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“The Dark Knight Rises” review

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To say that “The Dark Knight Rises” has a lot to live up to just might qualify as the biggest understatement of the year. The follow-up to Christopher Nolan’s record-breaking 2008 sequel “The Dark Knight,” and the final chapter in the award-winning director’s critically praised Batman trilogy, “The Dark Knight Rises” has been one of the industry’s most closely watched projects since the credits rolled on its predecessor.

And that’s why it’s so unfortunate that, in his last adventure under Nolan’s guidance, the Dark Knight never quite rises to the occasion.

Possibly the most egregious flaw in “The Dark Knight Rises” is that the character we see the least of in the film is, well… Batman. For a film that clocks in at nearly three hours of running time, we get only four or five major sequences with Christian Bale in the cape and cowl. Over the course of the film’s 165 minutes, Bale’s Bruce Wayne seems relegated to a supporting role, and someone we check in with occasionally instead of the narrative’s main character.

Make no mistake: Anne Hathaway and Joseph Gordon-Levitt are clearly Nolan’s focal points in “The Dark Knight Rises,” and their time on the screen reflects this fact.

Of course, that’s not to say Nolan’s focus on Hathaway and Gordon-Levitt is a bad thing, as the pair happen to provide the film’s best performances. As Selina Kyle (who’s never actually referred to as Catwoman in the film), Hathaway manages to prove skeptics (including myself) wrong with a pitch-perfect portrayal of Gotham’s greatest cat burglar, and finds just the right nuances of moral ambiguity and personality to bring the character to life in Nolan’s Bat-verse.

Gordon-Levitt also does a nice job of playing feet-on-the-ground cop John Blake, who struggles to define his role in a world filled with costumed heroes and villains. Sadly, his prominence in the narrative seems to come at the expense of Gary Oldman’s return as police commissioner Jim Gordon, who seems to have become just another flawed cog in the Gotham machine in the time since the last film.

Oldman’s character isn’t the only one to have undergone some drastic, fundamental changes since the last film, either.

Along with Jim Gordon’s shift from paragon of urban wisdom to burned-out relic, Batman himself seems to have forgotten many of the lessons he learned in the earlier films. In “The Dark Knight Rises,” we’re presented with a Batman who charges into fights without thinking and overlooks important information, and a Bruce Wayne who shows little regard for the still-living people in his life and callously disregards his most trusted friend. (It’s this last element that relegates Michael Caine’s role to nothing more than a series of scenes in which he cries at Christian Bale for several minutes.) It’s the sort of situation that usually develops when a new director takes over an existing franchise, and seems odd in the continuity of Nolan’s meticulously shepherded Batman universe.

Still, none of these flaws are as destructive to “The Dark Knight Rises” as the film’s villain, Bane, who manages to cause just as much damage to the fictional city of Gotham as he does to the movie itself.

It’s worth noting right from the start that none of the problems with Bane rest on the shoulders of the actor who played the hulking, masked behemoth, Tom Hardy. The British actor does everything asked of him to the best of his considerable talents, and were it not for a number of factors outside his control, he’d likely provide the standout performance in the film. Sadly, those factors are present in the film, and they make Hardy’s character memorable for all the wrong reasons.

Months ago, when some early footage of “The Dark Knight Rises” was screened for a select audience, Bane’s muffled, unintelligible dialogue caused enough controversy to put the studio into damage-control mode, with Warner Brothers and Nolan seeming to be at odds over how to handle the villain’s mask-induced garble. Their answer, it seems, was to waver between two extremes. At times Bane sounds like a circus ringmaster trying to reach the cheap seats with a dollar-bin megaphone, and at other times his dialogue has all the clarity of a subway intercom system. The gritty realism of the surrounding film only amplifies the silliness of Bane’s dialogue.

Still, if there is one positive to come out of the troubles with Bane’s voice, it’s that you barely notice Bale’s Bat-growl, which earned more than a few unintentional laughs during “The Dark Knight,” but seems entirely tolerable alongside Bane’s over-dubbed, sideshow-barker tone.

Unfortunately, the film’s villain has problems with more than just his dialogue. Without venturing too far into spoiler territory, Bane’s intentions with regard to Gotham and its protector go from uncertain to outright contradictory over the course of the film, with the character flip-flopping between a desire to empower Gotham’s populace (at times seeming like the spokesperson for the real-world Occupy movement) and an urge to obliterate every living person in the city. The end result is a character that never quite sells the whole “criminal genius” thing, and instead comes off as a bit, well… crazy.

Of course, this flaw with Bane is likely a result of the character being shoehorned into a role that was meant for Heath Ledger and The Joker, who would have been right at home as the orchestrator of the chaos that overtakes Gotham. It’s during the moments when Bane seems the most out of place that you can see how perfectly Ledger’s Joker would’ve fit in the film.

Even with so many problems, however, “The Dark Knight Rises” still manages to meet – and occasionally exceed – expectations in some of the areas that will play the biggest role in the film’s success with the mainstream audiences. Nolan’s trademark grasp of breathtaking visuals and fantastic cinematography are on full display in “The Dark Knight Rises,” and the film features a number of set pieces – including the catastrophic destruction of Gotham’s football stadium – that set the film apart from nearly everything else in theaters. While it never achieves at the level of a film like “Inception,” “The Dark Knight Rises” is full of reminders that it is a film made by one of the industry’s greatest visual directors.

Also to its credit, “The Dark Knight Rises” manages to avoid the traditional pitfalls of the third movie in a genre franchise. It never feels overcrowded or rushed, though it does contain a few obvious, forced tie-ins to the greater universe that feel jammed in at the last moment.

However, none of these achievements change the fact that the film falls short of expectations, and rather than being the grand finale of the franchise, it ends up being both the weakest film in the trilogy and the weakest superhero movie of the year thus far. Sadly, “The Dark Knight Rises” never manages to match the epic spectacle of “The Avengers,” the genuine pathos of “Chronicle” (a comic book movie without a comic), or the earnest, heroic heart of “The Amazing Spider-Man.”

While there’s little doubt that the concluding chapter of his trilogy will earn a pile of money, one can’t help thinking that Nolan has done the next Batman director a favor by taking a bar that was set to an almost unreachable height after “The Dark Knight” and lowering it to a more manageable level with the serviceable but under-achieving concluding tale that is “The Dark Knight Rises.”

“The Dark Knight Rises” hits theaters Friday, July 20.

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Grow TFU

Adulting Like You Mean It

Commuters makes its debut on IFC's Comedy Crib.

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Jared Warner, Nick Ciavarella, and Tim Dean were once a part of Murderfist, a group of comedy writers, actors, producers, parents, and reluctant adults. Together with InstaMiniSeries’s Nikki Borges, they’re making their IFC Comedy Crib debut with the refreshingly-honest and joyfully-hilarious Commuters. The webseries follows thirtysomethings Harris and Olivia as they brave the waters of true adulthood, and it’s right on point.

Jared, Nick, Nikki and Tim were kind enough to answer a few questions about Commuters for us. Here’s a snippet of that conversation…

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IFC: How would you describe Commuters to a fancy network executive you met in an elevator?

Nick: Two 30-somethings leave the Brooklyn life behind, and move to the New Jersey suburbs in a forced attempt to “grow up.” But they soon find out they’ve got a long way to go to get to where they want to be.

IFC: How would you describe Commuters to a drunk friend of a friend you met in a bar?

Jared: It’s a show about how f*cking stupid people who think they are smart can be.

IFC: What’s your origin story? When did you all meet and how long have you been working together?

Jared: Nick, Tim, and I were all in the sketch group Murderfist since, what, like 2004? God. Anyway, Tim and Nick left the group to pursue other frivolous things, like children and careers, but we all enjoyed writing together and kept at it. We were always more interested in storytelling than sketch comedy lends itself to, which led to our webseries Jared Posts A Personal. That was a show about being in your 20s and embracing the chaos of being young in the city. Commuters is the counterpoint, i guess. Our director Adam worked at Borders (~THE PAST!!~) with Tim, came out to a Murderfist show once, and we’ve kept him imprisoned ever since.

IFC: What was the genesis of Commuters?

Tim: Jared had an idea for a series about the more realistic, less romantic aspects of being in a serious relationship.  I moved out of the city to the suburbs and Nick got engaged out in LA.   We sort of combined all of those facets and Commuters was the end result.

IFC: How would Harris describe Olivia?

Jared: Olivia is the smartest, coolest, hottest person in the world, and Harris can’t believe he gets to be with her, even though she does overreact to everything and has no chill. Like seriously, ease up. It doesn’t always have to be ‘a thing.’

IFC: How would Olivia describe Harris?

Nikki:  Harris is smart, confident with a dry sense of humor but he’s also kind of a major chicken shit…. Kind of like if Han Solo and Barney Rubble had a baby.

IFC: Why do you think the world is ready for this series?

Nikki:  I think this is the most accurate portrayal of what a modern relationship looks like. Expectations for what your life is ‘supposed to look like’ are confusing and often a let down but when you’re married to your best friend, it’s going to be ok because you will always find a way to make each other laugh.

IFC: Is the exciting life of NYC twentysomethings a sweet dream from which we all must awake, or is it a nightmare that we don’t realize is happening until it’s over?

Tim: Now that i’ve spent time living in the suburbs, helping to raise a two year old, y’all city folk have no fucking clue how great you’ve got it.

Nikki: I think of it similar to how I think about college. There’s a time and age for it to be glorious but no one wants to hang out with that 7th year senior. Luckily, NYC is so multifaceted that you can still have an exciting life here but it doesn’t have to be just what the twentysomethings are doing (thank god).

Jared: New York City is a garbage fire.

See the whole season of Commuters right now on IFC’s Comedy Crib.

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C'mon Fellas

A Man Mansplains To Men

Why Baroness von Sketch Show is a must-see.

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Mansplaining is when a man takes it upon himself to explain something to a woman that she already knows. It happens a lot, but it’s not going to happen here. Ladies, go ahead and skip to the end of this post to watch a free episode of IFC’s latest addition, Baroness von Sketch Show.

However, if you’re a man, you might actually benefit from a good mansplanation. So take a knee, lean in, and absorb the following wisdom.

No Dicks

Baroness von Sketch Show is made entirely by women, therefore this show isn’t focused on men. Can you believe it? I know what you’re thinking: how will we know when to laugh if the jokes aren’t viewed through the dusty lens of the patriarchy? Where are the thinly veiled penis jokes? Am I a bad person? In order: you will, nowhere, and yes.

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Huge Balls

Did you know that there’s more to life than poop jokes, sex jokes, body part jokes? I mean, those things are all really good things, natch, and totally edgy. But Baroness von Sketch Show does something even edgier. It holds up a brutal funhouse mirror to our everyday life. This is a bulls**t world we made, fellas.

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Oh Canada

After you watch the Canadian powerhouses of Baroness von Sketch Show and think to yourself “Dear god, this is so real” and “I’ve gotta talk about this,” do yourself a favor and think a-boot your options: Refrain from sharing your sage wisdom with any woman anywhere (believe us, she gets it). Instead, tell a fellow bro and get the mansplaining out of your system while also spreading the word about a great show.

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Dudes, that’s the deal.
Women, start reading again here:


Check out the preview episode of Baroness von Sketch Show and watch the series premiere August 2 on IFC.

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Happy Tears

Binge Don’t Cringe

Catch up on episodes of Documentary Now! and Portlandia.

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Photo Credit: GIFs via GIPHY

A brain can only take so much.

Every five minutes, all day, every day, ludicrously stressful headlines push our mental limits as we struggle to adapt to a reality that seems increasingly less real. What’s a mind to do when simple denial just isn’t good enough anymore?

Radical suggestion: repeal and replace. And by that we mean take all the bad news that keeps you up at night, press pause, and substitute it with some genuine (not nervous, for a change) laughter. Here are some of the issues on our mind.

Gender Inequality

Feminist bookstore owners by day, still feminist bookstore owners by night, Toni and Candace show the male gaze who’s boss. Learn about their origin story (SPOILER: there’s an epic dance battle) and see what happens when their own brand of empowerment gets out of hand.

Healthcare

From Candace’s heart attack to the rise of the rawvolution, this Portlandia episode proves that healthcare is vital.

Peaceful Protests

Too many online petitions, too little time? Get WOKE with Fred and Carrie when they learn how to protest.

What Could Have Been

Can’t say the name “Clinton” without bursting into tears? Documentary Now!’s masterfully political “The Bunker” sheds a cozy new light on the house that Bill and Hill built. Just pretend you don’t know how the story really ends.

Fake News

A healthy way to break the high-drama news cycle is to switch over to “Dronez”, which has all the thrills of ubiquitous adventure journalism without any of the customary depression.

The more you watch, the better you feel. So get started on past episodes of Documentary Now! and Portlandia right now at IFC.com and the IFC app.

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