MOVIE REVIEW: VENOM : THE LAST DANCE

Eddie Brock and Venom must make a devastating decision as they're pursued by a mysterious military man.

Director: Kelly Marcel

Cast: Tom Hardy, Chiwetel Ejiofor, Juno Temple, Rhys Ifans, Peggy Lu, Alanna Ubach, Stephen Graham

Release Date: October 24, 2024

Genre: Action, Adventure, Sci-Fi, Thriller

Rated PG-13 for intense sequences of violence and action, bloody images and strong language.

Runtime: 1h 50m

Review:

Venom: The Last Dance ends the Tom Hardy bromance trilogy on a stilted, occasionally goofy but ultimately underwhelming note.  Tom Hardy clearly enjoys making these films as he gets to banter back and forth between himself as both characters but the film's have rarely matched his commitment and focus.  This entry has a strange herky-jerky feel to it as it struggles to find any sort of consistent tone which is made even harder with a lazy script.  Kelly Marcel does her best to make the whole thing watchable with some Looney Toon inspired action sequences that are bits of contained madness which bring some life to film before it dips back down into the uninspired drudgery that makes up the plot.  Tom Hardy does his best to carry the film but the comedy here rarely lands the way it should which makes the film's hour and fifty minutes feel longer than it should.   Chiwetel Ejiofor and Juno Temple slum it here in underwritten supporting roles but try their best to make something out of the paper thin characterizations on the page.  Ejiofor is an immensely talented actor which makes it hard to watch him slog through the incredibly generic dialogue as a foil to Temple's overly naive, wide eyed scientist.  Rhys Ifans pops up in small but fun supporting role but he's in a similar battle against the script.  There's very little that happens that comes as surprise until it leads to the predictable final battle.  That CGI heavy battle provides plenty of symbiote action vs generic alien creatures which look like unused Men In Black character designs.  The whole thing ends with an odd  TV finale style montage that seems to hammer home the point that this is the end of the trilogy which aims to inspire an emotional response more meaningful than a general shrug.  

D

MOVIE REVIEW: THE BIKERIDERS

Over the course of a decade, a Midwestern motorcycle club evolves from a gathering place for local outsiders to a sinister gang, threatening the original group's way of life.

Director: Jeff Nichols

Cast: Jodie Comer, Austin Butler, Tom Hardy, Michael Shannon, Mike Faist, Norman Reedus

Release Date: June 21, 2024

Genre: Crime, Drama

Rated R for language throughout, violence, some drug use and brief sexuality.

Runtime: 1h 56m

Review:

Jeff Nichols' The Bikeriders is an engaging motorcycle drama propelled by strong performances from Jodie Comer and Tom Hardy.  Nichols film is set up like a classic tragedy with an air of nostalgia peppering the film's early acts as we follow the rise of the fictional motorcycle club.  There are plenty of wonderfully framed long shots of motorcycles rumbling across the screen against picturesque backdrops.  The club itself portrayed as a rough and tumble group that still has a sense of a moral code especially early on.  Austin Butler serves as Nichols' idealized version of this long lost era but little more.  Butler looks the part of the rebel without a cause although the story doesn't give him any depth or texture.  His character is central to what amounts to a love triangle but he's a frustrating cypher that the script never really explores in any meaningful way.  Jodie Comer, sporting a heavy Midwest accent, fares far better as the film's entry point.  Comer's character is an independent spitfire who is dragged into this world via an undeniable attraction to Butler's Benny.  Comer does an impressive job leading the film and giving her character an authentic sense of desperation as she tries to maintain her relationship alive in a tug a war between the club and Tom Hardy's Johnny.  Hardy is perfectly suited as the club's grizzled president, bring his distinct intensity to the role.  There's an air of sadness to his performance especially in the final act which brings an impressive amount of depth to his character in what is a fascinating turn.  The supporting cast is made up of a series of familiar faces which sadly serve more as window dressing due to a decidedly light script with only Michael Shannon leaving a lasting impression.  There's no denying that The Bikeriders has a distinct appeal mainly due to a pair of stellar performances but it could have been something truly special with a more nuanced script.

B 

MOVIE REVIEW: VENOM: LET THERE BE CARNAGE

 

After finding a host body in investigative reporter Eddie Brock, the alien symbiote must face a new enemy, Carnage, the alter ego of serial killer Cletus Kasady.

Director: Andy Serkis

Cast: Tom Hardy, Michelle Williams, Naomie Harris, Reid Scott, Stephen Graham, Woody Harrelson

Release Date: October 1, 2021

Genre: Action, Adventure, Sci-Fi, Thriller

Rated PG-13 for intense sequences of violence and action, some strong language, disturbing material and suggestive references

Runtime: 1h 30min

Review:

Venom: Let There Be Carnage is the kind of sequel that takes what worked in an underwhelming original and goes all in with them.  Andy Serkis directs his film with a kinetic sort of energy that’s hard to ignore.  It works best when it focuses on Hardy’s Brock and his symbiote bickering back and forth like the world’s strangest odd couple.  It’s goofy and silly but it’s enjoyable for large chunks of its brisk runtime.  Woody Harrelson chews up scenery with impressive gusto as the film’s villain.  Harrelson seems to relish in these sort of oddball and he’s clearly having a ball it’s just a shame he doesn’t have a better script to work with.  There’s an overall sense that Harrelson is slumming here just like Michelle Williams and Naomie Harris who’s criminally underused here. Venom: Let There Be Carnage is the type of cinematic fast food that more enjoyable than it should be and probably bad for you if you have too much of t.

C

MOVIE REVIEW: CAPONE

Chronicling the final days of notorious gangster Al Capone as he succumbs to dementia and relives his past through tormenting memories.

Director: Josh Trank

Cast: Tom Hardy, Linda Cardellini, Jack Lowden, Noel Fisher, Kyle MacLachlan,  Matt Dillon

Release Date: May 12, 2020

Biography, Crime, Drama

Rated R for strong/bloody violence, pervasive language and some sexuality

Runtime: 1 h 43 min

Review:

Capone, a messy misfire, makes Josh Trank’s first film Chronicle look like beginner’s luck more than signs of greatness.  Trank has a ripe bit of story that could have been genuinely interesting and a game star but what he delivers is a messy and boring film that never takes advantage of any of it.  Instead we get a film where Tom Hardy where he’s buried under horrible zombie like make up as he uses an interesting voice inflection before he devolves into communicating through grunts.  Adding into the strangeness, Hardy is given two occasions to sing because why not.  The supporting cast tries their best to do what they can with their roles but it’s a lost cause as this relatively short film feels incredibly long.  Those hoping there’d be some sort of deep dive into Capone’s madness or even his past will be left disappointed.  There’s a scene early on in the film with Hardy’s Capone loses his bodily functions while sleeping, it’s an apt statement about the film in general.


D

MOVIE REVIEW: VENOM

Journalist Eddie Brock is trying to take down Carlton Drake, the notorious and brilliant founder of the Life Foundation. While investigating one of Drake's experiments, Eddie's body merges with the alien Venom -- leaving him with superhuman strength and power. Twisted, dark and fueled by rage, Venom tries to control the new and dangerous abilities that Eddie finds so intoxicating.

Director: Ruben Fleischer

Cast: Tom Hardy, Michelle Williams, Riz Ahmed, Jenny Slate, Scott Haze, Reid Scott

Release Date: October 5, 2018

 

Genres: Action , Horror , Sci-Fi

Rated PG-13 for intense sequences of sci-fi violence and action, and for language

Runtime: 1h 36 min

Review:

Venom is a strange silly film that is saved by Tom Hardy’s commitment.  Ruben Fleisher’s movie is loud, tonally erratic and occasionally enjoyable.  When it works it works mostly due to Hardy who’s having a blast in the film.  He’s so incredibly watchable that it almost makes you forget the movie and its overall plot is so basic and tired.  Riz Ahmed and Michelle Williams on the other hand seem to be collecting paychecks.  Neither seems to be terribly excited about their characters probably because their so simplistic and one dimensional.  Fleishcher seems to be channeling 90’s movies for some reason.  Some of the action sequences, like a motorcycle/car chase, feel like they’ve been pulled right out of Michael Bay’s The Rock.  Hardy, to his credit, keeps it from being an outright disaster and if there’s a sequel hopefully it gives him a better overall film.

C+

Cindy Prascik's Reviews of Venom and A Star is Born

  

Dearest Blog: Yesterday it was off to Marquee Cinemas for the "strange bedfellows" double-bill of Venom and A Star is Born.

 

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

 

First on the docket: Venom.

 

A down-on-his-luck video-journalist unwittingly merges with an alien life form, turning his world upside down.

 

Venom is a disaster. It's a big miss from Marvel, a company noted for not missing even when all it has to offer is Ant-Man. If not for the supreme good fortune of having Tom Hardy in the lead, the movie would be utterly unwatchable. Thankfully, Hardy seems to be having a blast, which makes at least his performance good fun. The rest is, unfortunately, so stupid as to be no fun at all. With its horrific-looking aliens and an overload of carnage, the movie's PG13 rating feels disingenuous; maybe if they'd tossed in an extra F-word and gone full R the finished product wouldn't seem so lame. A told-to-death backstory, underwhelming effects, and idiotic humor ruin any chance of caring about the characters or what is happening to them. If the Captain Marvel trailer made me think a time is coming when comic-book movies will no longer be must-see for me, then Venom certainly drove home the point. In the immortal words of Nathan from The Full Monty, "That were crap."

Venom clocks in at 112 minutes and is rated PG13 for "intense sequences of sci-fi violence and action, and for language."

 

Venom ranks among the worst movies I've seen in 2018. 

 

Of a possible nine Weasleys, Venom gets two.

 

Next up, the third big-screen rendering of A Star is Born.

 

A superstar musician takes on a talented protege, and romance ensues.

 

Dear reader(s): A Star is Born forces me to offer warring disclaimers. If I'm predisposed to view romantic films with disdain, I'm (at least) equally inclined to love any movie about music or musicians. It is to this film's credit that it's so good I don't think either had much influence on my opinion of the whole.

 

There are a great many positives here, so we'll start with the most obvious: the performances of the film's leads, Bradley Cooper and Lady Gaga. I dig Bradley Cooper. Since The A-Team came out in 2010, my ringtone has been Steely Dan's Reelin' in the Years, so when the phone rings I can hope it's Bradley Cooper. (Spoiler alert: It's never Bradley Cooper.) I will watch Cooper in anything, and I think he elevates any project lucky enough to have him. At this point, it should be no surprise to anyone that he is amazing, though at times I still worry he's so ridiculously good-looking as to be sold short. Here he's no less than Oscar worthy, and (now that Gary Oldman has his!), I genuinely hope that this is Cooper's year. In his debut behind the camera, his top-notch direction may garner him additional hardware. Gaga is also terrific. She's served well by her own experiences, and I won't be at all surprised if she, too, bathes in awards love this winter. The picture's original songs are solid, though I much preferred the guitar-driven numbers performed by Cooper's band to Gaga's epic ballads. If you're still having a hard time getting over all the accolades heaped on LaLa Land's lackluster songs and middling vocals, this movie should be the cure for what ails you. The film runs a bit long, and the story is sort-of hokey at times--as love stories are--but it's well told enough and the characters so engaging that it's a petty quibble. I don't think it's spoilery to warn that A Star is Born is a tearjerker--the woman behind me was sobbing so hard I thought we were going to have to call the EMTs--so bring the Kleenex.

 

A Star is Born runs 135 minutes and is rated R for "language throughout, some sexuality/nudity, and substance abuse."

 

A Star is Born offers a new take on a timeless tale, showcasing some truly extraordinary performances and firing perhaps the first real shots of this awards season.

 

Of a possible nine Weasleys, A Star is Born gets eight.

 

Fangirl points: Look, there's really no need for me to say any more about Bradley Cooper, but...did I mention Bradley Cooper with long hair and a guitar? *sigh*

 

Until next time...

 

MOVIE REVIEW: DUNKIRK

Acclaimed auteur Christopher Nolan directs this World War II thriller about the evacuation of Allied troops from the French city of Dunkirk before Nazi forces can take hold. Tom Hardy, Kenneth Branagh and Mark Rylance co-star, with longtime Nolan collaborator Hans Zimmer providing the score. ~ Daniel Gelb, Rovi

Director: Christopher Nolan

Cast: Tom Hardy, Mark Rylance, Kenneth Branagh, Cillian Murphy, James D'Arcy

Release Date: Jul 21, 2017

Rated PG-13 for intense war experience and some language

Genres: Action/Adventure, Drama

Review:

Christopher Nolan’s Dunkirk is an impressive achievement, a sprawling war epic taken from multiple viewpoints.  After Interstellar, a rare misstep from Nolan, it’s good to see the director try something new.  What he delivers an interesting and engaging non liner story told from different viewpoints and perspectives.  As such it gives you a well rounded viewpoint, from the ground, air and sea, of the events as they unfold.  The characters are fairly simplistic but they serve the story well with Mark Rylance, Tom Hardy and Fionn Whitehead all deliver strong performances even though their scenes are about as bare bones as they come.  Nolan’s film is more about the event than the actual people so they’re not really a huge emphasis on unearned dramatics.  It’s a big sweeping film which shows off Nolan’s technical prowess throughout.  Is it the greatest war film ever made, probably not, it’s probably not Nolan’s best film, The Prestige still holds that honor, but it’s a impressive none the less.

B+

Cindy Prascik's Review of The Revenant

Dearest Blog: After suffering through The Hateful Eight on New Year's Day, a short-and-cheery flick would have been welcome this week. 

Alas, Oscar nominations drop Thursday, so instead I found myself at Marquee Cinemas for another marathon of misery, The Revenant. Spoiler level here will be mild, nothing you wouldn't know from the trailers. Survival and revenge are a long and painful road for a man who has lost everything. 

Dear reader(s): When I tell you The Revenant is miserable, I mean that happy is not in its dictionary. I do not mean I didn't like it; on the contrary, I absolutely loved it. 

Most news about The Revenant focuses on the physical difficulties of making the picture, no doubt to convince the Academy that Leonardo DiCaprio deserves that elusive Best Actor trophy. DiCaprio's Oscar desperation is so palpable the movie might as well have been called, "Please Let Me Win This Time." 

Luckily, his performance is mostly brilliant, dipping only the occasional toe into unintentional comedy with his overacting. (To clarify, Leo's deserved an Oscar since Gilbert Grape, but he definitely sells it a little too hard at times.) Tom Hardy, Domhnall Gleeson, and Will Poulter are equally fantastic, with far less histrionics. 

The story is fascinating, beautifully told, but full of deception and brutality. A lovely score underlines the film, taking a quiet backseat but for its powerful climax. The Revenant's real stars, however, are its stunning locations and the expertise with which they're filmed. Magnificent snowy mountains, icy rivers, and majestic forests are presented in such striking big-screen glory it takes your breath away. 

I'd ordinarily complain about a runtime so far in excess of two hours, but I happily could have watched two more hours of this beauty. The Revenant runs 156 minutes and is rated R for "strong frontier combat and violence, including gory images, a sexual assault, language, and brief nudity." The Revenant doesn't have many flaws, but, if we're being honest, I'd have forgiven it just about anything for its visual splendor alone. 

Of a possible nine Weasleys, The Revenant gets eight and a half. 

(Small bonus for having an actual Weasley!) Until next time... 

MOVIE REVIEW: THE REVENANT

In 1820s America, frontiersman and fur trapper Hugh Glass (Leonardo DiCaprio) joins a pelt-gathering expedition along with his teenage son Hawk (Forrest Goodluck). When attacks by Arikara Indians claim the lives of many of the men in the party, Glass leads a small group on a new path back to a U.S. fort. While attempting to hunt game on the journey, Glass is mauled by a grizzly bear and horribly wounded. Assumed he'll be dead soon, Glass is left under the care of roughneck John Fitzgerald (Tom Hardy), and the young and inexperienced Jim Bridger (Will Poulter) as Hawk watches on in horror. Fitzgerald betrays Glass and leaves him for dead, alone and unarmed. Glass nurses himself back to health and charts a course of revenge. Alejandro González Iñárritu directed this pulse-pounding epic. ~ Daniel Gelb, Rovi

Director: Alejandro González Iñárritu

Cast: Leonardo DiCaprio, Tom Hardy, Domhnall Gleeson, Will Poulter, Lukas Haas

Rated R for strong frontier combat and violence including gory images, a sexual assault, language 

and brief nudity

Runtime: 2 hr. 36 min.

Genres: Action/Adventure, Suspense/Thriller

Review:

Alejandro González Iñárritu’s follow up to last years Oscar winning Birdman is beautiful film which shows you a lot more than it ever tells you.  Iñárritu leans on symbolism and some quasi spiritual visions more than outright exposition throughout, leaving us with a soulful, if grittier, Jack London style story.  The bear attach scene and the opening attach sequence, which looks like it’s shot in a single take, will leave the biggest impression but at its base it’s a straightforward revenge tale with very little else going on.  Its bear bones approach might turn off some since it only gives us passing details of DiCaprio’s character but never goes into much detail about it.  DiCaprio’s performance is mostly based off grunts and screams intermixed with passing bits of dialogue.  He’s impressively committed to the roles especially through the adverse conditions he went through while filming the movie.  While, DiCaprio is excellent, I left the film more impressed by Tom Hardy’s performance.  Hardy is a given a slightly meatier role, so much so that sometimes he feels like the main character more so than DicCaprio’s.  It’s an interesting juxtaposition to watch, each succeeds, along with the film.  The Revenant falls just short of reaching the level of Birdman but still an impressive bit of film making none the less.

B

Cindy Prascik's Reviews of Mad Max: Fury Road & The Longest Ride

Dearest Blog, yesterday it was off to the cinema for the unlikely pairing of Mad Max: Fury Road and The Longest Ride.

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

First on my agenda: Mad Max: Fury Road.

A pair of unlikely allies flees a pack of brutal baddies across a futuristic desert wasteland.

Dear reader(s), I have long known the summer of 2015 would mean one thing for me: admitting I haven't seen the original Mad Max, Jurassic Park, or Terminator movies since their theatrical releases.

My recollection of the three franchises is limited to one (1) Tina Turner video (from Mad Max: Beyond Thunderdome) and Izzy from Miami Vice being killed whilst sitting on the toilet (in the first Jurassic Park).

Therefore, 'twas not any residual affection for the original, nor any delight at seeing it resurrected, that led to my excitement for the new Mad Max; the credit for that can be laid solely at the feet of one of the most amazing trailers in recent memory. In fact, I frequently said if the movie were half as good as said trailer, we'd be in good shape.

Note to self: refrain from such statements in the future.

First, let's get to what Mad Max: Fury Road gets right, because there's plenty, and it's absolutely worth the price of admission. This is a magnificent-looking movie. Full marks across the board for cinematography, art direction, costumes and makeup, effects, stunts, locations, and set design.

Even the 3D is spectacular, and I assure you, dear reader(s), I generally have no love for 3D. Explosive maximum carnage--both human and vehicular--is up-close and enormous. The acting, such as it is, is far less cringeworthy than the original trilogy.

Tom Hardy makes a fair replacement for Mel Gibson, though, even as the titular good guy, he has less to do than Charlize Theron, a tough and able hero. Nicholas Hoult is surprisingly un-annoying (for Nicholas Hoult), and Jason Statham's woman is serviceable in just her second big-screen appearance, at least as far as I could tell between giving her the stinkeye. A grand score by Junkie XL perfectly complements the huge action.

Now...here's the problem: you know when you hop in the car to go on vacation? At first it's so exciting, but, after about 30 minutes, it's all, "Are we there yet?" That's this movie. It's essentially just one overlong car chase, and it is unspeakably exhausting. I was all but done by the halfway point and wishing it *were* just a Tina Turner video. There's barely enough plot for a short, and, in the end, I'd say the movie is almost exactly half as good as that trailer that raised my hopes so very high.

Mad Max: Fury Road runs two hours on the dot (but seems much longer) and is rated R for "intense sequences of violence throughout, and disturbing images."

It's a disappointment in many ways, but Mad Max: Fury Road is still more than worth seeing in 3D on the biggest screen you can find.

Of a possible nine Weasleys, Mad Max: Fury Road gets six.

Next up was the most recent Nicholas Sparks gag-fest, The Longest Ride.

A young bullrider and his art-student girlfriend find valuable lessons in some old love letters.
Alrighty, in the interest of full and fair disclosure: whatever a "fair shake" is for a dog turd like The Longest Ride, you may rest assured it isn't getting one here. I'm not one to sign on for a movie I know I'm going to hate, just for the privilege of hating it, but sometimes my hand is forced by a beloved actor, so...thank Jack Huston for what follows.

The Longest Ride kicks off with more lower-lip-biting and demure-looking-through-lashes than the best 50 Shades parody.

Fifteen minutes in I'm cursing the half-dozen other patrons keeping me from getting out my phone and piddling on Facebook during the non-Jack Huston parts.

Then we're off to watch Real Men participate in the barbaric "sport" of bull riding. Cue the groupies in their short skirts and cowboy boots--our squeaky-clean hero has eyes for just one--cut to dirty looks from the other women in attendance. Is there an app that tells me when my favorite actor is onscreen? I could always go hide in the bathroom for awhile... He's come to pick her up at the sorority house for their first date. Preppy college kids giggle and whisper at his boots and hat, but when he presents flowers (my gosh, no guy has ever thought of THAT before!) the entire sorority squeals, "I want a cowboy!"

Who writes this shit? Is there money in it? Sign me up!

On their way home, the couple happens upon a car accident. Sexy Cowboy pulls a victim from the burning car, while the Damsel rescues a box about which he seems concerned, even in his gravely-injured state.

Perhaps the car will blow up? This movie would be a lot more tolerable if only something would blow up.

She elects to stay at the ER with the elderly accident victim, sneaking a peek in his precious box, which is filled with old love letters.

When he awakes, he instantly takes to her--despite being supremely grouchy to everyone else--and sadly confesses he can no longer read the letters. Thus begins an epic friendship that consists of her reading the letters aloud while he lies there looking like death-warmed-over.

Is it poor form to riff out loud at the movies? Asking for a friend. The rest of the so-called plot consists of romantic standards such as running on the beach and vanilla, rating-conscious love scenes. (Folks, if you send your women off to see this, thinking they'll come home in a lather, forget about it.

The sex is no more explicit than your average broadcast TV show, and they're more likely to come home and demand you purchase a priceless work of art to prove your undying love.) Leads Scott Eastwood (Clint's son, apparently) and Britt Robertson are about as bland and predictable as the story itself.

The terrific Jack Huston and Oona Chaplin are pitifully wasted as the younger version of the couple in the love letters. It goes without saying Alan Alda is slumming in crap like this, but feigning life-threatening injury does at least give him a little bit of acting to do. By the end I was actively pondering whether the straw from my soda could be used to perform ritual suicide.

The Longest Ride clocks in at a bloated 139 minutes and is rated PG13 for "some sexuality, partial nudity, and some war and sports action."

It won't take long before you're rooting for the bull, trust me.

Of a possible nine Weasleys, The Longest Ride gets two, both of which are awarded for Jack Huston's only 2015 big-screen appearance.

Until next time.

Pen name: Nicholas Sparks.

MOVIE REVIEW: THE DARK KNIGHT RISES [Spoiler Free]

IN THEATERS

THE DARK KNIGHT RISES




Christopher Nolan's Batman trilogy concludes with this Warner Brothers release that finds The Dark Knight pitted against Bane, an unstoppable foe possessed of tremendous physical and intellectual strength. Nearly a decade after taking the fall for Harvey Dent's death and disappearing into the darkness, a fugitive Batman (Christian Bale) watches from the shadows as the Dent Act keeps the streets of Gotham City free of crime. Meanwhile, an elusive cat burglar seizes the chance to strike, and a masked anarchist plots a devastating series of attacks designed to lure Bruce Wayne out of the shadows. Determined not to abandon the people who he once risked his life to protect, The Dark Knight emerges from his self-imposed exile ready to fight. But Bane (Tom Hardy) is ready, too, and once Batman is within his grasp, he will do everything in his power to break Gotham City's shadowy savior. Oscar-winner Michael Caine and Gary Oldman return in a sequel also starring Anne Hathaway, Marion Cotillard, and Joseph Gordon-Levitt. ~ Jason Buchanan, Rovi

Director: Christopher Nolan

Cast: Christian Bale, Anne Hathaway, Tom Hardy, Marion Cotillard, Joseph Gordon-
Levitt, Michael Caine , Gary Oldman, Morgan Freeman

Release Date: Jul 20, 2012

Rated PG-13 Intense Sequences of Violence, Intense Sequences of Action, Language and some Sensuality

Runtime: 2 hr. 45 min.

Genres: Action/Adventure, Suspense/Thriller

Review:

In a summer of movies where one anticipated film is followed by another, there was only one that truly and deeply had me waiting desperately and impatiently. After having digested The Dark Knight Rises twice now, I can say that Christopher Nolan has created one of the best trilogies of all time for one of the seminal character in pop culture. With TDKR Nolan has made the Avengers look quaint in comparison. Incredibly satisfying and emotionally impactful, this finale ends the series with a real bang. Borrowing pieces from graphic novels like The Dark Knight Returns, No Man’s Land, a sampling of Batman Beyond and even a bad Batman The Animated Series episode, TDKR is a cornucopia of delights for Batfans like me. Little winks and nods of fan service are peppered into the film making me about gleeful as an unsupervised child in a candy store. The story meshes incredibly well with the overall arch of the first 2 films especially Batman Begins. Bale is given the spotlight here, rightfully so, and he’s incredible. Bale portrays Wayne, Batman himself is actually only in about a third of the overall film, as a man dealing with the after effects of the 2nd film’s finale. He displays Bruce’s struggle to find meaning and direction in his life with textured nuance. Tom Hardy, who looks like Brian Urlacher dressed for an S&M party, is quiet impressive as the primary villain here. Sounding like a cross between Darth Vader and Sean Connery, his Bane is a shark to Heath Ledger’s wild dog Joker. Bane is menacing and intimating, brimming with confidence in every scene which is impressive considering Hardy only has his hands and eyes to act with because of the face mask. Equally impressive and perhaps more surprising is Anne Hathaway’s Catwoman. Hathaway just nails the character’s essence and persona right from the start. This is a more traditional Catwoman than the S&M Burton version. As such it feels more in keeping with her character from the comic and animated sources, a real delight. Joseph Gordon-Levitt & Marion Cotillard both do solid work in roles that are vital to the story arch. With all the new faces in this entry some of the series standby take a bit of a back seat but still leave their mark such as Oldman perfect pitch Gordon which is always a joy, as is Morgan Freeman’s Lucius Fox. Michael Caine though deserves special recognition as Alfred even though he’s in this film a lot less than previous entries. Caine has a few scenes that deliver potent emotional punches in his roles as Bruce’s paternal figure. Together this cast creates a lush and vivid Gotham that’s alive and earned through the other film’s set up. The film rolls towards it’s final act which itself is an impressive piece of directing by Nolan since it’s pretty much a very well orchestrated version of the 1966 Batman finale where Adam West was running around with a bomb over his head. Of course that’s an exaggeration but it’s a testament to the strength of the film that it works so well as a thrilling finale giving me many a goose bumps throughout. If there are a few nitpicks they are very minor. Some of the dialogue feels clunkier that the previous entries and some character’s like Matthew Modine’s Assistant Chief serve little to no purpose. Minor issues but apparent. Regardless, you’ll leave the theater wondering how that nearly 3 hour run time passed by so fast and when you can see it again.

A

"Dark Knight Rises" Villains Revealed

A press release from Warner Bros. Pictures has confirmed the two key members of Batman's Rogues Gallery that will appear in the much-anticipated upcoming "The Dark Knight Rises" - Catwoman and Bane. Check it out below:

"Warner Bros. Pictures announced today that Anne Hathaway has been cast as Selina Kyle in Christopher Nolan’s “The Dark Knight Rises.” She will be starring alongside Christian Bale, who returns in the title role of Bruce Wayne/Batman. Christopher Nolan stated, “I am thrilled to have the opportunity to work with Anne Hathaway, who will be a fantastic addition to our ensemble as we complete our story.”

In addition, Tom Hardy has been set to play Bane. Nolan said, “I am delighted to be working with Tom again and excited to watch him bring to life our new interpretation of one of Batman’s most formidable enemies.”

http://www.darkhorizons.com/news/19122/-dark-knight-rises-villains-revealed