but even the greats sometimes miss the mark. There have been a lot of mixed opinions about Nolan’s latest work “Interstellar”. Is this his first shoot and miss?

Much of “Interstellar’s” divisiveness is rooted in extremely high expectations and/or the audiences’ willingness to not just quickly consume the film’s themes but to chew and meditate on them. It’s a film rich with ideas and questions, some of which are only barely touched on but which are still relevant and worth our attention. “Interstellar” is also soaked in science, not in the arrogant or haughty sense, but in a way that convincingly melds science fiction and reputable theory. It’s also ripe with emotion, something that I never expected going into it. In other words it’s a movie with a number of different components but none of which conflict thanks the masterful control Nolan has of his material.

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I firmly believe that the less you know about “Interstellar” going in the better. But to offer a little about its story, Matthew McConaughey plays a widowed ex-NASA pilot named Cooper who now runs a farm with his father-in-law, teenaged son, and 10-year-old daughter. It’s the future and times are hard for the human race. A devastating blight has ravaged crops and able farmers have become more valuable than pilots or engineers. Government programs like NASA and the military have been abandoned and the focus put on the urgent need of food. In reality Earth’s plight is incurable and Cooper is recruited by an old acquaintance Professor Brand (Michael Caine) to head a space expedition to find a habitable planet. But it would require Cooper to leave what he holds dearest in order to potentially save it.

Nolan takes his time developing his scenarios and his characters. It starts with McConaughey and his fabulous performance. His weather-worn face and calloused hands puts him right at home on the dustbowl that Earth has become. McConaughey has a natural and magnetic presence that helps him sell every scene he’s in. It may be a poignant scene with his young daughter Murphy (remarkably played by Mackenzie Foy) or a vigorous debate with a room of physicists. I connected with his character early on and stayed invested until the end.

There is also a host of fantastic supporting work. Anne Hathaway is great as Professor Brand’s daughter and fellow scientist. I also enjoyed David Gyasi as a physicist who joins the expedition. And later on Jessica Chastain appears and gives a performance that grounds and emotionally energizes the second half of the film. Once again she is fabulous. Other castings that I really liked included John Lithgow, Casey Affleck, David Oyelowo, and Ellen Burstyn. Only one performance stuck out like a sore thumb. Neither Topher Grace nor his character ever quite fit.

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But just having a great cast isn’t good enough. There has to be good material for them to work with and Christopher Nolan, along with his brother Jonathan, provide it. Their script pulls influence everywhere from “2001: A Space Odyssey” to “Alien”. From “Metropolis” to “Wall-E”. Yet despite that “Interstellar” is uniquely Nolan’s. Like many of his films it is cinematic brain food. It challenges us on a personal level by looking at our decisions and their consequences. It looks at self-sacrifice and the costs that some pay. It also challenges us on a philosophical level. What is our purpose of being? What is our place in the world?

And as I mentioned earlier there is a lot of science. This leaks into one of the complaints I’ve read in several places. Many count the film’s numerous science-laced conversations as a flaw. Some have seen them as nothing more than convoluted exposition. I couldn’t disagree more. Exposition is filling in gaps with back story or explanation and there is certainly some of that. But so many of the conversations center around the peril the characters are in and ways to handle it. They are dealing with unknowns, not providing filler. And of course I didn’t understand all of the talk about quantum physics, relativity, singularities, etc., but I believed it because the characters believed it and were passionate in their conversations about it. I bought into them so their knowledge was all I needed.

And then there is the emotional component of it. Surprisingly “Interstellar” is a film so full of emotion and some have had a hard time connecting with it. That’s a shame because emotion is the centerpiece of the film. At the core of “Interstellar” lies the one human force that transcends time and space. This is a movie about love. And it actually dares to be unashamedly sentimental, something else that many have viewed as a flaw. Again, I couldn’t disagree more. That’s because none of the heavy emotional scenes (all connected to the central theme of love) feel false or fabricated. In fact on several occasions I found myself deeply effected and more than once I was wiping tears from my cheeks. To add some perspective, that is very rare for me. But that’s not the only human side we see. Selfishness, cowardice, and deception all show their heads. Some at odds with love. Others born out of a twisted form of love.

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It should go without saying that “Interstellar” looks and sounds amazing. Whether it’s the dry, abrasive, decaying Earth ushering in mankind’s extinction or space and its beautiful palette of stars, planets, clusters, and wormholes, the film offers a number of stunning effects and visual treats. It’s never as spectacular as last year’s “Gravity” but it’s equally impressive. There is a style employed that reminded me of real archived footage. It made many of the sequences all the more immersive. I also loved the use of sound from the space ambiance to Hans Zimmer’s precise score. “Interstellar” is a technical delight.

So why is “Interstellar” a divisive film? I can see a few areas where some may struggle with it. Some may find it too talky. Some may find it to confusing. Some may find it too sentimental. I respect those criticisms yet disagree with each of them. “Interstellar” is a space opera that is inspired by many films but it lays its own course. It’s a contemplative adventure and an emotional exploration that captivated me from its opening moments. More than that, it is one of the deepest and most moving experiences I’ve ever had with a film. It challenged me to self-reflect. It asked questions that I’m still tossing around in my head. It entertained me in a way that few movies of the last decade have. In a nutshell “Interstellar” is the reason I love movies and I can see this film becoming one of my favorites of all-time. Boring, overly sentimental, convoluted? No way. It’s a graceful, stimulating, a beautiful movie that gave me a motion picture experience I won’t soon forget.

VERDICT – 5 STARS

5 STARSs

5STAR K&M

REVIEW: “Last Love”

Last Love PosterIt’s easy to dismiss a movie like “Last Love” as lightweight and forgettable. It’s not loud or showy nor is it anything new or profound. It’s a movie that you will either latch onto and enjoy or fail to connect with and be utterly bored. Sometimes we get movies like that – films that you either connect with or you don’t. I definitely connected with this 2013 drama written and directed by Sandra Nettelbeck. It also goes by the title of “Mr. Morgan’s Last Love”, but regardless of what you want to call it, it’s an intimate and earnest examination of lost love, fractured families, and the will to live.

The story’s initial plot point puts the film somewhere in between Pixar’s “Up” and Michael Haneke’s “Amour” (a sharp contrast, I know). The great Michael Caine plays a retired philosophy professor named Matthew Morgan. In the film’s first scene we see him sitting at the bedside of his deceased wife in their Paris apartment. Three years pass and Matthew has fallen into a suicidal state of depression. But his life takes an enigmatic turn when he meets a compassionate young Parisian woman named Pauline (ClĂ©mence PoĂ©sy). She adds a new element to his life that he can’t define. The two strike up a sweet relationship that could potentially fill the overcast voids in their lives.

“Last Love” is based on Francoise Dorner’s novel “La Douceur Assassine”. Nettelbeck’s adaption takes several creative liberties that adds new dimensions while still capturing the charm of the book. Her film is slow-moving and unfolds at a pace that may not suit some people. It worked for me mainly due to the two main characters. I truly cared about Matthew and Pauline and I was drawn to their unlikely relationship. The two share similar feelings of isolation and loneliness and each see things in the other that they want. It’s both lovely and gloomy. It’s desperate and hopeful.

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As you would expect, Michael Caine is fabulous. He gives a sincere and nuanced performance that is capped with a stinging realism. He demands an emotional commitment from the audience. Caine makes us feel for him and hope his situation improves. But things get worse when Matthew’s two kids arrive from America to check up on him. His son Miles (Justin Kirk) is a smug jerk who is clearly harboring anger from a past experience. Matthew’s daughter Karen (Gillian Anderson) is a self-absorbed and disrespectful snot who feels inconvenienced by having to check on her father. Both Kirk and Anderson are very good and they add a whole new layer to Matthew’s state of being.

But for me, the most captivating performance came from ClĂ©mence PoĂ©sy. The versatile French actress is essential to the story’s effectiveness. We learn a few details about her character but in many other ways she is a mystery. Her compassion and exuberance are intoxicating but they mask a deeper yearning. In some ways PoĂ©sy gives us a character just as sad as Matthew. She is such a good actress and she is the one asked to navigate the trickier character developments. She does so with ease.

“Last Love” is a poignant film about lost souls desperate to plug holes in their lives. It’s charming, sweet, somber, and heartbreaking. Now it does dip its toes into the pool of sentimentality on a few occasions. I’m also struggling with my feelings about the film’s ending. There’s no twist or ambiguity. I’m just not sure how I feel about it. But I do know that I really liked this film. I was unquestionably drawn to the characters, I loved the Paris setting, and the heartfelt story carried me through till the end. This was a small 2013 film seen by few, but it caught my eye and I’m glad it did.

VERDICT – 4 STARS

REVIEW: “Now You See Me”

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I have to admit, the idea behind “Now You See Me” is pretty intriguing. As silly as it may sound, a group of magicians working together in huge elaborate bank heists is loaded with potential. The movie also puts together a pretty impressive cast featuring some fresh young talent, fun and reliable veterans, and a French actress that I’ve become a big fan of. So the ingredients are there for a fun an entertaining little thriller. That’s why it’s so sad that the movie stumbles all over itself and ends up being an unfortunate disappointment.

The story goes something like this – Jesse Eisenberg, Woody Harrelson, Isla Fisher, and Dave Franco are small-time magicians working the streets and house shows. They’re all brought together after being slipped a mysterious tarot card and address by a hooded stranger. We then leap forward to find that they have a fancy new stage show and perform under the name The Four Horsemen. After their first big show in Las Vegas rains down stolen money on the jubilant crowd, the FBI immediately get involved. Agent Rhodes (Mark Ruffalo) teams up with a French Interpol Agent Alma Vargas (MĂ©lanie Laurent) to head the case. Their initial interrogation with The Four Horsemen leaves a sour taste in Agent Rhodes’ mouth and he makes in his goal to stop them before their next big show.

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Michael Caine shows up as a wealthy insurance man who sponsors The Four Horsemen’s act but who may not be the ultimate brain behind their operation. We also get Morgan Freeman as a former magician who now makes his money debunking and discrediting magic acts. Both are tossed into the mix of what becomes the movie’s big question – who is the person that’s really behind The Four Horseman? It doesn’t take a genius to figure out that twists and misdirections are a big part of this film. When the story stays focused on that it can be entertaining. Unfortunately this thing goes all over the place and by the time the twists do finally come, their effects on the convoluted story pack little punch.

There are numerous structural and narrative problems with “Now You See Me”. First, there are so many enormous plot holes many of which you could drive a truck through. There are also hugs gaps in logic that no amount of magic can explain. The pacing is good enough that you can overlook some of these things while watching the film. But if you take even a second to think about some of the things they completely fall apart. The story has holes. The characters have holes. The explanations and revelations have holes. We also get bits of mumbo-jumbo about some mystical magical force called The Eye which honestly I still don’t understand nor do I even care to.

Then there is the magic. With the exception of Eisenburg’s cool card trick during his first scene (a trick which got me), most of the magic and illusions were underwhelming. Most of the time they felt more like movie trickery than actual magic tricks. Also I can’t say I ever fully bought into any of the Horsemen as serious magicians. Some may blame the actors or it may be because we hardly spend any time with them. Most of our time are spent with the FBI trying to piece together what’s going on. That leaves The Four Horsemen feeling pretty flimsy.

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Personally I felt the performances were decent enough. Some where able to overcome the lackluster writing while others were smothered by it. Caine and Freeman were rock solid as always and Eisenberg was also quite good. But it was Laurent, the fine French actress I mentioned above, who gave my favorite performance. Like every other character, she has to deal with some occasionally clunky dialogue but she handles it very well. Not so with Ruffalo. He has his good moments but he also has a few stumbles. But once again, the script does him no favors.

“Now You See Me” is a real toughie for me. I was never bored. I never checked my watch. I enjoyed some of the performances, particularly from Laurent. But there are just too many stinking flaws to give the movie a recommendation. The story is riddled with plot holes. Some characters are so poorly written. The magic, which should be a strong point, won’t blow anyone’s socks off. In the end all of these problems sink the movie and keep it from being the film it should be. That’s a shame because the parts were in place. There just wasn’t a good enough story to work with.

VERDICT – 2.5 STARS

THE SHOWDOWN : “The Avengers” vs “The Dark Knight Rises”

Without a doubt the two biggest movies of the year in terms of box office results and expectations has been Disney/Marvel’s “The Avengers” and Warner Bros./DC Comics’ “The Dark Knight Rises”. Both films were two of the most highly anticipated and heavily promoted pictures leading up to their releases. Now both have hit the theaters, made millions of dollars, and have been talked about by critics, geeks, and movie fans from around the globe. But which is the better movie? I thought it would be fun to put the two side-by-side and see who comes out on top. They’ll face off in several categories and we will see who’s standing in the end.

SPECIAL EFFECTS

When judging the special effects, it’s hard to come up with a fair and conclusive winner. Both movies approach their action sequences in significantly different ways. “The Avengers” uses a lot more CGI and much of director Joss Whedon’s vision is dependant on it. What’s truly amazing is that the movie really pulls it off. The massive CGI set pieces are sights to behold and this is easily the best looking Hulk yet to hit the big screen. Director Christopher Nolan chose a more traditional approach to special effects and they are perfect for the movie he was making. While he did use CGI, he relied much more on intense stunt sequences and traditional set designs. Explosions, flipping cars, and large-scale battles make up the thrust of the action. So judging the two by the same standard is impossible. Therefore I’ll just go by the impressive scope of the vision that’s brought to life on-screen through the effects. WINNER – “The Avengers”

SCORE

Both films have booming, energetic scores but take two very different approaches. I’m a huge fan of Alan Silvestri and he certainly delivers a solid score in “The Avengers”. It works nicely alongside of the action sequences and it’s never overdone or out-of-place. But perhaps the one negative is that I don’t remember one detail about it. Scores that have really resonated with me have also stuck with me. Hans Zimmer’s powerful score in “The Dark Knight Rises” stuck with me on several occasions. His score is ever-present and some have had problems with that. But I found it gives a cinematic pop to so many of the action sequences and in other instances really builds the intensity. His use of familiar tunes from the earlier films are perfectly used and at times had me wanting to pump my fist. Nolan may overuse the score some, but for me it really made an impression. WINNER – “The Dark Knight Rises”

ACTING

One thing both movies were blessed with were remarkable casts. The fantastic collection of actors and actresses give both movies huge dramatic lifts and when combined provide one impressive list of talent. “The Avengers” is led by Robert Downey, Jr.’s razor-sharp, wise-cracking performance that only he could deliver. The movie also introduces Mark Ruffalo who undeniably gives us the best Bruce Banner yet and Jeremy Renner who is wonderful but underused. And then throw in Tom Hiddleston and his Oscar worthy performance as Loki. But while “The Avengers” has a great cast, “The Dark Knight Rises” is a much heavier and more dramatic picture which gives it’s equally phenomenal cast a broader range of material to work with. Christian Bale gives his best performance of the entire series. Gary Oldman is simply perfect as Gordon. Anne Hathaway makes her series debut and really surprises. Tom Hardy is wonderfully brutal. And of course there’s Michael Caine, Morgan Freeman, Marion Cotillard, and Joseph Gordon-Levitt. They’re given much more to do and they each shine. WINNER – “The Dark Knight Rises”

VILLAIN

Both movies have fantastic villains but also very different villains. “The Avengers” finds the heroes up against the mischievious meddler Loki. While he’s not that intimidating in stature, Loki manages all sorts of chaos through manipulation and trickery. But what really makes Loki so impressive is Tom Hiddleston. Without a doubt he is having a blast with the character and he carries over his great work in “Thor”. He makes Loki a viable threat and an incredibly fun villain to watch.

In “The Dark Knight Rises”, Bane is an entirely different creation. Tom Hardy stars as the intelligent but psychotic brute who intimidates more through violence and force than mischief. Bane is a vicious presence and he’s stands out in every scene he’s in. Hardy’s physicality helps give the fight scenes a gritty realism and his swagger shows his fearlessness. From the first scene he’s in, you know that Bane is a villain not to be messed with. So both movies feature villains that are very different yet equally menacing and ultimately engaging. WINNER – DRAW

STORY/WRITING

Both movies feature some outstanding writing. “The Avengers” is faced with the task of taking a handful of earlier films and bringing them and their characters together in a good, cohesive way. It’s a daunting task and Joss Whedon makes it work. He makes “The Avengers” a climax movie that all of the individual superhero pictures were building up to. He also manages his large cast wonderfully. Another strong point with Whedon is the fantastic injection of humor throughout the picture. There are some truly laugh-out-loud moments and Whedon is respectful of the material but never takes it too seriously. It’s really well done.

On the other hand, Christopher Nolan is an incredible storyteller with his own unique visual presentation. His movies are generally more complex and layered and often times he challenges his audience. “The Dark Knight Rises” is no different. The story twists and turns and Nolan injects it with just the right amount of action and intensity. He also does a fine job of connecting it with the previous film as well as wrapping up his trilogy with a near perfect ending. Nolan doesn’t dumb things down and gives us a glorious and rousing ending to what is arguably one of the greatest trilogies in film history. WINNER – “The Dark Knight Rises”

AMBITION

With “The Dark Knight Rises”, Christopher Nolan finishes his spectacular vision of Batman and his universe. It’s most certainly an ambitious film. Nolan introduces new characters, connects us to the previous film, gives us an evil and brutal new villain, tells another deep and satisfying story, and wraps the entire series up, all in one film. It’s quite a vision. For Joss Whedon the task was quite possibly tougher and more ambitious. As mentioned above, Marvel had created several individual superhero franchises and each pointed to the Avengers project. “The Avengers” movie was a culmination of all of those movies and characters and Whedon had to bring it all together – a tricky job. A movie that ambitious had so many things that could have gone wrong but instead we were given one of the best times at the theaters this year. WINNER – “The Avengers”

DIRECTION

Both Joss Whedon and Christopher Nolan had the advantage of directing material that they were instrumental in creating. As writers, they had strong and distinct visions for their movies which carried over into their direction. Whedon wonderfully visualizes his wild superhero world, creates some astonishing action sequences, and nicely utilizes his great cast. Whedon draws everything together with an almost seamless result. Nolan is also a visual storyteller and his style is evident from the opening scene. Again, he is directing much weightier and more layered material and his ability to translate it on-screen so vividly is a testament to his rock solid direction. While “The Avengers” is sharply directed and a huge accomplishment, “The Dark Knight Rises” does go down more challenging roads, features a more hands-on approach to its action, and requires a more complex use of its characters. Nolan’s direction is spot-on. WINNER – “The Dark Knight Rises”

CONCLUSION

Both movies are exceptional examples of why the superhero genre is a legitimate form of cinematic entertainment. These are movies that aren’t just seeking box office numbers and millions of dollars. These are two strong movies with great storytelling, amazing special effects, phenomenal casts, and writers/directors that not only care for their projects, but put a great deal into making them the best movies they can be. But out of the two, “The Dark Knight Rises”…well…rises to the top. The deeper more layered story, the extremely high stakes, the more realistic grounding, and the wonderful way it wraps up Christopher Nolan’s Batman vision give it the edge over Joss Whedon’s fine film. Both films met some really high expectations, but for me “The Dark Knight Rises” was a better film that I will still be talking about for a long time.

THE OVERALL WINNER

REVIEW: “The Dark Knight Rises”

The superhero genre has been going strong for several years now and I’ve been wondering when was it going to run out of steam. At what point was the quality of the films going to suffer leading audiences to say enough is enough? In 2005 Christopher Nolan made a great contribution to the genre with “Batman Begins”. He followed it up with 2008′ s phenomenal “The Dark Knight”, a film that was not only one of the best sequels ever made but a demonstrative statement showing that superhero films can be legitimate and powerful forms of cinematic entertainment.

That brings us to “The Dark Knight Rises” the final film of Christopher Nolan’s Batman run and the end of what could easily go down as one of the best movie trilogies in motion picture history. “The Dark Knight Rises” is smart, layered, gritty, moving, and action-packed. Nolan not only wraps up his series in a competent and satisfying way, he gives us one of the most potent and energetic movie experiences you’ll find – a near perfect mix of comic book action, socially reflective drama, and expert storytelling. If these are the kinds of films we could get regularly from the superhero genre, I see no limit to their lifespans.

This film takes place 8 years after Batman rode off into the shadows at the end of “The Dark Knight”. Batman is a fugitive, unjustly but willingly, wanted for the murder of Harvey Dent. There have been no Batman sightings during this time and crime in Gotham City has declined due to an inspired city leadership and law enforcement armed with the Dent Act. Bruce Wayne (Christian Bale) has become a hobbled recluse, spending all of his time in a closed off wing of Wayne Manor where long-time family friend and faithful butler Alfred (Michael Caine) is his only contact with the outside world. Gotham has become lethargic in its approach to crime and peace time has made the city leaders careless. Everyone except commissioner Jim Gordon (Gary Oldman) and Officer Blake (Joseph Gordon-Levitt), a devoted young patrolman. With their guard down, the city is hit head-on by a brutal but calculated terrorist named Bane (Tom Hardy). Bane’s destructive assault on Gotham cripples the city and as all-out anarchy takes hold, the need for Batman is greater than ever.

Morgan Freeman also returns as Lucius Fox, Bruce Wayne’s close friend and acting president of Wayne Enterprises. Fox is struggling to keep the company afloat following the poor position Bruce left him in. In addition to Hardy and Gordon-Levitt, Anne Hathaway joins the series as Selina Kyle, a cat burglar who steals out of Robin Hood-like motivations but also with a single more direct purpose in mind. Also new to the cast is Marion Cotillard. She plays Miranda Tate, a Wayne Enterprises board member and philanthropist with a great interest in green energy technology and Wayne’s investments into it. Matthew Modine plays Deputy Peter Foley, a spineless officer who is more interested in making a name for himself by catching Batman than stopping the coming storm at the hands of Bane. We also get Ben Mendelsohn as a slimy self-serving Wayne board member with his hands in deeper in than they should be.

Nolan takes this amazing collection of acting talent and throws them all into his smorgasbord of plot lines and dramatic twists. But he never loses control of the film and everything comes together in an extremely satisfying way. Nolan incorporates several relevent and current issues into the story, none more prevalent than the entire class warfare theme. Selina has a very anti-rich people mindset seeing the wealthy as a key cause to society’s ills. Bane himself seeks to take the power out of the hands of the wealthy, the local government, and law enforcement and give it to the poor and downtrodden. But Nolan doesn’t sugarcoat or promote anything. In fact he shows where an extreme and unbridled class warfare position can lead. Some may say that his presentation is heavy-handed but I felt it worked perfectly in the greater context of the story.

Nolan and his brother Jonathan wrote the screenplay and even with the heavy exposition in the first 30 minutes – clearly intended to fill the audience in on what has transpired during the missing 8 years – the movie moves at a crisp and fluid pace. As with all of Nolan’s pictures, there are layers of story that unfold to reveal deeper meanings and cool dramatic twists that should please both comic book fanboys and lovers of good storytelling. He doesn’t dumb things down nor does he ever patronize the audience. The film sets the table for us then causes us to attentively hang on for dear life – a most pleasing challenge. Much like “The Dark Knight” there are no shortcuts here. The film isn’t just a loud summer studio comic book adaptation. It’s brilliant cinematic storytelling that takes a superhero concept, laces it with a true sense of reality, and presents it to us in a beautifully crafted package. Another example of why Christopher Nolan is one of our best directors and visual storytellers.

I’ve mentioned the cast but they deserve more than just a few words. Bale IS Batman and this is his strongest work of the entire series. We see him as a broken and vulnerable man as well as the growling caped crusader. Bale has no problems relaying either to the audience. Anne Hathaway is also very good as Catwoman (even though she’s never called Catwoman) and while I wasn’t certain she completely belonged in Nolan’s more realistic Batman universe, he never overdoes the character and Hathaway sells her well. Tom Hardy will undoubtedly face comparisons to Heath Ledger’s Joker from the last film but that’s terrible unfair. The two villains couldn’t be more different and Hardy’s Bane easily stands on his own. Hardy spends the entire film behind a mask but his body language and brute swagger makes him a most menacing villain. Gary Oldman is fantastic as always as was the lovely Marion Cotillard. Michael Caine is wonderful and has some of the best exchanges with Bale. Unfortunately he disappears in the second half of the film. And Joseph Gordon-Levitt continues to prove he is a solid young actor. Perhaps the only weak spot was with Matthew Modine who I never really bought into. His character only adds one small thing to the story and Modine never makes him all that compelling or interesting.

Technically “The Dark Knight Rises” is the jaw-dropper I expected it to be. Nolan’s stylistic flare and incredible camera work do a great job of capturing the panic and dread of a city under siege. The special effects are stunning and the action sequences are big and boisterous. Nolan gives us some new Batman toys as well as some old favorites and they’re used in several cool crowd-pleasing ways. I also loved the fight choreography. You know by the trailer that there is going to be a Bane and Batman showdown and Nolan builds it up with undeniable intensity. Then when the payoff comes, we aren’t hampered by herky-jerky camera movements. Instead Nolan lets the fights take place without any fancy gimmicks. It was incredibly satisfying. I also loved Hans Zimmer’s score. Some have voiced dislike for his ever-present pounding music but it worked for me. I felt it contributed to the intensity that the film is going for just as Zimmer’s scores have done for the previous two Batman movies.

“The Dark Knight Rises” once again plunges the people of Gotham and us into the depths of fear and dread while examining evil and the darker side of society. Yet the film always allows us hope. This is certainly another dark story but the stakes are high and the ending is exceptional and rewarding and the perfect goodbye to a phenomenal trilogy. I wanted to stand and applaud. The film stretches the boundaries of the comic book genre. It’s large in scale, full of story, and absolutely engrossing throughout it’s almost 3 hour running time. “The Dark Knight Rises” is far more than simply great. It’s a modern classic featuring mesmerizing performances, fist-pumping action, and genuine intelligence. It’s a visual spectacle. It’s emotionally and intellectually stimulating. It’s a text book lesson on the melding of big budget flamboyance with smart and challenging storytelling. It’s hard to accept that this is Nolan’s final Batman film but he has given us a gift – a groundbreaking series of films capped by a truly glorious finale. What a ride it’s been and what a way to end it.

VERDICT – 4.5 STARS

4.5 STARS