The Dark Knight Rises - EPIC Review

Enough time has passed, I believe, that a more extensive and more specific look may be taken at Christopher Nolan’s The Dark Knight Rises.  In the tradition of 2008’s “Epic Review” of The Dark Knight, I’ll be discussing more in depth what I enjoyed about the film, which will inevitably entail spoilers of both general plotlines and specific dialogue which I’ll invoke.  The goal is, I hope, to provide a more detailed assessment of the film beyond my earlier review which gushed over the technical aspects of the film but could only allude to the story and its effect on me.  For safety’s sake, the bulk of the review can be found after the jump; those reading this review from anywhere other than the front page will be advised that spoilers begin below the first image in this review.

I cannot stress this enough:  if you have not seen The Dark Knight Rises yet, do not read any further.  The success of the film depends wholly on allowing it to develop at its own pace; any spoilers therein would detract from the overall experience.

Heroes, Hope, and The Dark Knight Rises

I had fully intended yesterday’s spoiler-free review of The Dark Knight Rises to be the final entry in my unofficial “Nolan Week,” but the recent events in Colorado – and the subsequent media coverage of the tragedy – have made it clear that the discussion of the film and its importance to American culture is far from over.

I am not writing a news piece; I was not there.  I am not writing a vitriolic condemnation; it is superfluous.  I am not purporting to know the truth; likely, sadly, it cannot be known.  But what is known is this:  without trivializing the events in Aurora, filmgoers were attacked by a man who represents everything that The Dark Knight Rises asks us to reject – tyranny, terrorism, and hopelessness.

I wish to be empirically clear.  I do not wish to claim that Christopher Nolan’s Dark Knight Trilogy is a tool to combat such evil (I will not name him – his alleged alias, “The Joker,” tells us all we need to know about this madman).  Rather, these events illustrate in a very tangible and tragic way the precise “point” of the trilogy, which the media in its bloodlust has steadfastly refused to acknowledge.  Again, I do not wish to belittle by this comparison; rather, I want to explore the ways in which media coverage of the events in Aurora entirely overlook the reality of this devastating moment.

The Dark Knight Rises (2012) -- Spoiler Free

I mused yesterday about whether or not Christopher Nolan could create a successful and fully realized trilogy – something no superhero director, for one reason or another, has been able to do.  After attending a midnight showing of The Dark Knight Rises, the verdict is in.

He has.

In many ways, I would have been able to write the bulk of this review without ever having seen the film.  I was expecting to gush.  I was anticipating that feeling of being blown away.  I had few (if any) doubts in the back of my mind.  And ordinarily a film which fulfills expectations might ultimately be a disappointment.  But when expectations are this high, merely meeting them is worth the price of admission.

And The Dark Knight Rises, impossible as it may seem, even exceeds expectations.  One might even say it “rises” to the challenge.

I’ll forego the usual plot summary in deference to the cloud of secrecy and spoiler embargoes necessitated by our digital age (even our late night talk shows were thought to be dangerous).  Suffice it to say that The Dark Knight Rises joins Gotham eight years after the death of Harvey Dent, eight years after Batman entered a self-imposed exile, and just as new foes are rising to threaten the very foundations of Gotham City and its new era of peace.

Of the performances, I can only quote the words of Stan Lee – “Excelsior!”  Bale bears the bulk of the film – no surprise here, since he’s playing the eponymous Knight; as has been the case with the past two films in “The Dark Knight Trilogy,” the focus is as much (if not more so) on Bruce Wayne as on Batman.  His character evolves without ever feeling forced to do so, his quest both understandable and relatable, and his return to the Batsuit a welcome and applause-worthy moment.

Bale’s backed by a cast that doesn’t disappoint.  The old favorites – Michael Caine as Alfred, Morgan Freeman as Lucius Fox, and Gary Oldman as Jim Gordon – continue to turn in solid performances.  Bonus credit to Caine, who manages to do create (particularly in two specific scenes) a real and accessible version of the trusty butler that hasn’t been reached in the character’s seventy-year history.  More than just the snarky chauffeur or stolid voice of reason, Caine’s Alfred is a friend first, as much a father as Thomas Wayne was, and we feel his agony when he sees what Bruce has allowed himself to become.

As for the new faces, they’re welcome additions to the cast.  I see now why we needed so many new faces, and I’m glad especially that Joseph Gordon-Levitt was among them.  His John Blake is easily the most interesting new protagonist (more on the villains later), embodying many of the film’s – and trilogy’s – main themes without ever feeling shoehorned into an already full film.  I’ve said it once and I’ll say it again:  JGL is bound for stardom (if he’s not there already), and The Dark Knight Rises is another fantastic line on the résumé.

But after Heath Ledger’s unforgettable turn as The Joker, can the film’s villains surpass the decade’s most iconic force of evil?  Honestly, probably not, but Tom Hardy’s Bane and Anne Hathaway’s Selina Kyle (note that the name “Catwoman” is surprisingly never invoked) aren’t trying to outdo their predecessor.  Rather, they create entirely new – and gratefully fresh – versions of significant members of the Batman mythos.  More surprising than Hardy’s Bane is what Anne Hathaway manages to do with Selina; it’s a performance I didn’t quite know she had in her, managing to distinguish herself from the Catwomen before her with breathy intonations and evident internal conflict.  Bane, however, is head-to-toe conviction; though he’s given the unenviable task of emoting with much of his face obscured, Hardy manages to convey through his body language the smug self-satisfaction and confident physical dexterity for which his character is known.  (A fuller take on his voice remains to be seen; though it has been lampooned ad infinitum, I suspect my theater’s audio system wasn’t equipped for the booming bass of the film, and so I’ll have more thoughts on that later.)

But what’s most remarkable about The Dark Knight Rises is not the able work delivered by qualified thespians.  The greatest compliment I can pay the film is to repeat what I’ve already said time and time again – Christopher Nolan is a master storyteller who wastes not a frame of film in delivering his definitive statement on the character and what he means.  As before, The Dark Knight Rises is filled with moments that tie together and layer new meaning on important scenes; conversely, perhaps the worst thing I can say about the film is that it doesn’t stand on its own as well as The Dark Knight did.  Indeed, The Dark Knight Rises is very closely related to Batman Begins, revisiting moments and referencing plot beats in a way that echoes without plagiarizing.  But as the final installment in the trilogy (and not just a sequel, as The Dark Knight was initially envisioned), Nolan rewards his viewers just as Lucius Fox was rewarded in The Dark Knight for his faith in Batman’s mission.

If Batman Begins could be distilled to a meditation on overcoming fear, and if The Dark Knight can be said to be a film about defeating the forces of chaos and conquering fear which has escalated into weaponized terror, The Dark Knight Rises is about precisely that – about rising, about overcoming once more.  But here Nolan makes explicit what’s been suggested all along:  the greatest heroism in the world is born through hope, both the hope that an individual can make a difference and that that difference will be a positive one.  And though I’m much more attached to films which engage me on a cerebral level – which this film does, unequivocally – The Dark Knight Rises also makes me feel, deep inside of me, that there is always hope.  It’s a film that made me shed a few tears for a variety of reasons – finality, sorrow, ecstasy, unrestrained jubilation – and it’s a credit to Christopher Nolan that I do not begrudge him a single salty drop.  He has earned it.

The Dark Knight Rises is rated PG-13 “for intense sequences of violence and action, some sensuality and language.”  Violence and all-out action sequences are prevalent as before but are almost entirely bloodless, though Bane’s methods and physicality are more brutal than we’ve seen in the trilogy thus far.  There is one clearly implied sexual encounter, with no more than bare shoulders, while another character is implied to be a prostitute; Selina is extremely sultry and uses that to her advantage, without transgressing beyond an astonishingly tight suit.  Language is mostly tame and is probably PG-quality taken on its own.

Rest assured, loyal readers, I haven’t said my last words on The Dark Knight Rises.  I saw The Dark Knight eight times in theaters, and I am certain repeat viewings of this film will come in the days to follow.  And once the statute of limitations on spoilers has been lifted, I’ll give more in-depth comments on specific moments in the film and the thematic importance of the trilogy as a whole.  Stay tuned, loyal readers – we return on Monday with our regularly-scheduled “Monday at the Movies” post!

Top Ten Reasons I'm Excited for "The Dark Knight Rises"

Back in 2008, on the eve of The Dark Knight, I posted a "Top Ten Fears about The Dark Knight," a tongue-in-cheek listing of absurd fears about the upcoming film.  A lot's changed in four years, and I'm a much more optimistic person than I was then.

And so, twelve hours before I'll be in line for The Dark Knight Rises, and in recognition of the fact that I've become a kinder, gentler Cinema King, here's a more optimistic - and more extensive - Top Ten List, this time about the reasons I'm excited for The Dark Knight Rises.

Armrest Review - The Dark Knight, Part Three

Welcome to another edition of “Armrest Reviews,” a new series in which I, The Cinema King, will partner up with a fellow filmgoer to review films as we watch them.  That’s right, we’ll be writing our unexpurgated observations as we watch the film, meaning you could theoretically read the review while watching the movie and “watch along” with us.

A further welcome back for the final part of our Armrest Review of The Dark Knight, the middle entry in Christopher Nolan's "Dark Knight Trilogy."  As before, I’m joined by The Popcorn Prince, who’s been watching movies for almost as long as I have.  He’s a big Batman fan, so I’m pleased to have him by my side for the next installment of this series.

Armrest Review - The Dark Knight, Part Two

Welcome to another edition of “Armrest Reviews,” a new series in which I, The Cinema King, will partner up with a fellow filmgoer to review films as we watch them.  That’s right, we’ll be writing our unexpurgated observations as we watch the film, meaning you could theoretically read the review while watching the movie and “watch along” with us.

A further welcome back for the second part of our Armrest Review of The Dark Knight, the middle entry in Christopher Nolan's "Dark Knight Trilogy."  As before, I’m joined by The Popcorn Prince, who’s been watching movies for almost as long as I have.  He’s a big Batman fan, so I’m pleased to have him by my side for the next installment of this series.  

Armrest Review - The Dark Knight, Part One

Welcome to another edition of “Armrest Reviews,” a new series in which I, The Cinema King, will partner up with a fellow filmgoer to review films as we watch them.  That’s right, we’ll be writing our unexpurgated observations as we watch the film, meaning you could theoretically read the review while watching the movie and “watch along” with us.

I’m joined again by The Popcorn Prince, who’s been watching movies for almost as long as I have.  He’s a big Batman fan, so I’m pleased to have him by my side once more.  For today’s Armrest Review, we’ll be watching The Dark Knight, the middle – and perhaps greatest – installment in The Dark Knight Trilogy.

Armrest Review - Batman Begins, Part Three

Welcome to the first edition of “Armrest Reviews,” a new series in which I, The Cinema King, will partner up with a fellow filmgoer to review films as we watch them.  That’s right, we’ll be writing our unexpurgated observations as we watch the film, meaning you could theoretically read the review while watching the movie and “watch along” with us.

A further welcome back for the final part of our Armrest Review of Batman Begins, the first entry in Christopher Nolan's "Dark Knight Trilogy."  As before, I’m joined by The Popcorn Prince, who’s been watching movies for almost as long as I have.  He’s a big Batman fan, so I’m pleased to have him by my side for the next installment of this series.  

Armrest Review - Batman Begins, Part Two

Welcome to the first edition of “Armrest Reviews,” a new series in which I, The Cinema King, will partner up with a fellow filmgoer to review films as we watch them.  That’s right, we’ll be writing our unexpurgated observations as we watch the film, meaning you could theoretically read the review while watching the movie and “watch along” with us.

A further welcome back for the second part of our Armrest Review of Batman Begins, the first entry in Christopher Nolan's "Dark Knight Trilogy."  As before, I’m joined by The Popcorn Prince, who’s been watching movies for almost as long as I have.  He’s a big Batman fan, so I’m pleased to have him by my side for the next installment of this series.

Armrest Review - Batman Begins, Part One

Welcome to the first edition of “Armrest Reviews,” a new series in which I, The Cinema King, will partner up with a fellow filmgoer to review films as we watch them.  That’s right, we’ll be writing our unexpurgated observations as we watch the film, meaning you could theoretically read the review while watching the movie and “watch along” with us.

I’m joined by The Popcorn Prince, who’s been watching movies for almost as long as I have.  He’s a big Batman fan, so I’m pleased to have him by my side for the debut of this series.  For today’s Armrest Review, we’ll be watching Christopher Nolan’s 2005 Batman Begins, the first installment in The Dark Knight Trilogy.

Cinema King:  As the opening titles come on – no credits here, no time to waste before the movie begins – a big welcome to The Popcorn Prince.  Prince, glad to have you.

Popcorn Prince:  Thanks, King.  Truly an honor to help debut a new series.  I’ve only seen this movie a few times, so it’s good to go back right before the new movie comes out.

The Dark Knight (2008) - EPIC Review

I suppose that by way of apology I should explain pour quoi this review was so long in coming. I know that after my first viewing - which was (be jealous) truly an IMAX experience - I was so overwhelmed that not only could I not speak for five minutes on the car ride home but I also knew on some level that any initial reaction to this movie would have been no more than one could get from a teenybopper seeing The Jonas Brothers for the first time.

So I had to see it again. Within 24 hours. And then again. And again. And guess what? I'm going back. Because it's the movie we need and the movie we deserve. <-- That's a reference to the movie. If you haven't seen it, it might not be a good idea to read this review since I'll both be liberal in referencing dialogue and discussing plot points (although I won't be revealing any on the scale of "Rosebud is the sled" I will be exploring issues with which even casual Batman fans should be familiar), and I'll be featuring a proliferation of images that (again) won't give too much away but might be better left unseen by the uninitiated. Just go and see the movie, then check back with me, since you'll get more out of this review. Back? Where do we begin? Three years ago a little director called Christopher Nolan made a little movie called Batman Begins which, if we're being honest, made only comparatively little splashes at the box office. But then again, it's not about the money. It's about sending a message. And the message was that comic book movies could be serious works of cinematic literacy without compromising the source material.

The Dark Knight is no exception to this rule and unquestionably is the golden standard by which all other comic book movies - and indeed perhaps all other movies, period - will be weighed. (I can feel nothing but pity for future directors of comic book movies who are destined to fall short of this cinematic perfection.) Picking up where the first movie left off, The Dark Knight finds its eponymous hero (Christian Bale, back in the role for which he was born) facing escalation in the form of amped up enemies and do-gooder Bat-doppelgangers -- and a new nemesis, the self-professed "agent of chaos" known only as The Joker (the divine Heath Ledger, who's receiving all the accolades he deserves for this, his final and most magnificent role). All the old cast are back for this one, save Katie Holmes who's replaced by the less irritating Maggie Gyllenhaal. And we have a few new faces, too - of course, Ledger as the "dog chasing cars" man supposedly without a plan, Eric Roberts as mobster Sal Maroni, and Aaron Eckhart as Gotham's white knight Harvey Dent, the straitlaced D.A. with a touch of destiny about him.
Why so serious? For some comic relief, we have (Sir) Michael Caine and Morgan Freeman back as butler Alfred and CEO Lucius, respectively, but a great deal of the laughs - uncomfortable ones though they may be - come from Ledger's Joker, upon whom I cannot heap enough praise without sounding like either a sheep critic who feels obliged to respect the actor in light of his ultra-untimely passing or a giggly fanboy (the latter of which is probably closer to the truth) marveling at this, the truest interpretation of Batman's greatest nemesis. Though his first scene on-screen - a heist brilliantly planned by The Joker - won't get a lot of chuckles, his second appearance most certainly will. The Joker holds the mob financially hostage, unveils his master plan for correcting Gotham, and executes - and I do mean executes - the strangest, most audacious magic trick since Nolan's 2006 magical mystery tour The Prestige. Should we laugh at something like that? It's difficult not to. He does that, makes us question our ethics and morals for laughing at the more gruesome moments of life. It makes one think, that's all.

Making us think is one of Nolan's specialties here. This is so much more than just a seminal entry in the world of comic book adaptations - which, make no mistake, it is. The Bat-gauntlet has been thrown down. But The Dark Knight is, among many things, a mature rumination on the very nature of heroism, of deceit, of good and evil and the mutual necessity one has for the other. The very concept of heroism is up for grabs here, as well-intentioned civilians doll up like the Bat and take on crime themselves. "What gives you the right?" one asks Batman. Hockey pads or not, one has to admit that it does take a certain brand of madness to dress as a Fledermaus and dive from rooftops. And "madness, as you know, is like gravity. All it takes is a little push."

Where the first film devoted a great deal of contemplation to mulling the power and pains of fear, here the main issue at stake is duality - the mirror relationship between good and evil - with a liberal dose of secrecy thrown in for good measure. The clearest example of duality is of course the nature of the battle between Gotham's Dark Knight and its anarchic harbinger of lawlessness, The Joker. "I don't want to kill you!" the Joker cackles at one point. "What would I do without you? You... you complete me." Earlier, in a home video of sorts, Joker grins as he decries Batman's need for secrecy and suggests "This is how craaaaaazy Batman's made Gotham."

Surely this is cause for contemplation; Batman's first villains in this series were mere mortals (not so mere, though, should Nolan choose to play up Ra's al-Ghul's immortality in later installments) with fear toxins and utopian aspirations. Gotham before Batman had never seen a man so without rules as The Joker, a man willing to allow himself to be killed for a punchline.
And no discussion of duality could be complete without Harvey Dent. Just as Scarecrow was the perfect way to explore fear, the district attorney - the white knight - is Nolan's masterstroke in the discussion of doublethink. "I believe in Harvey Dent," the oft-repeated aphorism goes. To believe in Harvey Dent, though, is to believe in a world that doesn't need Batman, a world where crime can be stopped in the courts. The Joker, of course, begs to differ and endeavors to "turn [Dent's] little plan on itself." Failing to corrupt The Dark Knight (even finding him "too much fun"), Joker turns to the white one. Because all it takes is a little push to win the battle for Gotham's soul. Aaron Eckhart's performance as Harvey Dent is sadly lost in the shuffle of praise for the movie - and undeservedly so. As Dent, Eckhart has the unenviable task of playing an optimist in a world without hope, a task made all the more impossible once everything is taken from him - even his Robert Redford good looks. In a way then, Harvey is a mirror of Batman as well; where Batman lost everything and chose good, Harvey seeks revenge and sense in a world gone mad - decency in an indecent time, as Dent cries at the film's second climax.

Oh, yeah. There are two climaxes to the movie. You read that right. The screenplay by the Nolans is a marvelous examination of the Batman mythos, drawing on all of the best Caped Crusader chronicles to create what is the most complete, most honest, most magnificent Batman story ever told. (And this from a reviewer who loves Jeph Loeb's The Long Halloween!) This two climax bit is part of the magic of the movie (and also a nod to the rise of Two-Face?); just as one major threat is defeated, Batman is reminded that the battle for Gotham's soul has yet to be won. This final act of the film is haunting - pure poetry. The chills that ran up my arms couldn't have been from the air conditioning in the theater, because I felt the hair on my arm stand up at all four screenings - in different venues, no less. As The Joker hangs upside down and taunts Batman with his notion that "I think you and I are destined to do this... forever" the camera slowly does a 180 and turns so that The Joker appears to be right-side up... but he isn't. The world, Nolan tells us in a brilliant use of visual language, has been turned topsy turvy, on its head just as the "SLaughter is the best medicine" semi earlier in the film.
For me to delve any further into scholarly analysis would be to give short shrift to my duties as a reviewer (although if I haven't by now convinced you of the film's marvelous nature, you might need a quick reminder - Rotten Tomatoes ranks it 94% fresh, but only because 6% of critics are afraid to join the crowd). Every actor brings an A-game or better to the table, so we might as well go right down the line. Christian Bale actually plays three parts here: gravelly Batman, "fake" playboy Bruce Wayne, and the real Wayne who legitimately wants to do right but understands the necessity of his facades. As butler and confidante Alfred, Michael Caine is pitch-perfect, providing the perfect amount of levity while also bringing gravitas by keeping the secret that could crush his employer's spirit. You'll never believe Gary Oldman is British, since he plays such a spot-on Chicago-style cop as Lt. Gordon. I've already lauded Aaron Eckhart's turn as Harvey Dent; the biggest compliments I can give Maggie Gyllenhaal is that she's not Katie Holmes and that she made me forget that I really don't like her - especially in a scene where she finally gives Harvey "an answer." And of course Morgan Freeman, who's rapidly becoming one of my favorites, is unindictable, saying more with an enigmatic smile than, oh, let's say Keanu Reeves can do with a whole movie. Heck, even Eric Roberts comes close to inciting curiosity that he wasn't in one of the Godfather movies.

Then there's Heath Ledger, who's in a caliber all his own. Where each other actor is physically recognizable (well, except for Eckhart in the second half), Ledger completely immerses himself in the role and disappears behind that David Lynch voice and a face only Baby Jane Hudson could love. If you thought Johnny Depp's turn as Captain Jack Sparrow was a physical transformation, wait until you see this. Ledger blows Jack Nicholson (as much fun as he was) out of the water with a dark and gruesome anarchist who delights in chaos and physical abuse. Moviegoers aren't screaming "Oscar!" for no reason, and it's got nothing to do with the tragic passing of Ledger back in January. It's got everything to do with the highest echelon of acting that I've ever seen.

There are some who say that the editing befuddles, but these must be the same nitwits that cried foul at the "confusing" plot of the second and third Pirates of the Caribbean movies. The only confusing thing about this movie is how it can be so irreproachable and still be made by humans. It's as layered as an Alan Moore plot, with little nuggets to reward repeat viewings - like the year imprinted on Harvey's silver dollar or the ballerina grace with which the opening bank robbery is choreographed. The script is endlessly quotable without being showy, by far surpassing 300 for "Most catchphrases in a single bound." A great deal of that is delivery, because when you get down to it there's nothing truly remarkable about the line "Here's my card."

The soundtrack, too, is everything a movie score should be - gentle in spots (courtesy of James Newton Howard) and aggressive in others (characteristically Hans Zimmer's work), all without screaming "Listen to me!" From the chaotically frenzied Joker theme ("Why So Serious?" on the soundtrack) to the majestic Batman action theme ("Like A Dog Chasing Cars" and "I'm Not A Hero" as best highlights), the score swoops like a - "Like a submarine, Mr. Wayne. A submarine." And the special effects - well, they're virtually nonexistent. You see, Nolan is an advocate of hyper-realism in his filmmaking, so almost none of what you see is CGI. Yes, Nolan really blew up the Brachs candy factory (which stands in for a somewhat more targetable facade). Yes, Nolan really flipped a semi on its head. Yes, Nolan really filmed a car chase scene on Wacker in Chicago. I'm pretty sure he didn't really crash a helicopter into a skyscraper, but it looks damn cool anyway.

I'm this close to announcing a new king in the land of cinema. No, I'm not abdicating my throne as The Cinema King. I'm mere centimeters (or one more screening, preferably IMAX) from placing The Departed at #2 on the list of Greatest Movies of All Time. Because here's another perfect movie. It's unquestionably the best movie of 2008, and I see no competition in sight.

Batman Begins (2005)

It's perhaps difficult to appreciate now, three years after Batman began, what director Christopher Nolan did for the comic book movie genre. For land's sakes, folks, Bryan Singer's Superman - the all-American Boy Scout ambassador of good will - was considerably more angsty in response to the smash hit called Christian Bale as Bruce Wayne, alias Batman. With a new take on the quintessential origin story, a few plausible revamps to the old rogues gallery, and a solid cast, Christopher Nolan redeemed the Batman franchise from the Schumacher debacle.

And all that with nary a Batnipple in sight.

How does every Batman origin story need to start? In the alley behind the theater where Thomas and Martha Wayne were gunned down by oft-faceless hood Joe Chill (not The Joker, Tim Burton, but nice try), right? WRONG. In typical Nolan fashion, Batman Begins toys with the audience's expectation of chronology that origin flicks like Spider-Man and Superman led us to anticipate. As Bruce Wayne (Christian Bale, one of the best living actors) receives his training from Ra's al Ghul (Ken Watanabe) and the League of Shadows - especially personal mentor Henri Ducard (the perma-divine Liam Neeson), his backstory is fleshed out. By the time he returns to Gotham to clean up the city and (in the words of Jeph Loeb, arguably one of the greatest Batman writers of all time) make good on his "promise on the grave of my parents to rid this city of the evil that took their lives." Among the evildoers are Scarecrow (Cillian Murphy, immaculately exuding creepiness through his eerie eyeglasses) and mob boss Carmine Falcone (Tom Wilkinson) - but there is good in Gotham. Detective Jim Gordon (Gary Oldman) and legal beagle Rachel Dawes (a bland Katie Holmes, the only strained link in a pitch-perfect chain), as well as Wayne associates Lucius Fox (the ever-eloquent Morgan Freeman, who just gets better at playing himself as time goes on) and butler Alfred (Michael Caine, whose moments of levity are well-appreciated), are on hand to assist in the neverending battle.

If it smacks of an ensemble cast, it's not. The focus, make no mistake, is on Bale's Dark Knight. With a cavalcade of great actors (only two of whom, I might add, hail from the continent which birthed Batman in the first place), it might be easy for any one of them to get lost in the shuffle, but thankfully each holds his own. You'll pardon the sexist language, but Holmes is out of her league here - then again, I can't think of an appropriate modern actress who wouldn't be (I say appropriate because Judi Dench would rock but might be more believable as Alfred's love interest). What helps the cast along is a whizbang screenplay by Nolan & David S. Goyer which not only sets the groundwork for a franchise but stands alone on its own merits, not the least of which is its clever use of repetition to further plot points and recall earlier hints and foreshadowings.

So the cast is mostly impeccable, the screenplay tight as a pimped-out ride. Of the direction I have only positive things to say. Nolan is a master both at intense action scenes such as a Batmobile chase scene and at moments of "arranging matches" drama as when Falcone explains the law of Gotham to Bruce. Relying on CGI to the point of nihilsm, Nolan gives his hyper-realistic take on Batman that extra layer of authenticity by showing us reality on the screen. Chicago never looked so corrupt - nor worth saving. Additionally, a score composed by Hans Zimmer and James Newton Howard deftly bounces between peaks and troughs of action. Though it's not as "listenable" as some of Zimmer's other soundtracks (such as the uber-catchy scores for the Pirates of the Caribbean franchise), the score here doesn't call attention to itself but rather supplements the visuals in a way that is almost subconscious.

It's an intelligent movie. The heroes are walking that fine line between good and evil, bending society's conventions and occasionally the laws to achieve real justice. The movie, in a theme that would be more fully fleshed out in its sequel, also asks where the line is and whether Batman is crossing it. The threat of escalation, too, lingers over the whole shebang, further questioning the label of "hero." And the villains are even less civil than previously; Scarecrow, for example, is less than reluctant to target innocent women and children so long as they fear him. Where Spider-Man 3 hit heavy the metaphor of "villain [Venom and the black suit] as revenge," Batman Begins is an elegant contemplation of fear and power, even if the bullet-train climax is less than wholly realistic.

And for a movie that drew applause not precisely at the end of the movie but rather 30 seconds prior to conclusion with the mere turning over of a playing card within an evidence bag, Batman Begins is a movie that needed no sequel. Certainly I won't grumble over The Dark Knight or even deem it unnecessary. But Batman Begins is more than able to survive and thrive in independence, with a complete ending that we might believe could occur in the real world.

Of course, then came a little film known as The Dark Knight, which shattered expectations - and box office records.

Mr. Nolan, I never got a chance to thank you for Batman Begins...

"And you'll never have to ."

Top Ten Fears about THE DARK KNIGHT

10. The movie might not live up to the hype surrounding it. [But let's be honest, ten million critics can't all be wrong... can they?]

9. Maggie Gyllenhaal's "sad turtle" mug might drag the whole thing down.

8. A sudden turn towards the Schumacher.

7. An embarassingly over the top turn by Heath Ledger. [Actually I'm not at all worried about that, as the above clip dissuades any such notions, but it ought to be mentioned.]

6. No Morgan Freeman narration. [Actually, narration would probably kill this movie.]

5. The inevitable turn that there's no way that a threequel will live up to this one. [Unless someone listens to my idea about Brittany Murphy and Rose McGowan as Harley & Ivy... and Toby Jones for The Mad Hatter. Heck, throw in Ben Kingsley as Mr. Freeze.]

4. WAAAY TOO SHORT. Give me about four hours, Mr. Nolan, and I'll be happy.

3. Not enough Joker.

2. Get Smart Syndrome - all the good material being given away in the promotional spots.

1. This movie might be so awesome that as the credits roll I may just die of sheer ecstasy, which would be a shame since I'm sure that I'll want to see it more than once.

Trailer Park: The Dark Knight (2008) [Dominos Trailer]

Apologies for turning this blog into a walking promotional tool for the benefit of Mr. Wayne, but I just haven't seen a lot of trailers that rock me like The Dark Knight's marketing campaign. Finally more new footage, released through Domino's Pizza's TDK website.

I think I have my first negative comment about the movie. Brace yourselves. I don't like Ledger's inflection here when he says, "Good evening, ladies and gentlemen; we're tonight's entertainment." It sounds lackadaisical, bordering on bored. I much preferred the earlier trailer's rendition, which sounded a little more like "Gooooooood evening, ladies and gentle man... We're tonight's entertainment!"

Other than that, no complaints. July 18 can't come fast enough.

Trailer Park: The Dark Knight (2008) [Comcast Trailer]

Not a lot of new material in this trailer, at which Comcast subscribers got a first look, but we do get a little more of "funny Joker." "I'll settle for his loved one" is still menacing, but the sing-song inflection is more like the comic book Joker, who isn't afraid to crack wise every once in a while. And we get a sense of The Joker's purpose - he's after Harvey Dent for some reason. Could it be Joker's alliance with the mob that leads him to target Dent? Does this mean the rumors are true that Joker is the one who scars Dent?

I cannot wait for this movie.

Trailer Park: The Dark Knight (2008) ["Happy Trails" Trailer]

[Video deleted by Youtube: Visit http://whysoserious.com/happytrails/trailer.htm]

After the first full trailer landed, the Internet was abuzz. It seemed you couldn't go anywhere on the Net without hearing one of two things - "Heath Ledger is amazing!" and "Why didn't we see any Aaron Eckhart yet?"

This new trailer responded to those notions in spades. After the truly tragic passing of Heath Ledger in January of 2008, The Dark Knight was receiving even more buzz, if fathomable. In spite of ridiculous accusations that the role of The Joker had killed Ledger, the marketing campaign went on, albeit with a new focus on Harvey Dent, the lawyer who (spoilers) becomes villain Two-Face.

So "Happy Trails" (again named for a viral marketing site) amps up the Harvey Dent content, as well as giving us more Joker. But this Joker is more menacing than any previous incarnation, and this Harvey Dent is by comparison entirely more innocent than any other version we've seen thus far. He seems genuinely concerned with doing the right thing, being Gotham's white knight.

So his descent into darkness is going to be all the more tragic because of that. The standout feature in my mind (that is, excepting the all-too-awesome "Kill... the Batman.") is the lighting. Quite an esoteric pick, but watch Harvey Dent throughout the trailer. Notice the lighting on his face - the left half (the half that will be scarred by acid in the comics and Lord-knows-what in this movie) is almost always lit darker than the right half. That is a brilliant touch.

And is that Maggie Gyllenhaal being thrown off a building by The Joker? This movie just gets better and better.

PS: Hi-def version at http://whysoserious.com/happytrails/trailer.htm

Trailer Park: The Dark Knight (2008) ["A Taste for the Theatrical" Trailer]

[Video deleted by Youtube: See http://atasteforthetheatrical.com/deathtrap/default.htm]

Though I've been waiting for The Dark Knight since the end of Batman Begins (in which Batman examines an evidence bag with a joker card inside), I think this trailer really solidified in my mind the notion that this movie was going to rock. After a lackluster teaser, I was ready for something more substantial.

"A Taste for the Theatrical" (so named for the viral website on which the trailer was found) is one of the best trailers I've ever seen. I think the reason this one works so well is that it preys on the audience's common thought - "Is Heath Ledger going to be any good as The Joker?" Notice how The Joker doesn't really clearly appear on-screen for almost a minute, when we get that eerie shot of "Evening, commissioner!" With that shot, I forget entirely the whole Brokeback Mountain thing and instantly know that this interpretation is going to make me say "Jack who? Who Romero?"

Oh, yeah. And there's some good shots of Batman, accompanied by a goosebump-inducing score by Hans Zimmer and James Newton Howard. My only lament is Maggie Gyllenhaal, who seems even more numb than Katie Holmes.

But hey, I was wrong about Heath Ledger. One question, though - where's Harvey Dent?

PS: I know that the YouTube video isn't the best quality, so visit http://atasteforthetheatrical.com/deathtrap/default.htm for the high-definition video (available for download!)

Trailer Park: The Dark Knight (2008) [Teaser]

Now it should come as no surprise to anyone that The Dark Knight is my most anticipated movie of the summer, and perhaps of my life. So it's only natural that my first few excursions into the Trailer Park should be the brilliant marketing campaign surrounding Christopher Nolan's second Batman movie.

The first teaser trailer landed in late 2007 (I want to say around October, but it might have been summer). I'd be lying if I said I wasn't a little bit disappointed in this one, but props to the marketing team for originality here. Most teasers are quick flashes of action scenes and too-cool character shots, but this one is unique in being totally blank except for The Bat logo and a few lines of dialogue.

If I had only this teaser to go on, I wouldn't be optimistic about Heath Ledger's Joker. The voice doesn't sound distinctive enough, and the laugh falls flat when compared with Mark Hamill's.

Thank God Nolan has "A Taste for the Theatrical."