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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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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

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

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

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

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
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Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

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Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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