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It has been eight years since Batman vanished into the night, Batman now is forced to back in action to save Gotham City from the brutal guerrilla terrorist Bane, with the help of the enigmatic Catwoman.
There was an opportunity here for Nolan to show us another way, to (again) stretch the boundaries of what is possible in a superhero film. Instead, alas, the latter half of The Dark Knight Rises retreats toward conventionality.
The Dark Knight Rises may not reach the heights of its predecessor, but it is a worthy, epic conclusion to a trilogy that has raised the bar for an entire genre.
The story is dense, overlong, and studded with references that will make sense only to those intimate with Nolan's previous excursions into Batmanhood.
The Dark Knight Rises, awaited by the whole world as if it were the coming of a messiah, delivers on its promise as a mega-entertainment, but it's less dark, and with uncharacteristic inelegance along the way.
Others will see it differently, but for me this is a disappointingly clunky and bombastic conclusion to a superior series -- Nolan's biggest and worst movie to date.
Nolan somehow never loses control - this is an accomplished and tremendously confident filmmaker, both in the execution of his thrilling chases and action beats, and in his manipulation of the complicated, multi-faceted narrative.
The biggest surprise may just be how satisfying Nolan has made his farewell to a Dark Knight trilogy that many fans will wish he'd extend to a 10-part series, at least.
By the thrilling... Nolan satiates his taste for the big action set piece, but all is grounded in an intricately woven world of fierce loyalty and even more fierce enmity.
'The Dark Knight Rises' tries to be very dark and serious. The problem is, that rubber-headed costume just looks sort of, well, comical, when things get too realistic.
[This] wrap-up wraps up few of the threads in the first two films, and that the climactic cliff-hangers are nothing special (as well as flabbily edited).