Tag Archive: Joseph Gordon-Levitt


TheWalk-1In 1974, French-man Philippe Petit did the unthinkable by illegally hanging a high wire between the Twin Towers of the World Trade Centre in New York City, proceeding to walk between the Towers a total of four times before being arrested on sight. Most of us know this story, you’ve probably heard of it and may have even seen the excellent documentary on the subject, 2008’s Man on Wire. While that documentary serves as a perfectly entertaining account of the events, it was perhaps inevitable that Petit’s story would be dramatised in film. The approach given here is hardly all that dramatic, but rather fairy tale-esque, with Robert Zemeckis delivering a colourful account on a man who dared to embark upon an impossible dream.

The story is delivered to us through Petit (Joseph Gordon-Levitt) on-top of the Statue of Liberty, over-looking the skyline of NYC, amongst the clouds, presenting him as a larger than life and highly flamboyant story-teller. From the very start of the proceedings, it is very clear that Zemeckis is aiming for a very family friendly, light and whimsical tale instilling a sense of wonder in the dreams of Petit. The film charts the events leading to the walk between the Towers, a sequence of events that allows us to witness Petit becoming a passionate performer, as well as his attempts to gather together a group of accomplices to help him hang his wire between the Towers, a dream he pursues when he first lands his eyes on the 1,362 feet skyscrapers in a magazine as a tTheWalk-2eenager.

Much of the film is dedicated to the caper-esque proceedings of Petit putting a team together to help accomplish his dream. Petit is shown to be a very arrogant man, very much focused on his own ambition with the hope that the magnitude of what he is doing is enough to convince others to aid him. But Petit is charming none the less, in no short part due to Levitt’s flamboyant and highly energised performance. He does well to keep the arrogance as very much part of Petit’s personality, but uses his natural charisma to charm throughout. The French accent may take a little getting used to, but his physicality and composure more than allow him to convince as a man capable of the feats performed by Petit.

The build-up to the main event itself is, of course, not quite as interesting, and as a result the film does often feel like it is in too much of a rush to get to its moment of sky-scraping spectacle before it has effectively established the players who helped get Petit up there. The Caper-esque tone does benefit this approach, with Alan Silvestri’s score providing a zippy and quick tempo as the film builds to the climatic walk. However, no character truly feels all that defined, with only their relationship with Petit truly defining their role. This is a shame because the supporting cast includes some very talented actors, from the gorgeous Charlotte Le Bon as Petit’s girlfriend Annie, to James Badge Dale as one of Petit’s New York based accomplices, J.P.TheWalk-3

When we finally do get to the titular walk, Zemeckis truly pulls every trick out of the bag to construct one of the most spell-binding and thrilling sequences of recent memory. With carefully rendered visual effects, Zemeckis and his team delicately and rather beautifully recreate an early 70s New York skyline, as well as bringing the Towers themselves back to glorious life. In IMAX 3-D, the high wire journey taken by Petit back and forth is nerve-shredding and high octane in a very literal sense. There is great deal of tension, despite the fact we know the outcome, but Zemeckis revels in keeping us up there for as long as possible, joining Petit in every trick and rooting for him to keep going. There are elements which don’t work, a strange appearance of a terrible CGI seagull further pushes the movie into rather goofy territory, but it is not enough to rob the film of its capacity to thrill in these moments, the moments you bought a ticket for.

By the end of the proceedings, you share in Petit’s elation, but there is a tendency to have a few too many moments of reflection, tying up numerous points which frankly we don’t entirely care all that much about. But its final momentsTheWalk-4 of reflection, as it makes its final tribute to the Towers, is oddly and quietly affecting, if a tad on the nose. The slight under-performance of this film at the box office may yet suggest audience’s are not ready to engage with the Towers in such a text, but it is a respectful film, one which holds a very loving and nostalgic gaze towards the Towers, emphasised by focusing on an event which made the whole world fall in love with them in some capacity.

For those looking for something with the same level of grit as Flight will be very much disappointed, as Zemeckis has very clearly set out to make a very family friendly flick for all ages to enjoy, which I think was a wise move. This is a celebration of imagination and determination to pursue a dream, a message which surely would have more of an effect on a younger audience. It makes the film feel very much like a fairy tale, if a little cartoonish at time, but it represents some of Zemeckis most ground-breaking digital effects work (and that really is saying something), offering spectacle unlike anything else, worthy of taking that first step.

4/5- A whimsical, light, occasionally rushed tale, which is none the less very endearing and incredibly thrilling, with a set-piece that is a master-work of spectacle in cinema.

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Snack Time – Review Round Up!

I have let you all down again. I’ve dropped the ball considerably in regards to my blogging, a combination of seeing a lot of things and busying myself with the ever surmountable University work. Once again, it is not from lack of watching, please never attribute such a thing to me. Here are my mini reviews of some of the films I have caught in this late-Autumn period.

bad_grandpaJackass Presents: Bad Grandpa

The prospect of Bad Grandpa was not one that immediately thrilled me. In my opinion, Jackass died with Ryan Dunne. And I have not missed the films or the TV series, it had run its course. The idea of taking a sketch, Johnny Knoxville in prosthetics as a foul-mannered  OAP, and fleshing it out to a feature run-time was not one I initially warmed to. Frankly I thought it was stupid. But once the first trailer came out, my cynical mind was slightly swayed. The hybridization of traditional narrative and the Jackass aesthetic looked to be an interesting mix of styles, and it looked like the film had many a laugh to spare. I did eventually find myself in a cinema screen taking in the latest offering from the MTV grown Jackass. Much of what is worth seeing of Bad Grandpa has already been shown to you within the trailers, leaving a lack of many great surprises. But when it hits, it strikes the funny bone hard. Nowhere near as funny as it thinks it is, but most definitely good for a far few chuckles. 3/5

counsellorThe Counsellor

Ridely Scott’s foray into the world of Cormac McCarthy is much less successful than the other stops we have made in the fever pit world of the Pulitzer Prize-Winning author. Lacking the wit of No Country For Old Men and the narrative power of The Road; The Counsellor none the less is one of the most bizarre and hypnotic films I have seen all year. But I would by no means recommend it. Following Michael Fassbender as the titular Counsellor, the film dives into a dark world of the US/Mexican border, as Fassbender finds himself on the wrong side of a powerful Mexican Drug Cartel. The performances rage from the dull (Cruz and Pitt), to the absolute down-right bonkers (Bardem and Diaz), but the power of the film comes from the strange atmosphere generated by the script. It never reaches its full potential however due to the haphazard way in which Scott chooses to stage the rather dialogue driven scenes. The film improves when it begins to work on a more visceral, shockingly violent level, but before that the film becomes a drag. However, the power of the screenplay (and it is exquisitely written) makes this film an intriguing oddity, but ultimately one that should have been a great deal better. 3/5  

DonJonDon Jon

Joseph Gordon-Levitt needs to stop being good at things. Seriously. He’s making us all look bad. The young actor, who with his easy going charisma, has charmed us many a time on the screen in the past, tries his hand at the writing and directing game with one of the most confident directorial debuts of recent memory. The story: Jon (JGL) only cares about a few things in his life; his ride, his body, his family, his church, his boys, his girls, and his porn. When he begins to want a relationship outside of the realms of his laptop, he hopes the answer lies in the curvaciously sexy Barbara (Scarlett Johannson). But is she really the person who will give him the connection he craves? A lighter take on the subject of porn addiction, Don  Jon is an incredibly witty, hilarious and super stylish film. It may not do anything more than you’d expect it to, merely hitting beats very effectively, but hey, sometimes that’s all you need a film to do to impress. It is fun, breezy, and driven by a sharp satire on the modern man, while also being incredibly sexy to boot. And it also features Marky Mark and the Funky Bunch on the soundtrack, extra points should always be given for that! 4/5

gravity-posterGravity

It is hard to know what to write about Gravity without it sounding like a regurgitation of what most people have said. It has been hailed as one of the greatest cinematic achievements of modern times, and without a doubt it is. Alfonso Cuaron’s space odyssey is beautiful and an innovation in every technological sense. Every movement and stunning long take is planned out meticulously and it is all rendered with gorgeous care and realism. Story-wise, it is less innovative. There is no innovation at all to be honest. It works with thread-bare, cliched details that offer you just enough to stay hooked, and enough for Sandra Bullock and George Clooney to wrangle with. This is a story about survival, and is more about the visceral experiences that come with that, rather then caring about narrative progression. I must say though, I have no desire to see this film again. For the simple reason being, I cannot see me enjoying it anymore than I did watching it in I-MAX 3-D. I think watching the film in any other format will merely diminish my love and respect for it as a film, and will only cause me to criticism its narrative workings more.  A profound film, that proves you do not need to have a 3 hour long running time to be considered epic. Gravity is a must-see experience. Just make sure you see it the right way. 5/5

CatchingFireThe Hunger Games: Catching Fire

I, for one, was not the first Hunger Games’ biggest fan. As well as it did to establish the world, it suffered a great deal from cheap special effects, awkward direction, frustrating use of shaky cam, and rather dull performances. Fans of the book consoled me though in the fact that apparently the second book was much better than the first. That doesn’t always mean the film will be, but with The Hunger Games that is thankfully the case. With a more politically driven plot, Catching Fire does what a sequel should do; improve, improve, improve. Following Katniss (Jennifer Lawrence) and Peeta (Josh Hutcherson) on their victory tour of the Districts, we begin to see the revolutionary inspiration Katniss’ actions have had in this dystopian world. Wishing to destroy her image, President Snow (a suitably menacing Donald Sutherland), makes the 75th Annual Games a competition between previous victors of each District, throwing both Katniss and Peeta once again into a battle to the death. It is a good half an hour too-long, but it is a film of much more confident style (this time directed by Francis ‘I Am Legend’ Lawrence), which makes it much easier to sit through. The games themselves are much more insane and vividly designed, but it is the build up that impresses most, crafting a genuine sense of dread and tension as we move towards the games. I still have a problem performance wise; J-Law at times looks positively bored with the rather dull Katniss, while Hutcherson is once again lumbered with a one-dimensional role as Peeta. But there is plenty here to make one excited about the upcoming installments, even if it is another case of splitting one book needlessly into more than one film. 4/5

CarriePosterCarrie

I was tempted to write a full review for this most-recent take on the Stephen King novella, but I really do not have enough things to say, and frankly, it doesn’t deserve it. Telling the story of poor loner Carrie White (Chloe Grace Moretz), shielded from the world by her overtly-religious mother (Julianne Moore), who develops telekinetic powers, director Kimberley Pierce squanders our hopes of a (for once) decent horror remake. Instead, what we have is an uninspired retread of the Brian DePalma original, lacking any sense of originality, freshness, or reason to be in existence. You can tell you are in for a rather terrible movie at around the ten minute mark, which was when I decided to just kick back and let the train-wreck form. And hell, I’ll say it, I ended up having quite a bit of fun. It is a terrible film, make no doubt about it, but this 21st Century Carrie can join the ranks of films so terrible that you can’t help but laugh at them (the deal clincher has to be when Vampire Weekend crops up on the soundtrack). Despite stylish lashings of gore, the film is simply just a bit pointless, and surprisingly safe update of truly great material. Moretz, though she tries, is mis-cast, Julianne Moore hams it up so much you expect her to be walking around with a ring of Pineapple on her head, while the supporting cast are laughably atrocious (I’m looking at you Portia Doubleday). Uninspired, dull-looking, but rather fun to laugh at; Carrie 2.0 joins the steam-pile of horror remakes that are not worth your time. 2/5

Time-Travel is a tricky thing. No matter how detailed you may be, there is bound to many a plot-hole and paradox established. Some films falter because of due to lack of character, or lack of a self-awareness. There are few successful efforts; Back To The Future did it well due to the fact that it is one of the funnest and entertaining and well written movie ever made. The Terminator kept it going for at least two films. Looper does join the ranks of these more successful time-travel movies, mainly because it is aware of the dangers of over-explaining a concept that merely needs an interesting premise to convince the audience of its concept. And more importantly, it contains well-developed characters who ground the high concept on a human, sometimes super-human, level. However, do not go expecting the genre blending masterpiece of the century, as a lot of critics have been praising it to be. Looper is certainly one of the smarter and impressive Sci-Fi action thrillers of the past 20 years, but it is not one that changes the rules of the game. It does however, confirm Joseph Gordon-Levitt as one of the most surprising actor’s working today, and Rian Johnson as one of the most interesting director’s emerging in Hollywood.

SPOILERS WILL FOLLOW- DO NOT READ ON IF YOU HAVE NOT SEEN THE MOVIE.

Looper is set in year 2044. Thirties years from 2044, time travel will have been invented, and immediately made illegal. Due to new technology making it impossible to dispose of a body without being court, the Mobsters use time-travel outside of the law to send their targets back in time to be disposed of. Once they are sent back, the targets are killed by these hired killers known as Loopers. In order to make sure there are no loose ends, the crime bosses have a way of ‘closing’ these loops; they send their future self back to be taken out by their younger self. If they fail to do so, then they are automatically given a death sentence. Joe Simmons (Joseph Gordon-Levitt) is one of these Loopers, living a life of luxury and indulgence. However, all that he lives by is thrown out of balance when he is faced with the task of closing his loop. His future self (Bruce Willis) escapes his grasp and heads out on a personal vendetta to prevent the rise of a terrible power in the future. The younger Joe must stay one step ahead of his employer and find his future self and put an end to his loop. However, it soon becomes clear that there is more at stake then simply Joe’s present and future life.

Looper is a thoroughly thought out movie with a wonderful concept providing the structure around a Sci-Fi action movie that surprisingly has a strong beating heart within it. The character of Joe is one who is tormented by his own lifestyle; his drug habits and partying lifestyle are a hollow way of attempting to fill the void of intimacy that he is sorely lacking. The older Joe is once again a very tormented character, trying to find anyway to cling on to the happiness and love that he has found in his later years, filling the void that h desperately does not want reappearing. However, in order for him to do such a thing, he must conduct a series of murders that test his devotion and morality. Despite being given a rather awesome Bruce Willis action-star moment, Willis rather downplays the role, resulting in an affectingly tortured performance, one of his best for quite sometime. However, it is Gordon-Levitt who perhaps wins the Joe battle. Aided by some well-judged prosthetic’s, JGL makes for a thoroughly convincing young Bruce Willis. He is a man who has certainly done his homework. He has the air of a Die Hardera Willis, from the speech pattern to certain facial ticks, he convinces. It helps that he has his own strong star charisma, that shines through enough in order to convince the audience that he is not just playing a young Bruce Willis; he is playing a character.

Within this future landscape, certain individuals of the human race have begun to develop telekinetic abilities, seemingly as a form of evolution. It is an element of the world that plays a large part in one of the main subplots of the movie, namely regarding the future Joe’s mission of saving his future. In order to do this, and this is where most of the spoilers shall come into play, the older Joe is out to kill a small boy who will grow up to become The Rainmaker, a very powerful TK who is responsible for the death of his wife and also a lot of the future’s problems. The young Joe tracks down the young boy first, at a farm in which the boy, Cid, lives with his mother Sara (Emily Blunt). It is here that the film lets itself down somewhat. The opening first act and a majority of the second works as a bombastic, clever, slick and thoroughly engaging Sci-Fi thriller, with a brilliantly dark streak (namely involving the fate of Paul Dano’s character). It builds a steady exciting pace, that is suddenly brought to a walking pace once the young Joe finds Sara and Cid. Emily Blunt impresses as an equally lonely figure to Joe, but it is the character of Cid that causes some issues with the second act. For one, the child actor playing him is perhaps too young; he seems very mature for his age, but instead of containing a dark ferocity that the character should perhaps posses, he just ends up looking ridiculous and rather laughable, making it very hard for me to take the foreshadowing seriously. That, along with too much time and exposition on the farm, makes you crave for the simple yet Sci-Fi twisted take on the chase movie that the first act so effectively established. Which thankfully it does, with that aforementioned, and awesome, Bruce Willis action-star moment.

One thing’s for certain in Looper, Rian Johnson is an incredibly exciting director, and one who I’m sure has plenty more genre blending concoctions yet to give us. From his startling debut with Brick, and his fantastic television work directing the occasional episode of the I-shouldn’t-have-to-tell-you-how-awesome-it-is Breaking Bad, Johnson is a man with a keen visual eye and a wonderful sense of movement, and Looper is his most exciting work yet. He highlights a assured mastery of aesthetics in terms of the design of his future America. It is a world that feels rich, and could easily be exploited further, as there is a sense that we are only viewing a certain aspect of this particular vision of the future. His craft as a writer perhaps could do with some work in terms of pacing, but in terms of concept; Looper is thoroughly captivating. So, despite not being the game-changer that some critics promised, Looper remains one of the more impressive, intelligent and well designed Sci-Fi movies of recent years with a hugely talented cast and crew, that is certainly a trip that I would like to take again very soon.

4/5- Although not the mind-blowing experience promised by some, Looper is an intelligent, brilliantly performed and exciting genre blend of a movie, that can stand as one of the best Sci-Fi films of the past 20 years.

Greetings all! Mr. Gaudion here, but only briefly. As you are well aware, while I am at home in Alderney I am not able to catch the latest releases, which irritates me somewhat, but I can live with it. But one friend, a Mr. Greg Falla, gave me the idea to allow my friends to do guest reviews for films that I perhaps will not be able to see for quite sometime. I should have a review by Mr. Falla arriving in the near future, but for now I’ve got you an extra special treat; the first guest review by my great friend Michael Perry for The Dark Knight Rises! It is an excellent read, displaying Mike’s witty and sophisticated writing style, and I hope that this is the first of many guest reviews from him, and perhaps many other people. Should you wish to write a guest review, feel free to get in touch with me via Facebook or this here blog. But now, without further ado, here is Mike’s verdict on Christopher Nolan’s Bat-finale! Thanks again Mike!

One of the hundreds of online fan-made posters for The Dark Knight Rises summarises Christopher Nolan’s Batman cycle in three phases: begins, falls, rises.  After the gothic noir of the origin story (Batman Begins) and the chaotic crime epic (The Dark Knight), Nolan has set both the Caped Crusader and himself a pretty hefty challenge to rise to for the final lighting of the Bat-signal.  Rarely has a film had this level of anticipation fastened to it: in the wake of a towering sequel which broke the boundaries of what comic-book films could achieve, the hype and expectation burdened upon The Dark Knight Rises was enough to leave cinemagoers buzzing with countless anxious questions.  Will it tarnish this otherwise-perfect series?  Will it be too overcrowded?  Will Catwoman fit into this world?  Will it be better than The Dark Knight?

But at last, it has finally been released, and the story of Christian Bale’s Bruce Wayne is done.  And audiences everywhere can breathe a collective sigh of relief: it’s a blistering, thrilling, glorious conclusion to a much-loved series.  Nolan has been slowly honing in on a masterful filmmaking formula over the last few years, and The Dark Knight Rises is yet another gem to add to his already-gleaming catalogue.  With his directing skills stronger than ever (action sequences are now much clearer and crisper than the dizzying fights of Batman Begins) and with a head-spinning array of ideas and possibilities corralled into a cohesive, intelligent thrill-ride (big props to Jonathan Nolan and David S. Goyer), Nolan bows out of Gotham on a high note.

If you don’t mind (and you probably won’t at this late stage), I’ll try and leave out exposition and lengthy synopses, because I think everyone’s tired of re-reading the story so far after countless other reviews, articles and the like.  Besides, it’s now August 2012, so only those dwelling under rocks will be unfamiliar with Batman’s arc.  Suffice to say, Bruce Wayne (Christian Bale) isn’t in the best shape, and nor is Gotham once the masked terrorist Bane (Tom Hardy) rolls into town, intent on bringing the city to its knees.

As with most finales, the scope has been widened, the stakes raised, and the scale enlarged to end proceedings with a bang.  The team have returned with a story which picks up where The Dark Knight left off, and several threads from the previous films have been consolidated, lengthened, and neatly tied up.  Bale is definitely centre-stage this time around, as Wayne’s story is brought full circle.  The film does a great job of exploring the tortured psyche of the tragedy-stricken hero, with both sides of his character investigated.  Bale’s performance here is his strongest in the series, as he invests Wayne with a poignant vulnerability as he undergoes his most exhausting journey yet.  It’s a real tightrope act, with Bale just about managing to remain the central focus of the film, even with such a strong supporting cast and while facing off against such a monstrous adversary.

The rub with playing the villain in this film is that expectations have been raised to skyscraping levels after Heath Ledger’s masterful turn as The Joker in The Dark Knight.  Tom Hardy was always going to have a mighty shadow to try and escape from, but a number of critics have dismissed his Bane – muscular, logical and ruthless – as disappointing in the wake of Ledger’s anarchic, cackling clown.  But this is ridiculously unfair.  Both villains are separate creations with different character traits, methods and backgrounds (both in the film universe and in the comics), and should be treated as such.  Comparing one to the other is kind of ludicrous, especially since within their own roles, both actors deliver to the best possible standard.  Yes, Heath Ledger was a truly exceptional actor.  But then, so is Tom Hardy, and the Bane of this universe is absolutely terrifying.  Working from behind that creepy (but cumbersome) mask, Hardy pulls off a fantastic feat with simply his eyes, body language and that voice: an unsettling, croaky tone which bubbles over with confidence and malice.  And yes, it’s understandable!  Okay, there are times when a line or two is indecipherable (I’d argue that the placing of Hans Zimmer’s otherwise-wonderful score slightly too high in the mix plays some part in that), but for the most part, Bane’s voice reverberates with a booming menace.

And he’s surprisingly charismatic, too.  One of the film’s best scenes focuses on a furious tirade from Bane as he stands astride a familiar-looking vehicle, making his plans clear as he raises his own army in the battle for Gotham.  Even behind the mask, the anger, disgust and traces of a sick, facetious pleasure punctuate every syllable and gesticulation.  And in the fight scenes, too, he is as intimidating as he looks.  There is one moment in particular when Bane completely lets loose in a rapid-fire flurry of fists, and it’s a truly horrifying sight as the behemoth smashes through concrete and more while snarling like a wild animal.  This time around, you genuinely fear for the people of Gotham, and for Batman in particular: as comic-book fans would put it, Bruce Wayne should watch his back.

As for Anne Hathaway, let’s just say that all those who balked at the thought of her portraying Selina Kyle are probably wiping egg from their collective faces right now.  And yes, I was among those naysayers.  But stab me with a sharpened heel, Hathaway’s performance is absolutely wonderful, with her character (the title ‘Catwoman’ isn’t actually used once during this film) capable of holding her own against the big, brutal boys of Nolan’s Bat-verse.  She lands in this world on two nimble feet, bringing with her several crucial ingredients for this incarnation of the ambiguous Kyle: humanity and humour.  The final creation is a cat burglar who feels authentic and believable.

She almost steals the show, but not quite.  Everyone is given time to shine here: Gary Oldman remains pitch-perfect as the weary-but-resolute Commissioner Gordon; Morgan Freeman enjoys an expanded role as Lucius Fox (more integral than he’s ever been in this saga); and Joseph Gordon-Levitt gets to sink his teeth into one hell of a role as the young, idealistic cop John Blake, who has a character arc so juicy that one almost forgets that he’s only just been introduced into the series.

Of course, what with this being the final episode of the trilogy and all, emotions run high.  Anyone who argues that Nolan can’t hit viewers where it hurts (the tear ducts) might want to reconsider their arguments: there were about half-a-dozen moments in the film where things got more than a little misty for me.  A good number of those belong to Michael Caine, who pulls on the heartstrings something awful on at least four occasions, most achingly so early on, when Alfred recalls his saddened trips to a particular café.  And some pretty dark depths are plumbed in the story, with Bruce Wayne reduced to his lowest ebb and Gotham precariously positioned in the hands of a seemingly indestructible, tactical enemy.  Unlike the breezy (but no-less brilliant) Avengers Assemble and the competent-but-underwhelming Amazing Spider-Man, here you get the impression that things really could go catastrophically wrong.  Gotham might just be reduced to ashes after all.

But it’s not all tears and fears: as with its predecessors, The Dark Knight Rises never loses the light completely, with witty barbs and dry quips sprinkled throughout the darkness, most of them courtesy of Hathaway, who can spark one-liners as deftly as Kieran Culkin’s Wallace from Scott Pilgrim.  And thankfully, the light touches of comedy never overbalance the tone, seldom spoiling the mood or flow of the scenes they accompany.

This is crucial, because as with the previous films, the emphasis is firmly on making this realistic, and everything feels organic to the tone of the trilogy, while also feeling relevant to modern climates: economic collapse, terrorism and fears of impending apocalypse all inform the film’s action.  It also helps that Nolan isn’t that keen on CGI, and as a result, the special effects are never short of breathtaking, lending the action sequences a real sense of high-stakes urgency rivalled by few other blockbusters.  Football stadiums erupt, bridges crumple and huge-scale chase sequences are orchestrated, with the latter moments seeing Batman piloting a high-tech (and pretty freaking cool) new toy from Fox’s funhouse.

Perhaps inevitably, there are flaws.  There are a fair number of plot-holes which have the potential to nag away at you for a while, and personally, I would’ve liked to have seen further exploration and characterisation of Miranda Tate (Marion Cotillard) and Peter Foley (Matthew Modine), whose stories are engaging, but feel lacking in places.  But then, with the film already spanning a bum-breaking one-hundred-and-sixty-five minutes, it’s understandable that some of the finer points have been left aside.

So no, it’s not quite perfect.  But let’s leave it to the forum fanboys to make mountains out of these molehills.  The bottom line is this: I haven’t seen a film as exciting as this in quite some time.  With outstanding performances all around, some genuinely heart-racing action sequences and a potent emotional punch, Nolan has concluded his trilogy in true style.  Have no fear Mr. Gaudion – it’s the finale Batman deserves.

5/5- As Andrew himself wrote when summing up Avengers Assemble: “there are faults to be had, but the sheer entertainment value of this movie over-rides them all”.  True again here: The Dark Knight Rises is a triumphant rollercoaster ride which ties the trilogy together in a hugely satisfying finale.