|Dancing cheek to cheek.|
Many, many critics have identified the parallels between Bane's ragtag anarchists and the Occupy movement (there's even a scene where Bane and his goons storm the Gotham equivalent of Wall Street, terrorizing the poor, helpless capitalists). Chris Nolan has been very coy on the subject, but he's not fooling anyone. This movie's politics are abhorrent, not because they're conservative but because they're cheap. Think about the function of the nuclear bomb in this movie: why does Bane need it if Gotham's common folk will tear each other apart in the absence of the law? TDKR's nuclear MacGuffin exists so that Nolan doesn't have to follow the logic of Bane's "villainy", and Batman's "rescue" to its inevitable conclusion: that Batman must save Gothamites from a world without prisons, police, and the Patriot Act (which the film renames the Dent Act for easier digestion). In essence, he must save the people of Gotham from an enemy worse than the Scarecrow, Two-Face, or even the Joker: themselves. Some studio bigwig must have clued in that this was a moral which mere commoners might find unpalatable, and demanded that the nuclear weapon be added in as well just to make it really clear that Batman was the good guy. Ain't nobody gonna argue with a nuke.
|I'll let the Green Arrow handle this one.|
This review is harsher than I meant it to be. The Dark Knight Rises isn't bad. It's maybe a 3/5. But it could have been so much more. As far as the Seven Stages of Grief go, I'm still in the "bargaining" stage with this movie. If there had only been a better script... if they'd edited more tightly... but no. The Dark Knight Rises is what it is: a sprawling, grim, and perhaps deliberately inflammatory finish for an equally dark, and often equally exasperating, series. I saw Batman Begins five times and The Dark Knight six, but with The Dark Knight Rises, I think I'm gonna stop at two. I've had enough Nolan for a while.