Much has no doubt been written about the many flaws with The Dark Knight Rises and how it falls short of The Dark Knight. I should forewarn that I was not particularly a fan of The Dark Knight and to some extent preferred Batman Begins to it. The Dark Knight was overwrought, over-dramatic, pompous, non-nonsensical, bombastic, long, tedious, and ultimately ridiculous. Rises attempts to take elements that were already turned up to eleven and crank them even further, so it comes as no surprise when it fails miserably and falls flat on its face.
Rises does several things right. It brings back Batman's
origins with the League of Shadows and the legacy of Ra's al Ghul in order to
close the Batman arc. And it introduces Talia al Ghul, perhaps one of my
favourite Batman rogues/love interests, onto film. But it does so much wrong.
Here are but a few:
1. Lack of Viewer Engagement
It's easy to dwell on the plot holes, to pick at the little things. But that these things bother is avoiding the real elephant in the room: Rises is boring. I was not engaged, not engrossed, not on the edge of my seat. Instead I was watching the clock, wondering when it would all end. TDK was able to skirt by in spite of its many flaws precisely because of its ability to draw me in enough to care about the resolution. On reflection TDK's plot falls apart, there are numerous holes and flaws, but in the moment I was mostly too engaged to think about all of that. Rises carries with it the same problems but then failed to engage me, so I instead fixated on the little things that were wrong, and boy are there a lot of them. Ultimately these details ended up being what I took away from the film.
It's easy to dwell on the plot holes, to pick at the little things. But that these things bother is avoiding the real elephant in the room: Rises is boring. I was not engaged, not engrossed, not on the edge of my seat. Instead I was watching the clock, wondering when it would all end. TDK was able to skirt by in spite of its many flaws precisely because of its ability to draw me in enough to care about the resolution. On reflection TDK's plot falls apart, there are numerous holes and flaws, but in the moment I was mostly too engaged to think about all of that. Rises carries with it the same problems but then failed to engage me, so I instead fixated on the little things that were wrong, and boy are there a lot of them. Ultimately these details ended up being what I took away from the film.
2. Bane's voice
In a series ridiculed for Batman's over the top post-production under-the-cowl growl, it seems an especially egregious sin to introduce another barely comprehensible Darth-Vader-esque VO (voice-over) as a villain. Every time Bane spoke it felt off, it took me out of the experience. It seemed forced, detached, inauthentic. At least I could believe Batman was speaking in that ridiculous voice. Here I cannot suspend my disbelief enough to think Bane is actually talking and it isn't some post-production VO. In a film as reliant on the villain as this one, having a poor villain takes the momentum right out of it. While TDK was able to get by on the villain thanks to Heath Ledger's turn as the Joker, Rises tries to sail the same ship and fails terribly owing to Bane's pathetic non-character: a caricature of Darth Vader and Stalin who is ultimately revealed to be a mere henchman with no real motivations or justification for his particular skills.
In a series ridiculed for Batman's over the top post-production under-the-cowl growl, it seems an especially egregious sin to introduce another barely comprehensible Darth-Vader-esque VO (voice-over) as a villain. Every time Bane spoke it felt off, it took me out of the experience. It seemed forced, detached, inauthentic. At least I could believe Batman was speaking in that ridiculous voice. Here I cannot suspend my disbelief enough to think Bane is actually talking and it isn't some post-production VO. In a film as reliant on the villain as this one, having a poor villain takes the momentum right out of it. While TDK was able to get by on the villain thanks to Heath Ledger's turn as the Joker, Rises tries to sail the same ship and fails terribly owing to Bane's pathetic non-character: a caricature of Darth Vader and Stalin who is ultimately revealed to be a mere henchman with no real motivations or justification for his particular skills.
3. Bruce Wayne's 'escape'
The film ends with Bruce Wayne glimpsed by Alfred in a café with Selina Kyle, presumed dead but living out his life as a 'normal' person. It provides good closure to the series to have Bruce finally give up the cowl and live happily ever after and may to an extent appease fans, but the film really has no justification for how this happens. Bruce's motivation comes from seeing his parents murdered as a child, being unable to come to terms with this and move on, instead bottling up his anger and channelling it into a powerful force. The film doesn't deal with this, it doesn't have Bruce come to terms with his parents' death, it doesn't show how he is able to move on. If the death of Rachel Dawes in TDK and the subsequent eight years of reclusion were not enough for him to move on, then what exactly has changed? What does a singular terrorist trying to destroy Gotham change in Bruce to allow him to move on? The film shows nothing to answer these questions. So there is no reason to think Bruce is ready to move on. True, in the pit he must face adversity and there is a scene where he recalls the bat cave from his childhood, but this just firms up his resolve as Batman, it doesn't provide the necessary footing for him to move on as Bruce Wayne. The film wants the reward of a broken character who is interesting because of his flaws, to be restored to a life of happiness, to find love, without going through the hard character development work required to get there.
The film ends with Bruce Wayne glimpsed by Alfred in a café with Selina Kyle, presumed dead but living out his life as a 'normal' person. It provides good closure to the series to have Bruce finally give up the cowl and live happily ever after and may to an extent appease fans, but the film really has no justification for how this happens. Bruce's motivation comes from seeing his parents murdered as a child, being unable to come to terms with this and move on, instead bottling up his anger and channelling it into a powerful force. The film doesn't deal with this, it doesn't have Bruce come to terms with his parents' death, it doesn't show how he is able to move on. If the death of Rachel Dawes in TDK and the subsequent eight years of reclusion were not enough for him to move on, then what exactly has changed? What does a singular terrorist trying to destroy Gotham change in Bruce to allow him to move on? The film shows nothing to answer these questions. So there is no reason to think Bruce is ready to move on. True, in the pit he must face adversity and there is a scene where he recalls the bat cave from his childhood, but this just firms up his resolve as Batman, it doesn't provide the necessary footing for him to move on as Bruce Wayne. The film wants the reward of a broken character who is interesting because of his flaws, to be restored to a life of happiness, to find love, without going through the hard character development work required to get there.
4. The exposition
Everyone speaks in overwrought monologues that seem written for the express purpose of being cut and placed in trailers on top of action shots. No real insight or character development or genuine new information occurs in these exchanges. Just quotable lines for trailers. Think schlock like, "A hero never dies, he rises." or "You merely adopted the darkness, I was born into it."
Everyone speaks in overwrought monologues that seem written for the express purpose of being cut and placed in trailers on top of action shots. No real insight or character development or genuine new information occurs in these exchanges. Just quotable lines for trailers. Think schlock like, "A hero never dies, he rises." or "You merely adopted the darkness, I was born into it."
5. The music
The score in this film is criminal. It's easy to overlook, but how much the difference in tone and overall appeal between this film and TDK is due to the score is simply uncanny. In short, Rises' score is sloppy, unimaginative, and repetitive. It is often ill-placed, ill-timed, and ill-used. Rather than enhancing the believability of the fiction, it served to draw me out. The main theme sounds like the definition of a generic action-drama tent-pole film.
The score in this film is criminal. It's easy to overlook, but how much the difference in tone and overall appeal between this film and TDK is due to the score is simply uncanny. In short, Rises' score is sloppy, unimaginative, and repetitive. It is often ill-placed, ill-timed, and ill-used. Rather than enhancing the believability of the fiction, it served to draw me out. The main theme sounds like the definition of a generic action-drama tent-pole film.
6. The cinematography
Good cinematography is one of those things that you do not notice until it is gone. Done well the audience is completely immersed and credits the "powerful story" and the "emotional acting", completely oblivious to the subtle work wrought by the humble lens. When it's bad, well, it draws every other aspect of the film into criticism. Suffice it to say that the film was filmed lazily, without a craftsman's care, in a way that seems to be unsure of what story it wants to tell, or why exactly. Long panning shots feel like they are going through the motions, while action scenes feel devoid of energy, as if they were ripped from the "Making Of" scenes rather than being final cut. For such a big budget release it is disappointing to see such poor and uninspired use of the lens.
Good cinematography is one of those things that you do not notice until it is gone. Done well the audience is completely immersed and credits the "powerful story" and the "emotional acting", completely oblivious to the subtle work wrought by the humble lens. When it's bad, well, it draws every other aspect of the film into criticism. Suffice it to say that the film was filmed lazily, without a craftsman's care, in a way that seems to be unsure of what story it wants to tell, or why exactly. Long panning shots feel like they are going through the motions, while action scenes feel devoid of energy, as if they were ripped from the "Making Of" scenes rather than being final cut. For such a big budget release it is disappointing to see such poor and uninspired use of the lens.
7. Everything
With the support pillars of the film all in shambles, every little detail comes under scrutiny, and there honestly isn't a fraction of this film beyond criticism. It focuses on Wayne more than Batman, but Nolan's films have never done a good job of portraying Bruce Wayne and fail here again. Its plot devices are beyond ludicrous but delivered in a dead-serious manner. TDK did much the same, but was helped along by the fact that the plot served to draw out previously unseen aspects of Batman and the personality of the Joker. A dumb plot is forgiveable if it gives a chance for the characters to shine. Rises keeps the dumb plot (and cranks the dumb past any reasonable meter) but goes limp on the character development. In one scene, Talia al Ghul, who has moments ago been revealed to be the chief baddie (previously presumed good) dies in a car crash with a B-movie "eh, I'm dead" death scene so bad it defies comprehension. When Batman is losing in a fistfight, his utility belt seems uncannily devoid of any tricks, and his precision flying forearm mounted bat blades used to great effect in TDK are nowhere to be used (despite still being present on the costume). The chemistry between Batman and Catwoman is never really developed or explored. In the comics there is the benefit of continual issues to prolong the tease, but here it simply seems as though Selina is simply the first female Bruce has seen in almost a decade and therefore, well, urges are urges. Jonathan Crane, the Scarecrow is inexplicably the judge presiding over the people's court when Bane is ruling the city of Gotham. While Crane's continual cameos in Nolan's Batman trilogy are not unwelcome, the reasoning here stretches credibility. Lots of going's-on are afoot yet the opportunity to show the more detective inclined side of Batman is completely missed. Granted Batman is out of practice so this is explicable, but still represents a missed opportunity.
With the support pillars of the film all in shambles, every little detail comes under scrutiny, and there honestly isn't a fraction of this film beyond criticism. It focuses on Wayne more than Batman, but Nolan's films have never done a good job of portraying Bruce Wayne and fail here again. Its plot devices are beyond ludicrous but delivered in a dead-serious manner. TDK did much the same, but was helped along by the fact that the plot served to draw out previously unseen aspects of Batman and the personality of the Joker. A dumb plot is forgiveable if it gives a chance for the characters to shine. Rises keeps the dumb plot (and cranks the dumb past any reasonable meter) but goes limp on the character development. In one scene, Talia al Ghul, who has moments ago been revealed to be the chief baddie (previously presumed good) dies in a car crash with a B-movie "eh, I'm dead" death scene so bad it defies comprehension. When Batman is losing in a fistfight, his utility belt seems uncannily devoid of any tricks, and his precision flying forearm mounted bat blades used to great effect in TDK are nowhere to be used (despite still being present on the costume). The chemistry between Batman and Catwoman is never really developed or explored. In the comics there is the benefit of continual issues to prolong the tease, but here it simply seems as though Selina is simply the first female Bruce has seen in almost a decade and therefore, well, urges are urges. Jonathan Crane, the Scarecrow is inexplicably the judge presiding over the people's court when Bane is ruling the city of Gotham. While Crane's continual cameos in Nolan's Batman trilogy are not unwelcome, the reasoning here stretches credibility. Lots of going's-on are afoot yet the opportunity to show the more detective inclined side of Batman is completely missed. Granted Batman is out of practice so this is explicable, but still represents a missed opportunity.
8. There is no message
At the end of the day, with all its supposed seriousness and true-crime aspirations, Nolan's Dark Knight trilogy has no meaningful takeaway, no lesson, no moral, no insight nor wisdom to offer the viewer. It is entertainment for entertainment's sake, only dressed up in the pretensions of being something more, something it isn't. As if this wasn't enough, Nolan has the audacity to hint at further adventures at the end with Robin taking up the cowl. Leading the viewer on episode by episode is fine when the material is never paraded as anything more than pulp, but when placed on a pedestal as though it were a cultural touchstone it comes across as simply arrogant and sleazy. No one of critical mind would watch a Robin headlined film with Joseph Gordon-Levitt as Batman because such a film has nothing to say, nothing to contribute, it would only regurgitate tropes and themes for nostalgia and profit's sake.
At the end of the day, with all its supposed seriousness and true-crime aspirations, Nolan's Dark Knight trilogy has no meaningful takeaway, no lesson, no moral, no insight nor wisdom to offer the viewer. It is entertainment for entertainment's sake, only dressed up in the pretensions of being something more, something it isn't. As if this wasn't enough, Nolan has the audacity to hint at further adventures at the end with Robin taking up the cowl. Leading the viewer on episode by episode is fine when the material is never paraded as anything more than pulp, but when placed on a pedestal as though it were a cultural touchstone it comes across as simply arrogant and sleazy. No one of critical mind would watch a Robin headlined film with Joseph Gordon-Levitt as Batman because such a film has nothing to say, nothing to contribute, it would only regurgitate tropes and themes for nostalgia and profit's sake.
Going into Rises I did not have high expectations. That may
seem hard to believe, but I wasn't overly fond of its predecessor TDK and in
general have no love for sequels. Nonetheless, Rises still managed to fall
short (if only a little) of where I thought it would end up. Surely such a bad
film couldn't climb its way to the top of the box office, surely the audience
would cry foul and word would spread. But worse films have fared better, so I
ought to not be surprised.
References:
The Dark Knight Rises. (2012) Directed by Christopher Nolan [Film]. Burbank, Calif: Warner Bros. Pictures.
The Dark Knight. (2008) Directed by Christopher Nolan [Film]. Burbank, Calif: Warner Bros. Pictures.
Batman Begins. (2005) Directed by Christopher Nolan [Film]. Burbank, Calif: Warner Bros. Pictures.
References:
The Dark Knight Rises. (2012) Directed by Christopher Nolan [Film]. Burbank, Calif: Warner Bros. Pictures.
The Dark Knight. (2008) Directed by Christopher Nolan [Film]. Burbank, Calif: Warner Bros. Pictures.
Batman Begins. (2005) Directed by Christopher Nolan [Film]. Burbank, Calif: Warner Bros. Pictures.
