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Film review: The Dark Knight Rises

The Dark Knight Rises

With great power comes great responsibility.

Yes, yes, that’s a whole different suit o’ spandex, but it could so easily apply to the pressures surrounding Christopher Nolan approaching The Dark Knight Rises. Nolan rebooted a Batman franchise that was in dire need of an overhaul and did so to an effect that no-one could have expected. Batman Begins brought us Batman’s origin story and perfectly mixed action and sentiment, whilst The Dark Knight introduced Heath Ledger’s Joker, creating one of the most memorable comic book film villains ever. Many have hailed TDK has the greatest superhero film of all time, so just how do you follow that?

It wasn’t too long before we were introduced to Bane, the beefcake who was to take over villainous duties from The Joker, duking it out with Bats amongst literally hundreds of extras, showing that Nolan clearly wanted to show people that he was thinking big. We also got told that a certain Miss Selina Kyle would make an appearance and then the trailers arrived featuring some huge explosive set pieces. It seemed as if Nolan was right on track to concluding the series in spectacular fashion.

We pick the story up eight years after the events of The Dark Knight with Gotham in a time of peace following the work done by the late Harvey Dent and Batman seemingly gone forever. Bruce Wayne is doing a Howard Hughes and has become a recluse in Wayne Manor. However, following the emergence of the terrorist Bane (Tom Hardy), who is plotting something terrible for Gotham, Wayne decides to suit up once more to put a stop to his evil plotting.

BaneAll the major players are back for more; Alfred (Michael Caine), Lucius Fox (Morgan Freeman), Jim Gordon (Gary Oldman), etc, but we also get the introduction of a few new faces. Of course there is Anna Hathaway’s Selina Kyle (not Catwoman, technically), but we also get Joseph Gordon-Levitt’s John Blake, a young cop in the mould of Jim Gordon, and Marion Cotillard’s Miranda Tate, a businesswoman desperate to get a nuclear energy programme up and running with Mr Wayne. These new characters add plenty more depth to the story, having various different influences on the final outcome. Of all the new additions, it’s Selina Kyle that is the most significant. Many believe Michelle Pfeiffer’s Catwoman to be pretty definitive but Hathaway is superb as the feline femme fatale, managing to successfully capture the good gal/bad gal dynamic that is so essential to the character.

Then we come to Bane. The previous villains in the trilogy were all very much human characters in the comics, so it wasn’t too much of a stretch for Nolan to drag them into his real world imagining. However, Bane is a little different. Although still human, he is traditionally of superhuman size with stupendously large muscles. Enter Tom Hardy. Hardy’s physique has become rather renowned after turns in Bronson and Warrior, so it’s no surprise to see him chosen to join the Inception reunion. Much had been made about Bane’s voice in TDKR but the problem was negligible; the evident post-production dubbing has ironed out much of the issue, with only a couple of instances that may leave you trying to work out what was said.

Bane is a fine addition to this Batman’s Rogues Gallery, along with Ra’s Al Ghul, Scarecrow and Joker, and most certainly makes up for the abominable portrayal of the character in Batman & Robin. However, much of his actions build up to something that doesn’t really take a near 3 hour film to tell, and there is a feeling with the main plot of a little style over substance. It looks fantastic throughout and the set pieces are certainly impressive, but they feel a little shallow at times and we rarely feel the true peril that Gotham is supposedly in; Bane’s motives remain unclear for much of the film, which does leave a certain sense story being sacrificed for plot. The film, and particularly its climax, also descends into cliché at times which detracts a little from a franchise that has laid a foundation of doing things differently.

The action is nicely punctuated with more touching moments to give a change of pace and give the film a more of a Batman Begins feel; Bruce and Alfred’s emotional showdown is a highlight of the trilogy, and even Bane isn’t completely immune to a tug on the heartstrings. Alfred is the trilogy’s emotional core and once again he provides the perfect grounding for Bruce’s daredevil lifestyle. Over the three films, his story is arguably the most poignant of all. There are some plot threads however that feel underdeveloped that do nothing but add unnecessary confusion to an already packed plot.

It was always going to be difficult for Nolan to top TDK but he has done tremendously well to create a film that offers action in swathes but also a level of sensitivity that was missing from the previous film. TDKR is more character focused, harking back to Begins, which offsets the action set pieces perfectly. It might lack the originality of Begins and the depth of TDK, but TDKR is a fitting sign-off to a trilogy that has reinvented comic book adaptations and has shown that Christopher Nolan can handle both the power and responsibility bestowed upon him.

Words: Chris Thomson

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