Because that does Rises as good as its predecessors: to give the comic reading batfan

"Victory defeated you," Bane manages to put it very aptly. Bruce Wayne (Christian Bale) is a recluse, Batman is only remembered as the man who killed the hero Harvey Dent (as at the end of The Dark Knight) and there is a superficial peace in Gotham City. And 'superficial' you can literally take if you want. In this calm before the storm, the city has not need Batman, and even if it does so, Bruce Wayne is an old wreck of a man, a shadow of the legend that he single-handedly turned the neck and he would not Killer Moth yet lesson to learn.

After an initial scene of Bond-like proportions (director Christopher Nolan pushes not hide that he wants 007 tackle once), which may have already seen the true fan, we are immersed in the peaceful Gotham. Known characters are reintroduced, new characters are introduced and while Hans Zimmer's music builds a subdued tension, you wait until the inevitable happens: the return of The Batman.
First, however, we see Selina Kyle (Anne Hathaway) at its best: seductive, using her femininity to save her skin, but not with obvious pleasure as Michelle Pfeiffer did in Batman Returns in 1992, from more grim necessity. Because they can not but because they can. Above all, Selina cool, calculating, brooding visible on dark thoughts. They never called Catwoman, but it IS for sure. A character with questionable motives who has a complex relationship with Batman.

Because that does Rises as good as its predecessors: to give the comic reading batfan what he expected, while anyone who just loves movies amaze and entertain. This is accomplished by a combination of recognizable, fairly faithfully reproduced comics characters, with at the end fan pleasers income surprises and plottwists rooted in a crude reality that totally different rules apply. And in the latter, the tension ...

Bane (Tom Hardy) who has total power in the hands. With his opera-like, echoing voice (where his character is almost entirely based on, since his mask only uncovered let his eyes), he says almost poetic things, leaving his terrorist plans meekrijgen a kind of solemn justice. Once Bane into action he is pure, unbridled, raw power, which stands in stark contrast to his almost chivalrous way of talking. Because of this, he remains a mysterious character suffers an inexplicable tragedy that is difficult to get a grip on, which is strengthened by its confusing "creation legend.
Until, by the end of the film, by means of a twist, everything is explained, and Bane as a character gets full shape in a surprising way. Then you suddenly know where that indefinable tragedy comes and you realize the stratification of the masked bulk of a man. He does not score the unattainable some bad guy points that Heath Ledger as the Joker gathered for this is Tom Hardy's performance simply too much restricted by his mask, but make its brutality and imposing of him is definitely a worthy successor.

Bane, Catwoman, destruction and 'Rise' of Batman, the introduction of the indispensable cop John Blake (Joseph Gordon-Levitt) and Miranda Tate, a large-scale terrorist attack on Gotham City, there is an awful lot to tell in The Dark Knight Rises. This has the consequence that the second act with a jet speed races past and you do not even have time to blink your eyes, otherwise you miss a romance of two scenes long before another subplot where Commissioner Gordon (Gary Oldman) in is involved. Nolan has the scale of his trilogy valve easily doubled, but it seems a bit whether he has slightly choked in huge script. Therefore, it is often not long enough looks at certain twists in the story or dramatic moments are dismissed with a single shot unworthy. Unbelievable for a movie of 2 hours and 45 minutes.

Yes, nearly three hours costumed romp. That should not be a punishment, as has been proved earlier this year released The Avengers, as long as enough action sequences that you willy-nilly 'woopwoop! "Shouts and one liners that get flat a whole cinema. Rises opts obviously a completely different direction. The action is more modest, minimal consists of CGI and as far as possible from a Bane and Bats which crass together in boxing, with towards the end that more dramatic action around the full-size gadget called The Bat (the TDKR version of the Batwing aka the Batplane).
We see no fullscreen, alien snakes, but huge groups extras or imposing scenery shot in IMAX. The film does have a handful of funny one liners, including a few too cheesy Catwoman from her mouth, but has no further ambitions in the field of humor and wants to elicit more emotional level. Like its predecessor, The Dark Knight did so well. But how do you equator that movie?
As Batman for the first time will be back in action in TDKR, he first sits on his Batpod behind a group of accomplices of Bane, who let him escape. The police then set off in pursuit of our caped crusader, which after all is not more books as a hero, but he manages to shake them off using his bat aircraft. Without a moment of rest Bats landed immediately afterwards in a fight between Catwoman and Bane another group of villains, which is rapidly completed as cat and bat take the legs.

It is basically a reasonably entertaining scene, but lacks some flexibility and even logic. Batman his constant failure is declared or stressed (it is because he is rusty after his long absence?) And the fact that Bane almost simultaneously both Catwoman and Batman gets to stick, feels too casual. It is through this kind of scenes, plus some that are just too rushed, which Rises is not as accurate and compact as its superior predecessor. No, for many, The Dark Knight will remain the undisputed supreme superhero movie, but of course Rises is not exactly a bad film or even a bit of a disappointment. It is after all not the first time that keep our high expectations fool us, but that does not prevent us to enjoy which should be enjoyed!



The Dark Knight Rises is less convincing than the preceding part of the trilogy and suffers from a crowded script, as if director Christopher Nolan himself was struggling to say goodbye to his fascinating version of Gotham City. But whether the film through his nearly three hours of somewhat pompous superheldenvet from its seams tear or not, the big question is: do we get "closure"? Get this trilogy end it deserves?
Well, fortunately. Not only does it have put a fitting conclusion to this amazing superhero summer, also we can with confidence, but sorrowful (and yes, even hopeful) heart goodbye to three memorable films that tell a new kind of comic stories on map . Let us now hope that this art can not only Nolan overpower ...