REVIEW: THE DARK KNIGHT RISES

People are calling "The Dark Knight Rises," the conclusion of Christopher Nolan's Batman trilogy "the most anticipated movie of the summer."  I'd like to think they're underplaying it a little bit, so let me be the fanboy who hypes/hams it up: "The Dark Knight" is arguably the best superhero ever made, some say one of the greatest period, Heath Ledger won on ACADEMY AWARD for playing the Joker, something that would've sounded bizarre but made so much sense after you watched the film, and America has been teased with whatever dental-wear we thought Bane had going on, the debate if Anne Hathaway was sexy enough which will make you feel dirty after watching "The Princess Diaries," and wondering if the trailers, posters and reviews of this film will ever succeed the unreachable mountain standards set by that Oscar-snubbed film in 2008?

Well, it has.  I won't pretend I liked it better than "The Dark Knight," but as a conclusion to a trilogy, it's so emotionally satisfying and rewarding that I couldn't imagine a better way to end such a gargantuan franchise with the weight of the world on its shoulders.  The twists, the genuine twists and surprises that were staples of such Nolan films like "Inception" and "The Prestige" are even incorporated. So let me begin the final (spoiler-free) review of a Batman movie for a while, unless they want to pull a Spider-Man and reboot it by 2017:

Nolan's stated that each of his Batman movies has had a them to it.  "Batman Begins" theme was fear, illustrated by Cillian Murphy's psychotic Scarecrow and Liam Neeson's Ra's al Ghul, inflicting the first signs of fear and terror in to Gotham City.  Murphy doesn't get much praise for his role as a Batman villain, and let's go ahead and give him his spotlight: I thoroughly enjoyed him.  Psychotic is a word thrown around a lot when it comes to Nolan's Batman heroes, because, like the Scarecrow noted, fear and terrorism all harbor in the mind, and in a truly evil mind, like the Joker, it can cause "The Dark Knight's" theme: chaos.  The Joker reigned with chaos and true unpredictability; disgraced Gotham figure Harvey Dent aka Two-Face ruled that chance was the only fair reasoning when it came to chaos.  This film, depending on what source you go to, is anger or pain, sometimes interchangeable, and wildly appropriate for "TDKR."  Because, of course, for the Dark Knight to rise, he has to have fallen.

This becomes evident in the first several minutes of the movie, the very first seconds being occupied with Bane (Tom Hardy) hijacking a plane by being disguised as a hostage, something the Joker did in "The Dark Knight."  Nolan is very keen on deception.  I'll get to all things Bane later; we see Bruce Wayne has gone all Howard Hughes and has locked himself up in his room, defeated after becoming Gotham's most hated.  We get our first glimpse of Catwoman, played manipulatively with confidence by Ms. Hathaway, who we never should of doubted in the first place.  Her Selina Kyle is the type to confuse you just long enough with her charm and (extremely) good looks to kick you in the knee and run off with your wallet.  A similar instance happens to Wayne, who, rather than get angry, (it seems all anger, or emotion has left him since "The Dark Knight") and his sole companion is his impossibly loyal butler Alfred.

They need to introduce a casting award at the Oscars this year, I think they do it for Emmys.  Everyone is just so spot-on and perfect, though admittedly I could see other actresses playing Catwoman (Mila Kunis, anyone?) but Nolan obviously made the right choice, besides we've seen what happens when they don't put much thought in to who plays Catwoman.  Morgan Freeman and Michael Caine bring a sense of world-weariness that only veteran actors like themselves could bring, and their roles in this movie are more significant than ever.  The theme of pain and anger is not only reserved for Bale (really when is he ever bad in a role) but the people he's affected.  It's like what he tells Officer Blake (Joseph Gordon-Levitt) when asked why he hides his identity.  It's not just for his identity, but it's for the people around him, the ones he loves, like Fox and Alfred.

Now let's discuss Bane.  If the Joker was just in the crime spree business for laughs, Bane's in it for tears.  Without giving away anything, you see he's (naturally) come from this dark, evil place, and perhaps that's all he's ever known; the despair and evil in people's hearts.  A great villain is brutal, powerful and scene-stealing all at the same time, and Hardy's Bane has all these traits.  In the movie he literally tells one of his henchman to do something adding at the end: "Do (such and such) and then I'll kill you."  He is one of the most ruthless superhero villains put to screen, and the occasional inability to not fully understand his voice only adds to the mystique and aura of him.  Unlike the Joker, who relied on various weapons, he needs nothing but that menacing mask and his fists to take someone out, and the arrogance he gives off his unreal.  While dreaming of  a best supporting actor nod for Hardy may be far-fetched, it's not unrealistic, and certainly justifiable.

Bruce contemplates going back out as Batman, this is shown through his long discussions with Alfred.  Bane's arrival nearly forces him into this action, while being half as energetic as he was with Joker.  When he finally does arrive, you get such a rush as a viewer, the wait surmounting to this moment, the reveal of one of America's beloved heroes after a four year lull.

The rest I can't go too much in detail to.  Due to it being the conclusion of the franchise with loose ends being tied up and all, to go into full-depth analysis of the film would be uncharacteristic of me and unfair to those who haven't seen the film yet.  The movie (which I'm sure to see likely at least one more time before the end of the year, Nolan films are always best with repeat viewings) is rich in plot and detail, character development (except Juno Temple's role.  Google her once you've watched "TDKR" and you'll understand what I mean when I say (no spoilers) that she was of no point to the movie at all) and blockbuster climax that had me shivering (along with the subzero theater temp) in suspense.  I'm not going to tell you to go out and see "TDKR," most of the world already has, so what I'm saying is when you do go see it, enjoy the intense, well-made action, the bombastic, Oscar-worthy score, the great performances, but also really pay attention to the themes and little things Nolan puts out there, the little nuances, and you'll see why "The Dark Knight Rises" is not only one of the best superhero movies, but a luxurious cinematic experience and one of 2012's finest movie offerings.  A best picture nomination for this satisfying end to one of the best trilogies since "Lord of the Rings" is certain, but a win?  It's not out of the question.

Rating: 4/4 stars