THE DARK KNIGHT RISES--movie review by Gordon Stamper, Jr.

 

The Dark Knight Rises

Directed by Christopher Nolan

Screenplay by Nolan and Jonathan Nolan; story by Jonathan Nolan and David S. Goyer

Starring Christian Bale, Tom Hardy, Anne Hathaway, Gary Oldman, Joseph Gordon-Hewitt, Marion Cotillard, Michael Caine, Morgan Freeman, Matthew Modine

A Warner Bros. Pictures/DC Entertainment/Legendary Pictures release

164 Minutes

Rated 'PG-13' for intense sequences of violence and action, some sensuality, and language

The Dark Knight Rises begins eight years after the disappearance of Batman and the manufactured story that the vigilante superhero killed District Attorney Harvey Dent.  The Wayne Corporation and its charitable foundation are in a state of disrepair.  Despite encouragement and cajoling from faithful butler Alfred (Michael Caine) and active board member Lucius Fox (Morgan Freeman), Bruce Wayne (Christian Bale) is now a physically battered recluse, with the manor hosting parties that he does not attend.

Three factors may signal a necessary return for the Caped Crusader.  Master cat burglar Selena Kyle (Anne Hathaway) has infiltrated the Wayne staff as a maid, seeking to swipe some treasures.  Concerned police patrolman and fellow orphan John Blake (Joseph Gordon-Hewitt) confronts Wayne about his foundation's declining support for orphanages and his suspicions that Wayne is Batman.  And there is Bane (Tom Hardy), a sadistic terrorist with forces seemingly ready to overrun any protective defenses Commissioner Gordon (Gary Oldman) could throw at them.

The third and final film of the Nolan/Bale Batman trilogy is a bit of a letdown following the artistic achievement of The Dark Knight, perhaps the greatest superhero film ever made.  Bane, with his distorted Sean Connery-like voice and vicious musclebound temperament, is a threatening villain but is no true intellectual wild card like Heath Ledger's Joker.  This movie is more on the quality level of Batman Begins, which means it may not reach your personal all-time list, but it will probably be one of the best films you will see this year.

Uplifting this entry to the franchise is the development of supporting characters.  Once again, Commissioner Gordon, Lucius, and Alfred are fully realized characters and the distinguished troupe of performers portraying them (Oldman, Freeman, Caine) continues to breathe life into them.  Hathaway's Catwoman is an amoral, funny, and sexy creation who has excellent chemistry with Bale.  Along with Hewitt's likeable everyday hero character, Wayne's fellow corporate officer and philanthropist Miranda Tate (Marion Cotillard) is also a welcome addition, mainly for providing some compelling back story.  However, if any romantic sparks between Bale and Cotillard were intended, they are virtually nonexistent.

Probably the best example of the Nolans' writing craft for supporting characters is Foley (Matthew Modine), a social climbing police officer who would in an average movie be a one-dimensional pain in the neck, but instead we the viewers see a full character arc.  He alternates between misinformed schemer, lowdown conniving slug, coward, family man, and a duty-bound police officer with an unexpected brave streak.  Such development is commendable for the action genre, and another exhibit of evidence in the high quality of the trilogy.

This does not mean The Dark Knight Rises is a filmed stage play.  Spectacular action set pieces abound, including Bane's initial scene, which owes a lot to the James Bond series; Batman's re-emergence in the public eye; and Selena Kyle/Catwoman's combination of slinky acrobatics and lethal martial arts.

With exciting action sequences, mostly strong character development, and the usual dazzling Batman gadgets, The Dark Knight Rises is a more than satisfactory end to this series.  Shot with IMAX cameras and full of atmospheric location work (this time in Pittsburgh, PA--its bridges are particular stars in a few special effects sequences), this is meant to be seen on the big screen.  Just be prepared that the film is not quite the genre-transcending experience of its predecessor.

My rating:  ***1/2 out of ****