The Dark Knight Rises - Film Review

Drawing to an end an insanely successful trilogy, both commercially and creatively, is Christopher Nolan's The Dark Knight Rises, the emotionally charged finale to a seven year saga that has forever redefined the Batman legacy and the comic book genre. That it is one of the most ferally anticipated films of all time is little surprise.

Eight years after the Joker's campaign of terror and Harvey Dent's descent into madness, Gotham City finds itself in an unfamiliar state of peace. 'Retired' from his double identity as the Batman, Bruce Wayne (Christian Bale) is now a recluse, living out of the public eye within a wing of the newly rebuilt Wayne Manor, and allowing trusted confidants Alfred (Michael Caine) and Lucius Fox (Morgan Freeman) to run his business affairs. Such is the serenity that the Mayor plans to get rid of the seemingly paranoid police commissioner, Jim Gordon (Gary Oldman), in the belief that the bad times are over.

Enter Bane (Tom Hardy), universally feared mask wearing mercenary and terrorist leader, who exploits the lax attitude of Gotham's higher ups to build up an underground army within the city streets, and forging faustian alliances with various corrupt stokebrokers, his motive seemingly financial. When Gordon witnesses this growing force personally, and the need to act becomes apparent, Bruce finally puts the suit back on and fights off the attention of the Gotham PD in a bid to take down this new threat to the city. It is a hopeless cause, however, as Batman underestimates just how powerful, and how duplicitous, his enemy truly is. He is quickly overwhelmed.

Crippled and imprisoned, he is forced to face the same plight his nemesis once took, all while witnessing the chaos Bane inflicts on his cherished metropolis, holding it hostage while driving the people to privation and revolution, truly the greatest ever threat to its existence. Seemingly beaten, Bruce must rise and return, and aided by fellow vigilante Selina Kyle (Anne Hathaway), influential businesswomen Miranda Tate (Marion Cotillard) and determined, Batman-phile cop John Blake (Joseph Gordon-Levitt), take up a battle which he surely has no hope of winning. But he must.

After two films in which Gotham City is built up and given a character of its own, Rises sees Nolan gleefully tear it to shreds in astonishing style, with Bane accomplishing the levels of sheer anarchy, chaos and inhumanity underneath the skyscrapers that even Rhas al Ghul or the Joker couldn't bring to fruition. The sheer spectacle of the film is earth shattering, an absolute visual feast. No longer is Batman's charge simply under threat, it is now imploding, slowly being torn apart from within to near biblical degrees. Maintaining his reputation for skimping on CGI, the gritty reality of this wantom destruction creates a brilliant backdrop to a taut, truly epic story. The environment, vaguely remiscent of Escape From New York, adds layers to the foreground plot.

It also hosts some amazing carnage, with action sequences and set pieces at turns thrilling, satisfying and jaw-dropping. Any worries that trailer binges would cause desensitisation to the action can be quickly dismissed, since seeing the statium destruction, or the debut of 'the Bat', takes on a whole new level of adrenaline surging excitement due to the context. The magnificent prologue, an audacious midair hijacking and prisoner grab, is an unforgetable experience in front of a cinema screen. Just when things are looking to go over the top though, they are reigned back in. One chase involving the batpod almost seems unfinessed due to a strict adherance towards, if not realism, certainly pragmatism. Nothing big and shiny exists without due purpose.

But it's the story that Rises' heart beats for, and given that this is the conclusion to a character driven trilogy, naturally the impetus is the final leg of a marathon hero's journey. The film finds Bruce Wayne in bad wear, believeing that his fight is over and that he no longer has a purpose. Beckoned back into the fold, he is pushed, then squeezed, then broken. This time he truly is in his darkest hour, his lowest ebb. And it's from here that he needs to find his greatest strength. While not original on paper, it is marvellous in execution, helped by a great performance from Bale, who brings a whole new pallete for Bruce to play with. Even in Batman Begins, we didn't see such levels of vulnerability, weariness or hopelessness. Various callbacks to his origins, both highly satisfying for a fan and very effective practically, ensure we never forget just how he has got this far. This is coupled by a mood of the end, both for us as viewers and for the characters. The dread in the air, and growing sense of mortal peril, is palpable, particularly during the breathless final act.

Nobody is allowed to let up for this one, with Freeman, Caine and Oldman producing their finest work of the three films, and all of the newcomers impressing. Tom Hardy, a man who is surely a household name by now, is suitably enigmatic and intimidating as Bane, bringing the same blistering energy he showed in Bronson, coupled with a pathos and humour that ensures that he goes well beyond the 'man in a mask' moniker. The voice, much derided, gives him a unique, nebulous identity, as well as a hellish quality.

Despite much concern over her casting, Anne Hathaway justifies her inclusion and does so much more with a complex, layered and compelling turn as Selina Kyle, the never quite dubbed Catwoman. Seductive and dangerous, sharp edged and flirtatious, she never risks comparisons to Michelle Pfeiffer's incarnation, nor does she ever do anything but command the screen. Selina is not some upstart, or an out of her depth wannabe, she's a serious threat, acrobatic and with fighting smarts, a worthy adversary and a vital ally. These aren't informed abilities, it comes from the confidence and assuredness that radiates from her every move. For an actress best known for low key drama and comedy, this is a great indication of huge, versatile talent. Heath Ledger was the wildcard casting choice that paid off royally for The Dark Knight, and Hathaway ensures this becomes something of a tradition in Rises.

Continuing his own Hollywood ascent, Joseph Gordon Levitt is also very impressive as Blake, a determined and street smart beat cop who quickly earns Gordon's attention and a swift promotion. From his first moment on screen, Levitt screams of authenticity with a tougher, more driven aspect than we've seen before. His part in the story is as much as a secondary antagonist as it is a plot chess piece, and Levitt carries such responsibility with ease.

Marion Cotillard is her usual reliable self as Miranda Tate, although its in the final stages that she really comes to the fore, albeit briefly, and to say she is in important figure would be the understatement of the decade. Nolan also makes sure to tone down the 'load and loads of characters' trope that was prevalent in Rises' predecesor, a neccessity given the full throttle drive that the story takes up after a slow burn beginning, although there is room for a couple of surprising, delightful cameos from familiar faces.

Although he has a portfolio packed with classic soundtracks, Hans Zimmer is on the top of his game as he takes up solo duties (James Newton Howard drops out), and the score behind each scene in Rises is possibly his finest work, notably taking different turns from the trilogy's familiar audio beats and helping give the film a very different, very significant tone. Wally Pfister ensures that every frame is a work of art in cinematographic terms, hardly surprising given his well established brilliance.

It's a great shame, in truth, that a film as described as such can have any flaws at all, but sadly it cannot be claimed that Rises is perfect, no matter how tempting it is to try. The term 'plot-hole' is thrown around liberally by many a cynical film fan, and it would be hyperbole to claim that such gaps in logic exist here, however certain contrivances and quick fixes exist, mostly within the dialogue, which occasionally jar, while the big twist in the climax perhaps comes a little late, diluting its impact. The ending, while fitting and supremely handled, could perhaps do with more closed doors and less depicted resolutions.

But notably, many of the criticisms aimed at the film are in fact the complaints which hold little water. The claim, for instance, that the film is too long is a fallacy in of itself, since length is of little importance as long as there is enough story to fill it, and in Rises' case there certainly is. While it may scale three hours, these aren't dwindled with, and any incisions to the plot would have a devastating impact. Simply put, this is a film that NEEDS to be long. And, immerssed in the world Nolan created, you will not notice those many minutes skipping past you.

So ultimately, The Dark Knight Rises is a film of truly superior quality, taking huge gambits with the saga and seeing them pay off handsomely with a near apocalyptic tone of danger and dread, imbueing a fully loaded, high speed piece with dramatic thrills and stunning story arcs. With this, the trilogy closes, and we are done with the best realised Bruce Wayne put on screen, left with amazing memories of the three films that redefined so much.

But, superior is not flawless. As much as I'd love to give Rises a perfect 10, I simply cannot. Instead, I choose to see it as a near-masterpiece, a great, brilliant, unforgetable final chapter that is only a few crucial flaws and a decisive re-write away from pure genius.

Still, with criticism like that, who needs praise?  

9/10