And so it all ends – intricately and as every bit as impressive as its predecessors. Bruce Wayne is now an early retired recluse, unneeded by a now safe Gotham – that is until he has to don the suit yet again with the emergence of Bane .
What makes this final entry so satisfying (though it's no spoiler to say there are new directions it could take) is that it returns to a city in the wake of The Joker's zeitgeist terrorism. There is a genuine sense that Batman is no longer needed – all the more triumphant therefore when Bruce finally has to wear the suit.
There are unnecessary amounts of flashbacks, and although you get used to it, Bane never sounds like you'd want him to. But these flaws are so minor, that taken as a whole The Dark Knight Rises is an overwhelming triumph – one that has true emotional engagement that transcends the costumes and superhero gloss.
Ultimately this is Bruce Wayne's story again, appropriately given the cyclic nature of the plot. It's not without being overly obvious to say for a full understanding of The Dark Knight Rises, Batman Begins needs to be seen beforehand. The Dark Knight too.
On the surface the premise is an echo of Frank Miller's The Dark Knight Returns, however the only crossover is that of thematic content – the isolating nature of Bruce no longer needing to maintain a duel identity. But it'd be a lie to say The Dark Knight Rises isn't confident in testing the suspension of disbelief that matches some of the comics' most extreme ideas (concerning vehicles).
But Nolan makes it works, aligning some of the less 'real' content into his own interpretation of Batman's world seamlessly. And given the furious momentum of the film it rarely feels rushed; certainly doesn't drag for a film near three hours.
As for Bane – he never leaves the shadow of The Joker, especially given the similarly chaotic nature of the characters. But whereas The Joker was unsettling in his spontaneous behaviour, Bane is far more controlled and has logic for actions. This is good thing in providing a discernible storyline, but what made The Dark Knight so exciting was the fear of being led into the unknown through The Joker's unprovoked actions. But it's a lie to say The Dark Knight Rises is at all bad. If it doesn't win Best Picture (which it won't) then no Batman film ever will.
What makes this final entry so satisfying (though it's no spoiler to say there are new directions it could take) is that it returns to a city in the wake of The Joker's zeitgeist terrorism. There is a genuine sense that Batman is no longer needed – all the more triumphant therefore when Bruce finally has to wear the suit.
There are unnecessary amounts of flashbacks, and although you get used to it, Bane never sounds like you'd want him to. But these flaws are so minor, that taken as a whole The Dark Knight Rises is an overwhelming triumph – one that has true emotional engagement that transcends the costumes and superhero gloss.
Ultimately this is Bruce Wayne's story again, appropriately given the cyclic nature of the plot. It's not without being overly obvious to say for a full understanding of The Dark Knight Rises, Batman Begins needs to be seen beforehand. The Dark Knight too.
On the surface the premise is an echo of Frank Miller's The Dark Knight Returns, however the only crossover is that of thematic content – the isolating nature of Bruce no longer needing to maintain a duel identity. But it'd be a lie to say The Dark Knight Rises isn't confident in testing the suspension of disbelief that matches some of the comics' most extreme ideas (concerning vehicles).
But Nolan makes it works, aligning some of the less 'real' content into his own interpretation of Batman's world seamlessly. And given the furious momentum of the film it rarely feels rushed; certainly doesn't drag for a film near three hours.
As for Bane – he never leaves the shadow of The Joker, especially given the similarly chaotic nature of the characters. But whereas The Joker was unsettling in his spontaneous behaviour, Bane is far more controlled and has logic for actions. This is good thing in providing a discernible storyline, but what made The Dark Knight so exciting was the fear of being led into the unknown through The Joker's unprovoked actions. But it's a lie to say The Dark Knight Rises is at all bad. If it doesn't win Best Picture (which it won't) then no Batman film ever will.