ChristopherNolan wrapped up his Dark Knight trilogy with a third entry, TheDarkKnightRises, that seems rushed, surprisingly clumsy, and pretty unnecessary.
This year marks the 10th anniversary of Christopher Nolan’s The Dark Knight Rises, a film best remembered as an underwhelming follow-up to a genuinely masterful sequel than as a worthy entry in its own trilogy. It must be difficult to act as the next chapter to what is, objectively speaking, the best superhero film in Hollywood history. Indeed, The Dark Knight‘s standing and legacy are too grand and meaningful, the closest thing to legendary that modern filmmaking has approached.
The Dark Knight trilogy is an insult to Bruce Wayne in nearly every way possible. It portrays him as a prop, nothing more than a character played by the genuine persona, Batman, the brooding hunter that stalks criminals at night. In keeping with this approach, Christian Bale plays Bruce as a stiff and charmless bystander, a suit that somehow learned how to walk. All his intent and attention go to playing Batman, injecting the masked hero with genuine complexity and nuance.
Take Hathaway, the closest thing we have to a modern-day camp master, as Selina Kyle, aka Catwoman. With her catsuit, bladed stiletto heels, and goggles that turn into excuses for cat ears, Hathaway’s Kyle is as ostentatious that a Nolan character will ever get. She comes this close to purring; perhaps she only stopped herself after Nolan flashed her a chilling look with those White Walker-like eyes.
Matthew Modine and, particularly, Ben Mendelsohn also do their part to raise the film’s camp stakes, emoting as if their lives depended on it. Mendelsohn’s character yells like this; Modine’s character dies in a pose bound to make Christians feel something. And let’s not even talk about Cotillard, whose over-the-top death scene has been widely, and rightly, ridiculed. In any case, this is as campy as a Nolan film will ever get.
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