Regie:
Christopher NolanKamera:
Wally PfisterMusik:
Hans ZimmerBesetzung:
Christian Bale, Gary Oldman, Tom Hardy, Joseph Gordon-Levitt, Anne Hathaway, Marion Cotillard, Morgan Freeman, Michael Caine, Matthew Modine (mehr)Streaming (5)
Inhalte(1)
Der epische Abschluss der "Dark Knight"-Trilogie: Vor acht Jahren ist Batman in die Nacht verschwunden - seit diesem Moment befindet sich der Held auf der Flucht. Der Dunkle Ritter nahm die Schuld am Tod von Staatsanwalt Harvey Dent auf sich und opferte sich so für die gute Sache, der er sich zusammen mit Commissioner Gordon verschrieben hat. Eine Zeit lang hat diese Lüge funktioniert. Dents neu eingebrachtes Gesetz sorgte dafür, dass die Kriminalitätsraten in Gotham City deutlich sanken. Aber das ändert sich plötzlich radikal, als eine gerissene, katzenhafte Einbrecherin ihre undurchsichtigen Pläne zu verwirklichen beginnt. Weitaus gefährlicher ist allerdings der maskierte Terrorist Bane. Mit seinem skrupellosen Vorgehen bringt er Bruce dazu, sein selbstgewähltes Exil aufzugeben. Doch selbst als er wieder zu Cape und Maske greift, scheint der Dunkle Ritter Bane unterlegen. (Warner Bros. DE)
(mehr)Kritiken (18)
Dieser Film hat nicht mehr den Wow-Effekt, welcher den gefühllosen Umgang mit den Figuren verdecken würde. Das gab es in einem verzeihbaren Ausmaß in dem vorigen Film, der dritte Teil versinkt darin aber ganz und gar. Es ist unmöglich, jede Wende und ihren Einfluss auf die Figuren wahrzunehmen. Es gibt zu viele von ihnen und sie erscheinen und verschwinden ohne ein Konzept, nur damit sie etwas cooles machen und einen guten Spruch sagen (von denen es keiner verdient, dass man sich ihn merkt). Dazu unterschätzt Nolan wieder (nach Inception) die Intelligenz der Zuschauer*innen und tischt ihnen billige Übergänge der Handlung auf. Hardys Negativgestalt ist ein doofer Muskel-Haufen. Seine Maske sowie Stimme sind interessant, aber er weckt weder Angst, noch Respekt. Bei der Catwoman (oder wer das sein soll) ist nur ihr Hintern bei der Motorradfahrt nützlich. Der einzige, der hier die beste Arbeit in der Trilogie leistet, ist Hans Zimmer. Er nutzte Motive aus den vorigen Teilen, fügte neue hinzu (das balkanische Klavier aus Sherlock für die hinterhältige Catwoman und anarchistische Choräle für Bane sind eine ausgezeichnete Auffrischung) und aus der ehemaligen flachen Masse der düsteren Depression schuf er eine bombastische, farbige Orchester-Actionkulisse. Warum gebe ich nach so viel Kritik vier Sterne? Der Film hat ein kolossales Ausmaß, was ein Merkmal von Nolan ist, das niemand nachahmen kann. Es sind der unheimliche Drive und der epische Charakter, die Sie unterhalten werden. Dabei ist es Ihnen egal, was und warum gerade passiert und in welche Richtung sich der Film begibt.
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Bis zur amerikanischen Hymne wars´ das beste, was ich je an einem amerikanischen Blockbuster gesehen habe - was für viele Menschen bedeutet, dass sie sich in der ersten Stunde langweilen werden. Ich habe die meisterhafte Spannung genossen, mit der Nolan den Bildschirm vollumfänglich kontrolliert. Der Streifen kommt dabei ohne Action aus, lediglich mit einem massiv aufgebauten Unrugegefühl. Nach der amerikanischen Hymne habe ich ein wenig begonnen, mit dem Film zu kämpfen - die Brüder haben höchstwahrscheinlich die Kritik im Sinne gehabt, welche der ideologische Hintergrund des Dark Knights erhielt, und es schien, als ob sie mit den Befürwortern sozialer Gerechtigkeit und Umverteilung abrechnen wollten. Sie haben sich jedoch für eine zerstörerische "Waffe ihrer Wahl" entschieden - Bane ist eine bezaubernde, überwältigende und äußerst dämonische Figur, die es Bal Wayne / Batman ermöglicht, das zu tun, in was sie am stärksten sind: sich für den Film / Gotham zu opfern. Gegen Ende habe ich eine systematischere Arbeit mit der Story sowie den Charakteren verpasst, das Tempo ist absichtlich losgelöst und die Informationsdosierung zerhackt, wobei auch die widersprüchliche Rückkehr zur "Comics"-Mythologie des Einsers recht überraschend wirkt ... Die letzte Mega-Wendung, welche Banes rein böse Aura ein wenig schwächt, hat mich aus meiner frommen Phantasie über einen der besten Charaktere der Trilogie entrissen. Allerdings frage ich mich vergebens, wann ich das letzte Mal etwas so überwältigendes, monströses, majestätisches und filmemacherisch dennoch derart ausgefeiltes gesehen habe. Es wurde gesagt, dass Batman der König der Saison sein würde - und trotz vieler Einwände ist er dies meinerseits auch unangefochten immer noch. Edit: Erst eine zweite Betrachtung zeigt auf, wie beständig und emotional fruchtbar dieser Film ist. Die Imax-Kopie ist atemberaubend und der Film gewinnt einen mit jedem einzelnen Detail an Boden. Grandios ...
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Das Ende von Nolans Trilogie ist ausgesprochen schwach, obwohl scheinbar alles wie ein Puzzle zusammenpasst. In drei Filmen wurde Batman geboren, dann stürzte er und wurde wiedergeboren, nur um die Fledermaus wieder einschlafen zu lassen. Zu den theoretischen Highlights des dritten Films gehören Anne Hathaway als Catwoman und Marion Cotillard als Talia al Ghul, aber auch sie gehören für mich nicht zu den schauspielerischen Glanzleistungen der DC-Filme.
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The Dark Knight Rises ist nicht besser als The Dark Knight… Das heißt aber nicht, dass er nicht ausgezeichnet ist. The Dark Knight Rises ist ein würdiger Abschluss der tollen Trilogie, für die alle Comic-Fans Christopher Nolan die Pantoffeln küssen sollten. Der Film hat wahrscheinlich keinen einzigen Schwachpunkt. Sogar die Laufzeit, über die sich manche wundern/aufregen, ist völlig in Ordnung. Die Handlung ist überhaupt nicht kompliziert – im Gegensatz zu den meisten Blockbustern, die heutzutage gedreht werden, ist sie "nur“ richtig reichhaltig. Eine gewisse Schicksalhaftigkeit habe ich schon von Anfang an gespürt. Obwohl ich gewusst habe, dass es weder Batman noch Gotham leicht haben werden, hat mich das, was sich schließlich ereignet hat, fassungslos gemacht. Und wenn ich nicht gerade fassungslos war, war ich entsetzt. Mein Beifall gehört allen Beteiligten, sogar Hans Zimmer hat mich mit seinem angenehm sanften und originellen Katzenmotiv überrascht…__PS: Nachdem ich den Trailer gesehen habe, ahnte ich, dass mich Michael Caine rühren wird… Trotzdem war ich darauf nicht ganz vorbereitet. __PPS: Lassen Sie Anne Hathaway gefälligst in Ruhe, sie ist perfekt.__PPPS: Wenn sich in der Zukunft jemand entscheidet, einen nächsten Fledermaus-Film zu drehen (was zu 99 % passieren wird), wird er es nicht einfach haben. Ich hoffe übrigens, dass die nächste Fledermaus-Adaptation Millers "Batman – Die Rückkehr des Dunklen Ritters" sein wird (und dass Superman auch eine Einladung bekommt).
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Langsamer Start und eine besondere Zerstreutheit gaben mir nicht das Gefühl eines wegweisenden Films, wie es bei dem vorherigen Dunklen Ritter der Fall war. Dennoch wäre es ein Fehler, die Situation vorschnell zu bewerten. Die letzte Stunde schoss das Spannung und die Action buchstäblich in ungeahnte Höhen. Das Ende ließ mein Herz höher schlagen. Ich möchte jetzt niemanden in die Illusion eines perfekten Films treiben, nur um am Ende enttäuscht zu werden, aber ich kann sagen, dass ich überrascht und erfreut war.
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Ich habe immer gesagt, dass mich Nolan mit seinen "Fledermaus"-Filmen nicht überzeugt hat, aber mit dem letzten Teil der Batman-Trilogie ist er mir endlich unter die Haut gegangen. Die ganze Zeit herrschte eine Atmosphäre der bedingungslosen Resignation, der Hoffnungslosigkeit und Verzweiflung, um die Wahrheit zu sagen, so dass ich mir große Sorgen um das Schicksal des Fledermausmannes gemacht habe. Die Nebenfiguren, die von Anne Hathaway und Tom Hardy gespielt wurden, waren gut besetzt, vor allem die Figur des Bane, die für mich der des Jokers in nichts nachstand. Wiederum eine wunderbare Filmmusik von Hans Zimmer und eine gelungene visuelle Gestaltung, insbesondere das Ende des Films und damit der Trilogie. Der Regisseur hätte am Ende nicht so konsequent sein müssen und den Zuschauer im Unklaren lassen können, aber ich denke, das gehört zum Ende dazu. Kurzum, für mich ein großartiges Kinoerlebnis, das Aufmerksamkeit verdient - ich gehöre sicher nicht zu denen, die meinen, Nolan habe am Ende seine Kraft verloren ... erst hier hat er richtig Luft geholt.
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Ein mehr als würdevoller Abschluss einer Legende. Meine Erwartungen waren zwar alles andere als klein und gleichzeitig schwor ich mir, dass ich jeglichen Vergleich mit The Dark Knight (Bane und Joker) meiden werde, aber nun kann ich ruhiges Gewissens sagen, dass es auch dann mein Urteil des letzten Teisl nicht beeinflußt hätte. Der Film ist an sich makellos. Die Atmosphäre wirkt auf den Zuschauer recht heftig und die unermüdliche Musik von Hans Zimmer ist wohl mit unter die beste der gesamten Filmreihe, dazu kommen noch die exzellenten Schauspieler. Selbst die Anwesenheit der neuen Catwoman empfand ich angenehm. Gerade das Ende des Films war meiner Meinung nach richtig und passend für die gesamte Filmreihe. Jetzt wünsche ich mir nur, dass Christopher Nolan sein berühmtes Werk fortsetzt.
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“Do you feel in charge?” This is exactly the kind of hard-hitting ending to an epic saga that you would expect from a maximalist like Nolan. With the exception of the overwrought action scenes and the expanded number of characters, Nolan couldn’t take it much farther than he did in The Dark Knight. There was nowhere else to go. So he returned to the roots instead. Batman must rise again, start over and definitively come to terms with the burden that he has carried since Batman Begins, which is represented here by the character of Bane. ___ Whereas the Joker used uncontrollable chaos, Bane employs brute, straightforward physical force. His objective is not to destroy Batman only as a symbol, which is what the maniacal clown managed to do (while his success is reaffirmed when the long-term unsustainability of the status quo built on lies is exposed), but also as a person. The villain and the mistaken and doubting supporting characters again overshadow the titular hero, who admittedly gets more space to deliver his clumsily written lines (with literally expressed thoughts that the film’s creators are unable to convey to viewers simply by hinting at them) without his mask and in his human voice, but his “developmental arc” is merely a variation on that from the first film (with the difference being that his father doesn’t help him out this time) and he is rather predictable in his behaviour (much more so than Bane or the excellent Selina Kyle, whom I’d like to see played by Anne Hathaway in a separate film), just as the rest of the film is predictable. ___ Based on proven narrative formulas, the story generates situations that assault the eye with their calculated nature. The characters’ decisions are not rationalised very well. The degree of care with which the whole film was designed and calculated for effect is apparent in the casualness with which Bruce Wayne puts on the bat costume again after eight years of living in seclusion, the large number of characters appearing in the right place at the right time, and the sudden and correct decisions made by those who had previously been hesitant. Characters make dumb decisions so that Nolan can offer us epic scenes (such as the fight between Batman and Bane) and to serve a particular purpose. Of course, in any fictional film, things naturally don’t happen for any other reason than a conscious decision on the part of the screenwriter, but this fact is more skilfully disguised in other films. ___ Like The Dark Knight, the third instalment is elevated by an uncompromising villain who is well aware of the power of money and of the game (in this case, American football), two phenomena that bring rich and poor together. The villain’s radically Marxist plan with an unclear objective (does he want to destroy Gotham, or leave it to the rabble?) include a forceful attack on both of these pillars of capitalism. Unlike in our reality, the financial crisis in the film is caused by outside interference, not by gradual internal decay, and the culprit is thus easier to identify, track down and punish (e.g. in Skyfall from the same year, whose directing Sam Mendes admits was inspired by The Dark Knight, the evil is of a much more unique nature). However, the attempt to depict the anxieties of today is apparent, but leftist liberals will not be enthusiastic about handing over responsibility to heroic members of the police force. ___ At the stylistic level, Nolan doesn’t come up with anything new, but only clarifies and intensifies what he did before. Nolan again pulls out his favourite shot dyad comprising “static dialogue scene – cut to camera moving over the city with a bird’s-eye view”, the exceedingly epic music of Hans Zimmer is again heard from the opening minutes (and thus cannot be further intensified in the truly important scenes, though the musical motifs assigned to the individual characters and their intertwining work very nicely), and there is again a disconnect between the psychologically believable background and the exaggerated action scenes (the assault on the plane in flight is just as good as the tanks and submarines in the Fast & Furious movies). Thanks to the longer shots and more proportionate use of parallel montages, the hand-to-hand fighting and shootouts are clearer. ___ The structure of The Dark Knight Rises is more ambitious and more clearly arranged than that of the two preceding films. After the fight between Batman and Bane (which happens roughly at the mid-point of the film), there is a fade-out and the initial distribution of powers is overturned. Evil comes to the surface; good is sidelined. In the second half, with its livelier plot, the pace is significantly faster, because there is the necessity of developing motifs and concluding the storylines not only from the first half of the film (the bomb, the removal of Selina from the most-wanted list), but also from the first two films (Ra’s al Ghul, Scarecrow, the lie about Dent), which leads to the sometimes ridiculous attempt to convey truly a lot of information in a short time (I was impressed by the scene in which the characters are waiting for Marion Cotillard’s character to slowly say what she has to say while a bomb ticks a few meters away with only a few tens of seconds remaining until it is set to explode). The narrative, which is made more suspenseful by the establishment of a rapidly shortening deadline (23 days, 18 hours, 45 minutes, then 11 minutes pass, and then five minutes remain), basically doesn’t slow down until the end. In retrospect, the first half thus seems like an eighty-minute, mostly dialogue-driven, character-developing prologue for eighty minutes of thrilling action. ___ The Dark Knight Rises succeeds in being both truly dark and incredibly thrilling, albeit at the cost of unconvincing plot twists, odd confusion of ideas and expressive ponderousness and literalism, but if every attempt at making a monumental cinematic spectacle ended in a similar "failure", I wouldn’t complain. 85% Appendix: A lot of reviews address the speed with which characters travel between the prison and Gotham. According to one of the lines uttered in the film, the prison is located in the “ancient part of the town”, not somewhere in Africa or the Middle East, so it shouldn’t be such a problem to get to Gotham even on foot.
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(weniger)
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A monumental film – maybe too much so. It exhausted me as if I’d had to carry Bane on my back for three hours. The Dark Knight Rises has a massive scope, it follows about a billion different characters and the network of motivations and relationships among them it’s never very clear (at least not after watching it once). In all this burnt-out expanse, it needs to resort to various shortcuts (someone always comes and meets someone – without it being clear how they knew that said someone would be there – then they say something important and carry on – repeat and rinse after a bit) and pathetic holy speeches (and I won’t even mention the bus full of orphans), while Bane’s plan and its execution feels very dodgy. Yeah, it’s (only) a “comic book movie” and you also can find similar “comic book” twists, motifs and dialogues in the previous two parts, but here it’s a bit too much and Nolan is trying to take his very realistic concept too far. Naturally, the movie is technically flawless. In the end, it’s the character of Bruce the one who gets most of the attention, so as a conclusion to “his” trilogy, it does work well in all its fatality and epic (8/10). As a standalone film, however, it grinds a little. Let’s hope that in two years Christopher will go for something smaller. PS: Of course, it’s very likely that watching it a second time will make the film feel more cohesive, complex and clear (as usual with Nolan), but I don’t feel like going through it again so soon.
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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.
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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.
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There are many forms of immortality... The film series from the 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 installment, and the immortality of the saga established with the second. As such, Bruce Wayne rises in a completely logical way at the end. On the one hand, Christopher Nolan makes him the Batman of the comic books by giving him Selina Kyle or references to the League of Shadows. In the other hand, he gives him the determination of the Dark Knight with the anarchy and political/police intrigues. There is no need to rush, no reason to shock. All he has to do is untangle the final plot twists and place the characters of one great story in their final positions. In the end, you get another hour and a half of fascinating and equally breathtaking spectacle full of captivating characters, and a royal comic book trilogy with everything that goes with it.
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In the opening scene, the viewer witnesses two prisoners being escorted on an airplane to some prison. The men have bags over their heads and the leader of the escort tries to mentally break one of them and probably force him to confess. He opens the door and pulls the prisoner to his knees facing a bottomless pit that can scare not only those who suffer from a fear of heights. Automatically, I would expect the next step to be the removal of the bag, as otherwise, the act does not make sense. However, that does not happen. The purpose of that bag was not to disorient the prisoner but to surprise the guards and especially the viewer with a moment of revealing the prisoner's identity. In the world of Nolan's Batman trilogy, everything is done for immediate effect and you cannot find any logic or functionality in it. It was only here that I fully understood when it came to The Dark Knight why some people were irritated by the total brevity and stupidity of practically everyone on the set. I also agree with the sentiment that people don't know why The Joker was trying to bring chaos with his plans when in the end he is almost the only one whose actions make sense to some degree. All the others, Batman - the police, and the mafia - exhibit such a heap of insanity that cannot possibly come from a member of the Homo sapiens species equipped with self-preservation instincts. Something like that might belong in a comic book, but this is outwardly presented as a sophisticated detective story with elements of noir and psychological drama. Nolan does not spare any special effects and generously provides attractions, but in terms of content, there's not much to be ha. Batman Begins had the reputation of being a dark drama in which the comic had finally matured and successfully transferred the literary source to the real world. I don't fully agree with that, but I agree that the mentioned tendency was there and that it was an interesting step within the genre. The Dark Knight Rises is evidence that Nolan got stuck in a dead end when it came to grasping the material. It is pompous, megalomaniacal, and content-wise, excuse my language, stupid. Forget about any deeper psychology, this blockbuster only pretends to be mature and is about as good at it as little children playing mommy and daddy. I consider the last part to be unquestionably the weakest part of the trilogy, partly due to very problematic ideological starting points. Frank Miller, the author who has most influenced the current form and mythology of the Batman world, is known as a right-winger and represents a counterbalance to left-leaning anarchist authors like Alan Moore. However, here his individualism and contempt for "scum" has essentially become a manifesto for questioning democratic orders and for authoritarians like Spanish caudillo Franco and especially for General Pinochet, and for them, Batman would undoubtedly be an ideal movie hero and this piece would occupy a very honorable place in their film collections. Overall impression: 25%. If Dunkirk and The Prestige represent the peak of Nolan's work so far, then The Dark Knight Rises represents the bottom.
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(weniger)
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Not so bombastic anymore! From the realistic waters of the last part, we’ve drifted off down a sewer into the comic-book waters of part one. But this is not the movie’s main issue. But why trump the joker when it’s enough to equal it. Too much happens with too little room. Those 164 minutes just aren’t enough and some moments don’t resound as they could. In fact, Batman returns twice here, which is a lot for one movie. The introductions to new characters is maybe a little rushed (but left an impression). But disappointment sets in during some scenes. The expanse and the story’s message are of course above average. In this respect, Wayne’s journey couldn’t have had a better conclusion. And no let down from Zimmer, either. Not everything. Not yet. Thumbs up for the second time in the IMAX. The huge scale of the screen at last does justice to the dimensions of this picture. The action scenes are absorbing, particularly fly-pasts around Gotham. Awesome.
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A film that unfolds in one's mind in an unprecedented way. Let's go step by step. Huge expectations, especially after Nolan made a fantastic promotion with The Dark Knight, it was said he to have nowhere else to go. It is not possible to make anything better, more complex, more magnificent. It may well not be. This installment is not better than the second. It is different, and in the end, it turned out exactly as it should have: American, with its head held high and a torn flag. In all aspects it’s more classical, more pathetic, and essentially simpler and more clichéd. I wasn't expecting a return to finding oneself like in the first film, yet there were many elements here that were absolutely the same. Bane – one of the most anticipated villains of all time – yes, mission accomplished, with his monumental, demonic personality. During the scene “Who are you? I'm Gotham's Reckoning”, I had to blink. And this film has plenty of moments like that. Especially in the “mental” sequences from the prison – this is the good old Nolan that works just as well for the third time. The action is traditionally not the main attraction, it’s pragmatic and austere, essentially just a small bridge in the dense plot. Unfortunately, the closer the film gets to the finish line, the worse and less cathartic it becomes. The final seems very weak, American, and quite unexpected to me. I often missed genuine emotions, which were abundant in the first two films. But then the question arises: what if they are there, but we have become desensitized to them because we got used to them? Speculation. It is definitely necessary to see the entire trilogy in one go. It is not a disappointment, it is still the big film of the year that will make a lot of money and win awards. However, the middle part seemed more complex, urgent, and had more twisting scenes. Hans Zimmer is still brilliant and the Joker is on par with Bane!
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Here we confirm the old familiar truth that a good director can get a great performance out of a bland and not really special actress, and Anne Hathaway really just shines in her role. Of course, Tom Hardy's performance is now completely different and incomparable to Heath Ledger's performance in the last installment, given the differences between Nolan’s two characters, but it is a remarkable performance and once again on this occasion it is impossible not to notice that the casting of the main villain was exceedingly successful. Christopher Nolan has an amazing ability – for he has an inimitable way of making a grand, pompous, and above all complex film that you want to watch again and again. It’s more than just visual ecstasy, for the viewer it's a fated and urgent film in a hugely satisfying way, one that manages to awaken ideals into sheer heroism, and one that is so unique in its treatment and delivery that an unspecified number of scenes sometimes send chills down the spine, leave jaws agape, break sweat out on the brow, or work the stomach enzymes more than is healthy. It's fascinating material for an extensive and detailed study or review, but I prefer to leave that to the more informed dissectors and examiners. It's Hollywood, it's mass entertainment, it's giga-mainstream, but it's so damn impressive that it easily overcomes any potential conjecture about how it’s "commercial", "superficial", "calculating", or "reliably capable of degenerating today's intellectually based youth" (among which I could theoretically count myself, but only the real ones, given my previous ironic words). Chris, I'm giving you full marks yet again, and I can't wait for your next film.
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The final installment of this trilogy may be brilliantly shot, but that doesn't mean it's a perfect cinematic experience in the slightest. Logic, emotion and a deeper message are noticeably absent. Christopher Nolan wallows in his own pomposity and megalomania, which was also behind it being terribly overlong. Not even the acting is too commendable, which I don't understand, especially considering the stellar cast. (45%)
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I totally get that some people are upset about the final part of the Batman trilogy. The brilliant second installment was a tough act to follow. I think we can all agree that the second part was impossible to overcome. But I think Nolan created a more than decent ending to the whole trilogy. The beginning seemed a bit too chatty to me. It’s a shame that the scene with the airplane appeared in almost all the trailers. It didn’t have the desired wow-effect. In the second installment, action was in full swing from the very first scene, gradually escalating until the finale. Here there is a lot of talking at the beginning and action doesn’t really start until the scene when Bane enters Gotham, which is where it really gets going. Although Hardy makes a decent effort, he is no match for Ledger's performance of a lifetime. While Joker’s motto was chaos, Bane is more about total destruction, which is probably why many people were disappointed by this part. Batman hits rock bottom while Gotham is on the verge of collapse. But then he does rise eventually, and with him, Gotham’s chances. In the end, it's Batman as we know him from Nolan. After the finale, I left the theatre satisfied. All in all, it is a movie where there are more one-liners than in the previous two installments combined, and less action than in the second part. Maybe it’s not quite it, but I didn't fully appreciate the second part either the first time I saw it. My excitement grew with each new viewing. I’m sure this isn’t the last time I saw it, but it's already a movie of the year for me.
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