New Great Gatsby Trailer Arrives

A new trailer for Baz Luhrmann's The Great Gatsby has just been released (unfortunately the film now won't be until May 17 in the UK). This one offers a deeper look at Luhrmann's take on the Gatsby character. Clearly the film will not have the refined tone of the novel or Jack Clayton's adaptation. However the cinematography looks superb and the film clearly aims to be lavish and decadent (like most of Luhrmann's work). I really like the musical theme used in both trailers and can't wait to see Carey Mulligan's portrayal of Daisy.

Watch for yourselves here:

The Hobbit: An Unexpected Journey

I expected this to be a disappointment that could in no way live up to Peter Jackson’s Lord of the Rings trilogy, I was actually in a state of panic the night before the ‘main event’.

Luckily I was proved entirely wrong. Although The Hobbit (part 1) does not carry the same sense of end of the world urgency that LoTR did, instead having a lighter, more childish tone; it was a complete joy to be back in Jackson’s Middle Earth.

I admit I am not a Tolkien fan, in fact, The Hobbit and LoTR are probably the only books I have read cover to cover and wholly unenjoyed. The only part of The Hobbit (novel) I remember is that long-winded unexpected party at the beginning, and only because as a child I would read that chapter every so often in the hope of  reading more but almost always giving up.

However, on screen, this party is NOT long-winded. I only read one review before seeing the film (one of the more positive ones) and cannot believe the backlash this film has received. Yes, it lasts 2 hours and 40 minutes; but I was not bored for a second – in fact – I could have sat through double that time, and could not believe how quickly it was over.

I expected to hate the dwarves but they were great, as was Freeman as Bilbo and McKellan reprising his role as Gandalf. My one qualm was that Galadrial didn’t serve much of a purpose, bordering on cringey, though this did not seem as prominent on a 2nd viewing.

Basically, Jackson has produced a visual feast for the eyes. Whether the action on screen seems trivial, the effects and New Zeland landscapes are something to be marvelled at. Also Howard Shore’s score should be commended. It includes a lot of themes present in LoTR, but the Misty Mountains theme is outstanding.

As for this 48fps debacle – I seriously noticed no difference at all. Either something is very wrong with my eyesight or the cinema tricked me. My first viewing was in IMAX 3d and the visuals in that were bright, extremely clear and the 3d was (dare I say it) immense, bordering on distracting at times as I spent a lot of time gawping in wonder at the visuals rather than taking in the story.

Unlikely to win over many non-LoTR fans, but a spectacle that will please Tolkien and Jackson enthusiasts.

*****

'Hope Is the Real Key to Torture' - Nolan Rises

"YOU REALLY THINK THIS IS GOING TO LAST? THERE'S A STORM COMING MR. WAYNE. YOU AND YOUR FRIENDS BETTER BATTEN DOWN THE HATCHES, BECAUSE WHEN IT HITS YOU'RE ALL GOING TO WONDER HOW YOU EVER THOUGHT YOU COULD LIVE SO LARGE AND LEAVE SO LITTLE FOR THE REST OF US" 

MAJOR SPOILER ALERT

 My first viewing of The Dark Knight Rises was after an epic but grueling previous six hours in the cinema watching both the terrific Batman Begins and The Dark Knight. Having only previously seen each of these predecessors once all the way through, my main interest in the third installment was sparked by the trailer's depiction of the villain Bane and his attempt to obliterate Gotham City. However the first two films were so compelling that until the final hour of Rises I was feeling deeply underwhelmed by it.   

To briefly summarise the plot: Eight years after the events of The Dark Knight took place, Gotham City is in a time of peace, and Bruce Wayne is now a shell of his former self. The Batman has not been seen since the demise of Harvey Dent, having taken the blame for his death. After an encounter with master thief Selina Kyle (Anne Hathaway) and the appearance of new villain Bane (Tom Hardy) - who also leaves Commissioner Gordon in the hospital - Bruce realises he must once again don his bat suit and take on the new threat that aims to destroy Gotham.

There were a few issues with the film that make it problematic for me. Although there has been much talk of it being over the top and too grand, I felt that some scenes were lacking in scale to make enough of an impact. For example many of the overhead shots of Gotham showed a city almost deserted, and this was before Bane seized control of this domain. The roads were devoid of traffic. For a city boasting a population of 12 million, they were rarely to be seen. Was this now a place so peaceful its citizens just stayed in bed all day? This is something I did not notice in the previous films - perhaps due to a large proportion of Rises taking place in the daylight. Aside from the football stadium scene, the people of Gotham were noticeably missing.  

Another concern was connections between aspects of the plot and characters. I spent a lot of the film wondering what is the point in Selina Kyle? The same goes for Blake (Joseph Gordon-Levitt). Although these issues were tied up by the end, there could have been more character development. The connection between Bane and Selina seemed sparse - we needed to know more. I felt the same about the prison. Although having since researched what this place was, for those who don't have a good knowledge of the comics, this could be confusing. For instance, how is it regulated? I'm sure there was a mention of guards, but the audience doesn't see them. We know there was a doctor, and why is there a TV?


Further to this, Bane did not turn out to be the villain I wanted him to. Physically he looks incredibly menacing...vocally not so much. I can't say I had many problems understanding what Bane was saying, I can kind of understand why the filmmakers would want him to sound like that, but come on...it was pretty ridiculous. Having expected him to be absolutely terrifying this was disappointing. Without comparing him to The Joker in terms of performance or visual spectacle, on the one hand we have a villain who is presented as being completely insane...as Alfred says in The Dark Knight: 

 'Some men aren't looking for anything logical, like money. They can't be bought, bullied, reasoned, or negotiated with. Some men just want to watch the world burn.'

On the other hand, Bane is meant to be highly intelligent, so his motives are questionable. He appears to lead an anti-capitalist revolution but with an overall intention to blow Gotham to smithereens...giving its lower class citizens hope when there is none. Meanwhile the cops are seen behaving both ambiguously and heroically - which may leave the viewer unclear on who they are meant to root for. Although now dismissive of lavish parties, Wayne is still a member of the bourgeoisie, and in order to make his true return he must suffer the same kind of life in the pit that Bane once led. 

Also what was the deal with the fingerprints?? These confusing class politics and a disjointed plot should arguably diminish the film's greatness. I have read numerous times of a moment where on Wayne's first appearance as Batman on his return to Gotham he asks Commissioner Gordon of Miranda's whereabouts only minutes after just having seen her - but clearly at least several times have passed since they were last together. Despite these apparent blunders, the film's grand scope and ambition make these largely unnoticeable in the cinema. This is fantasy after all, and one of the great aspects of film is that time can be stretched to fit the narrative.

But enough of the negativity...
 The initial let down of Bane's limited fear factor is much less of an issue on a second watch, allowing me to enjoy the character for what he is in spite of this. Visually he has an extremely menacing presence, and watching him strut around, hands gripping onto his chest is great imagery. However, although Bane was an enjoyable villain, for me the show was stolen by Hathaway.

Whether sneakily driving off with the Batmobile, giving the inmates of Arkham Asylum a run for their money or cutting a rather dashing figure on the Bat-Pod; Selina Kyle injects humor and fun into an otherwise grave tale. Her action scenes are flawless and it's good to see a more substantial female in this trilogy. Her morally ambiguous character is often seen in moments of confliction - first handing Batman over to Bane to save her own skin then asking him to leave Gotham with her - Kyle's moments of vulnerability are great but underused. 

One of my favourite moments was also the return of Cillian Murphy as Dr. Jonathan Crane...'Death by exile!'

Another pleasing aspect was the audience getting to know the man behind the mask. Critics and fans have cried out at the lack of 'Batman' in the film, but Nolan should be commended for taking the risk of focusing on Wayne's demise and rise - adding an emotional weight not seen in most other superhero films. The moment where he finally makes the climb from the hell on earth pit is truly epic. 

All technical elements are perfect, from the cinematography and imagery to Hans Zimmer's score. And then there's that ending. I have to admit the first time I saw this I completely missed a key element - when Alfred sits down in the cafe and sees Bruce and Selina, I had originally thought he only saw a lookalike, as in an earlier scene. I can't quite decide if I prefer Nolan's ending or my own deluded imagination...either way, it is made clear throughout the film that Batman is not a man but a symbol of hope.

I've now seen The Dark Knight Rises three times, and it gets better with each viewing. Despite all the talk of bad pacing and plot holes, this film is a triumph and deserves no less than 

5/5

TED

2012 has been a good year for cinema in my opinion...until I decided to waste an hour and forty minutes watching this drivel, which turned out to be worse than my already extremely low expectations.

Brought to you by Seth MacFarlane (creator of Family Guy), Ted stars Mark Wahlberg as John, a man who as a lonely child wished his teddy bear could talk. Thanks to the apparently magical evening upon which he made this wish, the bear (named Ted and voiced by MacFarlane) since became an actual walking, talking teddy bear. However, the friendship begins to take its toll on John's relationship with girlfriend Lori (played by Mila Kunis).

The first problem with this film is the thin plot. To make up for this we must suffer through lengthy sub-plots including a party scene with Sam Jones of Flash Gordon fame and another involving Ted being kidnapped - which then leads to John and Lori miraculously solving all their issues, having been reunited while searching for Ted.

What makes this barely there story much worse though, is the humour. A child's toy that uses bad language and smokes a bong does not equal comedy gold. The jokes are so predictable they are actually quite offensive, and only reaffirmed why I despise Family Guy so much. Ted might be amusing for a five year old if it wasn't for the adult themed 'humour'. Also look out for the generic what happened to the characters next style ending - it's awful.

2/5

Aurora - Final Part

I ran. As fast as I possibly could. To my family, to my last remaining sense of a normal life. I tried to signal to them to run faster by shaking my arms in front of me but it proved redundant. As I got closer to them, something abruptly came up through the dry gravel and hauled Joan down into the dirt, pulling her away, bumps forming in the dirt like a track leading back into the barn. Jason, unaware of what happened, just kept running towards me. Until he looked to his side, and then behind him and realized his Mum was gone. Luckily I got to him before he did anything that put himself in jeopardy. I grabbed him "Run up that hill to Mary and Colin, I will be right there. I’m just getting your Mum" I ordered, my voice screeching involuntarily, as I knew that his mum would not be joining us, based on what I’ve seen those things can do. I had done what every husband and father would do, I had to try and save my wife, the mother of my child.

As I ran towards the barn I had flashbacks of my life before any of this happened, time I spent with Joan and Jason when we were a normal family living in the suburbs. Things can change so fast without anticipation from a normal happy life to fighting for your life, future and maybe even the survival of your species.

I could hear Joan scream as I got closer, it was almost thunderous and full of terror, which made me run faster and that bit more desperate. I burst through the barn door to find Joan lain out on the ground of the barn, scattered. My wife lay in pieces.

The barn had turned red with Joan’s organs, so much blood surrounding what was left of her body. The torso was the only familiar part I could see, her head was no where to be seen. As I collapsed, taking in the horror of what had happened to Joan, the pain and heartbreak was too much for one person to take, on top of everything that had happened since the solar flare had occurred. I wept, her body parts lying around me, my anger starting to build. I clasped my fists and tried not to take a deep breathe as the smell was overpowering and would make any person sick to their stomach. I lurched to my feet, trembling with shock, but more importantly anger. I screamed, emptying my lungs to get that Thing’s attention. They took my friend and now my wife, I knew it was over. Nothing we could do would stop what was going to happen to the future, but I could determine how it would end here and I intended to do some damage to these creatures before it did.

I didn’t want to leave my wife in that state, but I had to go and nothing I could do would help other than getting to the people I had left behind. I pushed open the barn door and ran back towards the hill to the others, calling out as I ran “Colin!” I yelled, trying to figure out their location. As I got closer to the top of the hill, I saw it was lifeless. They were gone without a trace. All I could think of was my son, “my son can’t be gone too.” I started to panic when I realized the sky was becoming dull. I had to find them fast before the night came and I turned into a sitting target for the Things. Just as I was about to run in any direction to find them, a soft voice called my name. I looked around but couldn’t see anything. Until I felt something grab my ankle.

I jumped from the shock. It was Colin, under the ground, looking up at me through the gaps on a wooden hatch door. He pushed it open “Get in quick Ben” he whispered urgently.

I climbed down the ladder onto a dusty gravel floor. The room was lit by a single lamp flickering in the undersized space. Mary was there as well, but didn’t even turn to look at me as she faced a wall, seeming to be arguing with herself. “Where’s Joan?” Colin asked. I looked down to the dusty ground and up to the corner, where on a pile of old clothing in one corner Jason was sitting for comfort. I ignored Colin’s question and walked towards Jason to tell him that his Mum would not be coming back. I crouched down beside him and lowered my voice “Jason, I have to tell you something” my voice cracked.

“Where’s Mum?” Jason started to cry.

“She can’t come with us”

“Why! I need her!”

“So do I son, but we are going to have to do this together, just me and you, ok?”

He dropped his head, he knew what was happening, he wasn’t a stupid kid but I couldn’t tell him the truth of what had happened. I never could. I patted his shoulder “I’m just going to talk to Colin, ok? I’ll be right back.” I whispered. As I clambered to me feet Colin came towards me and asked me again where Joan was. “She’s not coming.” I said with more and more anger each time I had to say it. “I’m so sorry Ben, everything’s falling apart” Colin cried, his hands over his face just as Jason screamed. I ran over to him where he was sitting on his hill of clothes. “What’s wrong, Son?” I grabbed his shoulders as he pointed to a limb under the clothes. I plowed through the stack of clothes to find only a pool of blood under the soaked clothing. It then dawned on me that we were trapped, right were the Things wanted us. In a dark place with only one exit, we were just waiting to be killed unless we got out right away. “Everyone out now!” I barked at the others and grabbed Jason by the arm. “What the hell is going on?” Colin wiped his nose on his sleeve.

“They have been in here before, the clothes are covered in blood and I found a limb! We have to get out of here now!”

 I told Jason with wait at the bottom of the ladder as I climbed up to check it was safe to leave. I slowly lifted the dusty wooden door open to peek my head up and look around. There was no sign of the Things, only emptiness and silence, so I climbed up and told the others it was safe. Jason came up first and then Colin followed him but Mary was nowhere to be seen.

I stuck my head down to see if I could see her but it was poorly lit. With my vision limited, I tried to remember where she was standing the last time I had seen her but it was too dark from up here to see any form of shadow. I called out her name but got no response. "Mary! Come on, we’re leaving!" I yelled. Still no answer, but we had to move and I did not want to go back down there. I looked to Colin "We have to go, she wants to be left."

Colin’s eyes widened, he stammered "We can't just leave her there; she’s vulnerable to an attack!"

It wasn't that Colin was wrong but we didn't have time to be trying to convince people to survive. I tried calling for her again but I got no answer. Then I got frustrated at how selfish she was being after everything we had been through. "Listen, Mary! I know you’re down there, we are leaving because the Things will be back! If you’re coming then get out now!" Still no answer from her. Colin was starting to get impatient as well, but he was not comfortable with leaving her down there.

"She hasn't spoken in a while; I think we have to get her ourselves. We can't leave her here to die, Ben." Both of us bent over the hatch and peered into the dark hole. Just before we had time to make a decision a thunderous noise came from nowhere, it scared me to my core. There was nothing North of us but gravel for miles of flat land as far as we could see, but to the South there were hills of brown dirt, though still no buildings or signs of life. The sky was turning to a bright green after dusk; I’ve never seen the sky such a colour. It was something that you wouldn't be able to forget.

At first I thought the sound was coming from the sky, and then the ground started to rumble like an earthquake. Colin spotted something moving in the ground and coming towards us. It was the same noise that took my wife. “We got to go now; it’s one of those Things!”

“What about Mary?” Colin started to panic. I grabbed Jason’s hand and Colin’s jacket and started running “We have to go or we we’ll be killed!” 

We ran past the hatch heading South, towards the hills where we might have a better chance of getting away than on flat land. I tried not to look back so I could just focus on running as fast as I could while carrying Jason. Colin was just ahead of me, starting to slow down as we got closer to the hills. We heard a scream just as terrifying as Joan’s. I looked back to find that the Thing was not chasing us anymore but then a scream seemed to echo towards us.

“We have to go back and help Mary!” Screamed Colin

“We can’t! I yelled back “It’s too late, she’s gone, we have to keep moving or we’ll be next!” I didn’t feel guilty; Mary only brought it on herself. I had tried to help her and she refused to come with us, so I’ve no guilt following me. Although hearing the screams and after seeing what those Things did to Joan, I did feel sorry for Mary. No-one deserves to die in such horror and pain. Based on the screams we didn’t have to go back to check if she was dead.

When the screaming finally stopped, Colin and Jason and I had got to a muddy hill that we ran up in the hope that there were some hiding spots beyond it. Even if we had found a hiding spot, I couldn’t help but feel it was only delaying an inevitable death. We got to the top of the hill and sat on the opposite side to catch our breath, as running up a muddy hill is exhausting. We had not eaten a real meal in a long time.

“This is hopeless. We can’t keep running and running.” Colin held his head in his hands and I couldn’t disagree because he was right. Running away all the time was useless, especially when we didn’t know if we were alone or if help was coming. We’d had no signs of life since the whole thing started. I couldn’t go on running; I had lost everything except my son. I had to try and protect him from what was coming but so far I hadn’t been successful. Joan had depended on me to help her and I let her down. She was tore apart by those Things who don’t seem to want anything other than to kill us. We had done nothing wrong, nor had we harmed them, but they still come after us to kill. “What are we going to do dad?” Jason voice was ragged; he was too young to run so far. I smiled as best I could. “Nothing, Son, we’re just going to wait here for a few minutes.”

Colin was panicking more and more. I spoke to Jason to calm him down but nothing was working for Colin “We’re done!” he ground his fists into his eyes “They can kill us when they want, Ben! Can’t you see that! We’re done!” He screamed the last words directly at me. I turned my back to Jason so he couldn’t hear me talking to Colin. “I’m trying to calm Jason down and your acting like we’re dead already. It’s scaring him.” I kept my voice as low as I could so Jason couldn’t hear me. Colin returned his head to his hands without another word.

We had been sitting almost an hour, unsure of what to do, when we were attacked, but not from what we thought we would be. Bugs the size of a human hand came flying from the dirt in a swarm, their angry hissing sounded like a tyre was deflating. I jumped to my feet, dragging Jason with me and headed for the bottom of the hill. It was the easiest place to run to.

 Colin had seen the bugs but didn’t react in the same manner as I did. “Aw, what the fuck now!?” He laughed. “Get up Colin, come on run!” I yelled at him but he didn’t move. He met my eyes and shrugged “Why bother?” then lay flat down on his back.

The bugs were so dark you couldn’t see any features but was the same shape a cockroach. I tried to grab Colin but the bugs were coming towards me and Jason, so I had to run. That was the last time I saw Colin. Covered in so many bugs that I couldn’t see him at all, it was just a blanket of bugs hissing all over my friend. I reached the bottom of the hill with Jason, who was shaken after everything he had seen and gone through. It wasn’t fair on him. He was so pale in the face and was well past the point of crying now; he was in a state of shock, in his own world.

We stood in silence, as a gust of wind blew; ruffling our hair and making me shiver. I looked at Jason, who dropped to the ground with his hands over his head, almost hiding from what the world had turned into. I sat down beside him, putting my arms around him to protect him from the wind, but nothing I said would help with what he was going through or what I was going through. Everyone I knew was gone, taken from me by something I didn’t understand. I knew it was over, help was not coming and Trinity was probably crawling with Things. I had nowhere to go, no safety, no supplies and no hope. I had two options; sitting there and waiting to be killed or trying to run as far as possible and I liked the second option better.

“Jason” I broke the silence “I’m sorry for all of this, but we have to keep moving or the Things will come again.”

“I don’t want to move again” Jason stared at the ground. I tried to keep in mind what he had been through, but I needed him to move. “I know son, but trust me, we have to keep moving to find help.” Jason looked at me and finally his head nodded in agreement. As we both stood up I looked around to try and determine the best direction to walk. No direction looked any more appealing than any of the others, but I didn’t have to pick because the ground starting to rumble where we stood in terror, guessing what was going to happen.

I had to protect my son, but also myself so Jason wasn’t left alone if something happened to me. I could never have taken his life, even if it seemed like the right thing to do to prevent him from suffering, although I would be lying if I said it hadn’t crossed my mind. “Dad, they’re coming again!” Jason was screaming, I held a hand up to quieten him.

“Calm down Jason, it could be anything” I knew what it was that was coming.

The rumbling noise got louder and louder until the expected happened. Two Things came out from the ground with speed. They stood facing us as I grabbed Jason and pushed him behind me but not fully out of danger. “What do you want!?” I screamed at them, but to no response. “Leave us alone, please!” They started to move towards us slowly, almost like they were just studying us and moving with caution. There was no where to run and almost no point in it either, all I could do was stand and fight but not with Jason standing here.

“Run now, as fast as you can and don’t look back for anything” I ordered him. He didn’t move.

“You have to come”

“I’ll be after you in a minute, go on!” He turned and started to run off, I watched him for a second and turned to find that one of the Things was right in my face. They were so dark with no features, I couldn’t even tell if they were disfigured from what happened or if they were even human, but one thing I did know was that I couldn’t stop them.

I went to push the thing away from me but it hit me so fast, I didn’t see it coming; I was on the ground before I could even move my arm. The pain was unbearable; they had so much power “how much damage could it do to me with one hit?” I thought. They could do a lot of damage it seemed. I looked down to see blood coming through my t-shirt, but I didn’t check it. I looked up to see the Thing just standing there in the same place, which was when I realised there was two of them and the other was after Jason. I looked behind me to see the Thing carrying Jason’s head; he dropped it on me as he walked past, blood dripping from where the neck should be. My son, gone in a brutal undeserving fashion which not only devastated me, but this feeling became over shadowed by anger. A rage that was built up from these Things. I threw the head to the side, I couldn’t look at it. It was not my son anymore. “What do you want?” I screamed again as I lay, injured on the ground.

I wanted to use the anger that was filling my body to stand up and fight the Things, but I just couldn’t. The blood was spilling from my abdomen; I pulled up my t-shirt to check. There was a hole pierced through my skin.

They stood over me looking at me but then they left. Back down into the ground where they came from. I screamed from them to come back, I knew I couldn’t beat them, but after everything they had done I at least wanted to try. To die trying to avenge my friends and family, but they left me. They left me alone to die. They killed everyone around me in a brutal way in which I’ve never seen but they leave me to die alone from a wound.

I lie here beaten, physically and mentally, by something I can’t explain. Something I’ve never seen and something I cannot defeat. I am alone, no-one to help me or comfort me as the pain turns to numbness, as I go into shock. I lay flat down on the ground with a puddle of my blood all around me and my sons head not too far away, this is not my vision of what my death would be like, but it’s the death I have been given. As I drift in and out of consciousness I don’t have the energy to be angry but I hold on to the thought of seeing my family again, but it’s only a thought.

James Smith

Ralph's Review : THE DARK KNIGHT RISES

In a recent edition of the Scotland On Sunday, the weekend broadsheet's resident film critic Siobhan Synnot devised an opinion piece entitled Lighten Up Batman, with its central intent detailing her own disdain over the average superhero film being constructed around the neurosis of the man behind the mask - yearning for the obligatory costumed saviour to stop whining about the terrible ordeal of having extraordinary abilities or resources & just get on with saving the day. Despite being overtly selective in her choice of referencing, there were a few valid points (specifically the predominant exclusion of women in the heroic role), yet in the case of the Caped Crusader, scepticism must peer over this perceived insight.

It is fairly well established that not only is Batman not a superhero (he's a masked vigilante - and yes there is a difference), he's a creation primarily inspired by death. So to bemoan that this particular heroic creation doesn't carry out his by in large illegal crime-fighting service with a smile, is quite bewildering. Yes we may have had the swinging sixties lunacy of the Adam West-starring television series and the high rubbery camp awfulness of Joel Schumacher's mid nineties efforts to suggest forms of light-heartedness in the life of Bats, but few would argue that Bruce Wayne and the world he inhabits is at its most compelling, when things are bleak. Christopher Nolan realised this when he took inspiration from the graphic novels of Frank Miller & breathed new life into a once moribund movie franchise back in 2005. Seven years later, he's on the cusp of delivering the most critically acclaimed & commercially successful live action cinematic trilogy since The Lord Of The Rings - all of which has been achieved by Batman having an outright refusal to "lighten up."

If Batman Begins depicted the personal demons of Bruce Wayne manifesting into a form of retaliation, whereas The Dark Knight portrayed the power struggle between the opposing forces of the law in Gotham City, The Dark Knight Rises is very much an amalgamation of the two, with the overarching sense of seeking closure - whether that's of a redemptive, peace-making or of a mass destructive nature. Set approximately eight years after the events of The Dark Knight, Wayne is a broken man - physically & mentally. Having taken the blame for the misdemeanour's of a fallen Harvey Dent, Batman has retired - taking Wayne's momentum & drive with him whilst reducing the billionaire playboy to little more than a cane-supported shadow ghosting through the confines of the rebuilt Wayne Manor, wallowing in grief over a life lost & a purpose abandoned. Gotham too is in a near-comatose state, heavily traumatised by the anarchic antics of the joker & the supposed death of the publicly celebrated Dent at the hands of Bats. Criminality has by in large subsided, a result of a piece of draconian-like legislation entitled the Dent act - an instrumental policy in cleaning up its streets, yet at the same time an indirect cause of an even greater gap between Gotham's haves & have-nots.

It is in these two factors which primarily set the trend for the events that take place in Rises - a man who has lost all purpose to exist & a city in "peace time" sleepwalking into a resentful division that'll threaten to destroy it. Much to Synnot's displeasure no doubt, a number of comic book films which have come before have attempted to portray the conflict between the heroic figure and the individual behind that chosen alias. In the case of Nolan's Batman universe, no other series of direct or indirect adaptations have managed to articulate the disconnection anywhere near as successfully. We've always known that of all the costumed heroes, Bruce Wayne was probably the one most troubled by the contrast between their own self and their alter-ego. This is an idea that Nolan reinforced to a tee in Batman Begins & The Dark Knight. The idea that in order for Wayne to successfully embark on his vigilantism, he has to (on the surface at least) lead a life of chauvinism, political/social ignorance & projected selfishness ("the apple falls very far from the tree Mr. Wayne" a disgruntled board member remarks in the wake of Wayne's "drunken outburst" during a lavish birthday party in Batman Begins, little knowing that his life has just been spared). 

In other words (and as Rachel Dawes points out in that same film) the public face of Bruce Wayne is his true mask, not the one of the caped crusader. It is this idea that is so crucial to the first hour of Rises, as it takes to around the sixty minute mark before he dons the Batsuit once again. In a film of this magnitude, it would have been so easy for the likes of Warner Brothers to insist upon Wayne strapping up & getting back in the game early doors. The fact that he doesn't is of huge credit to the Nolan brothers & the studio themselves, as it reinforces both the physical & psychological damage inflicted upon Wayne in The Dark Knight, as well as articulating the inner struggle of leading such a contrasting double life & the existential void experienced by Wayne when his truer self is all but extinguished.

Re-awakening him from his melancholic slumber comes in two forms. One, the introduction of Selina Kyle (a hugely enjoyable Anne Hathaway, who by in large has silenced the many naysayers - whose opinion seemed to have largely been based on well-known fare like The Princess Diaries, The Devil Wears Prada & hosting the oscars, rather than her more challenging work in Brokeback Mountain or Rachel Getting Married), an enigmatic masterful thief with a slight taste for the theatrics (and wisely, never referred to as Catwoman). The other, the threat of an uprising by the disenfranchised citizens of Gotham, led by a mask-wearing mercenary named Bane (Tom Hardy), who has a connection to the league of shadows - the fanatical vigilante group led by Ra's Al Ghul, whose inspiration gave Wayne the discipline to manifest his anger into the symbol that the Batman provides. 

Much has been made regarding the success of the new antagonist (specifically, the audibility & suitability of his voice), as well as numerous (and it has to be said, unfair) comparisons with Heath Ledger's Joker. Whilst it is true that the accusation of his voice being reminiscent of "Stephen Fry bellowing into an empty yoghurt carton" occasionally holds merit (the scene on the steps of a prison as he denounces the character of Dent for example), there are however moments when its impact works to chilling effect (Wayne's arrival in the pit being the stand-out). In regards to the audibility, numerous reports from various different cinemas have also suggested that some audiences are having greater problems understanding him than others (on average, the screenings in 70mm IMAX projection appear to be the least problematic). So in summary, the success of the Bane creation may well be influenced both by how you personally respond to his voice (some have found him terrifying, others, comical) & where you happen to witness Rises. 

One form of criticism that cannot be justified however is the comparison between Bane & the Joker. The Dark Knight already explored the notion that not all criminals or terrorists operate on a easy to distinguish purpose of intent, or in other words, the battle of the cerebral (a battle which Batman, arguably loses). With Rises, the focus is very much on the physical - an antagonist who can go toe to toe with any blow Batman has to offer (and in one particular brutal sequence, completely overwhelms him). Both the Joker & Bane are formidable foes to Bats, but in completely different ways that work in their respected forms. It's perhaps true that Ledger's Joker remains the more electrifying, memorable & best-executed villain of the two, but that shouldn't diminish the intent behind Bane & the performance of Hardy. For the evidence, observe his eyes. Behind that breathing apparatus, there's a commanding, visceral energy in his unrelenting gaze that heightens his creation above the simplistic muscular goon which he's been undeservedly accused of by some (you only have to look at Schumacher's interpretation of the character in Batman & Robin to comprehend the difference).

If any criticisms however can be attributed to The Dark Knight Rises, it would be regarding the basic plot threads, some of the character decision-making & the pacing (on first viewing, it does feel a bit jarring that the first half takes place over the course of a few days, whilst the second half elapses over nearly six months). One of the main issues with Nolan's Batman films that many have latched onto is the occasional lapse of exposition behind a particular development. Depending on how forgiving you are, you can either attribute this as story information that doesn't necessarily have to be shown (you fill in the blanks, so to speak) or straight-out holes in the plot. It also occasionally falls into the trappings of traditional Hollywood blockbuster entertainment (in regards to the ticking time bomb, it's always amusing how 1 minute on the clock seems to be stretched out over 5 in the films running time, or how the main assemble of characters will all pause for a moment to hear the dying words of the main villain despite being literally moments away from a cataclysmic atomic explosion), with a number of convenient 'appearing at the right time' moments in addition. How much these incidents bother you will probably be based around how much you have already invested into both the Batman character, the world Nolan has created & the structure of his films in general. If you're already a massive fan, you'll by & large see past these flaws. If you've been relatively indifferent up until now, that position is unlikely to be swayed.

Nevertheless, irrespective over niggles in the exposition, there are a number of things triumphant about Rises. One of the reasons the work of Christopher Nolan is loved by so many (yours truly included) is his ability to make large-scale films that capture both the wide-eyed imagination, scope & excitement many of us as kids grew up with when experiencing mainstream cinema. Yet at the same time, containing the depth & intelligence an adult viewer requires - never for a second treating his audience with contempt (step forward Michael Bay). Through this skill, he has given the world of Batman something so few costumed hero adaptations have been able to do, which is to provide thematic depth & emotional weight at the same time. All three films, whilst existing in a world of their own making, all offer a subtle parallel to the world we live in (the most obvious ones in Rises being the resentful nature times of austerity provide & how western society is by in large apathetic to political participation), yet by the same token, they never lose sight of the required dramatic engagement required at its centre. It is in the performances of both Christian Bale & Michael Caine in the roles of Wayne & Alfred when this concept is no more apparent, who both deliver their best displays of the trilogy, providing real credence to the scenes they share & the paths that both characters find themselves on by the films closing moments - an ending of which achieves that wonderful juxtaposition of providing closure & ambiguity in one fell swoop.

Speaking of closure, Rises also sadly marks the last of the collaborations between Nolan and his long-term DOP Wally Pfister (a partnership that has blossomed ever since Nolan dragged him away from such straight to video titles as Stepmonster, Object Of Obsession & Animal Instincts II to work on his second feature Memento). In the current cinematic landscape of the digital age, when the processes of CGI & 3D rule supreme, partnerships like these two are to be absolutely treasured. Their belief in the strength of 35mm film, the immersive quality of 70mm IMAX (if you haven't already, you owe it to yourself to see it in this format, with Glasgow's science centre the only place in Scotland that offers the proper experience of seeing Rises the way Nolan & Pfister intended it to be viewed) & the concept of shooting as much as you can 'in camera' are some of the key ingredients in what has made their partnership and their collective work so special. 

That harking back to the traditional aspects of cinema is also a reminder to all that whilst digital advancements shouldn't necessarily be discouraged, it should never be at the complete expense of those who still wish to pursue the former. Seeing the likes of the Avengers tearing up downtown Manhattan may well be an exhilarating experience, but it doesn't quite capture the same wide-eyed awe of seeing a real eighteen wheeler being flipped upside down or a thousand people charging at one another on Wall Street. Pfister, a man responsible for so much iconic & memorable imagery in this trilogy alone, will next be embarking in the role of director (with Nolan as executive producer on his first project) & I for one cannot wait to see what he comes up with. 

But what next for Bats? Will Siobhan Synnot get her wish & we'll see a return to a more light-hearted romp of the "gee whizz" or "you're not sending me to the cooler" variety? Will Warners & DC reignite their ideas for a Justice League franchise & incorporate him into that fairly fantastical world of Superman, the Green Lantern, Wonder Woman & the Flash? Will my dream scenario of a HBO television series that'll do for Gotham what The Wire did for Baltimore come to fruition? (probably not, but we can only hope) Will it take 2 years, 5 years, a decade to reboot? Only time will tell really. Yet, many of us Batman fan boys & girls can now rest in the knowledge that after four failed attempts by Tim Burton & Joel Schumacher in getting under the skin of a character many of us were captivated by in our youth, Christopher Nolan has delivered a trilogy that has fulfilled just that - with an ending that'll provide debate for years to come and crucially, brings his saga full circle. Whoever ends up with the unenviable task, it goes without saying they've enormous shoes to fill.

4/5

If The Cinema Had Laws

We have all been to the cinema, but in this technological advanced age where people live whole lives online, its getting more and more impossible to achieve that one simple aim - get a bunch of people to watch a movie without disturbing someone.    We are there for the same reason - to immerse ourselves in the cinematic experience.  Woe betide anyone who drags us back into reality.

So after much anguish and icy stares at fellow movie-goers, here is my OCD-influenced list of what should/should not happen in a cinema.  Yes, it does come across as grumpy, and no, I don't have too much time on my hands (took all of 30 mins to do).  It might bother some people more than others, but as more and more "incidents" occur, our toleration level should not rise (in tandem with cinema prices) because it's just plain wrong.

If you think of anymore then please comment, but there is one thing I bet - that you will agree with all that I list.

There are 2 groups responsible for ensuring a smooth cinematic experience.  3 if you include the quality of the film, but that's another point entirely.  Those 2 groups are the Cinema itself, and the people who visit it (i.e. you and me).

Cinema-goers:

1) Be on Time 
There's about 20 minutes of adverts, and yet you still feel the need to walk in, make a noise and piss about when the film is 10 minutes in. Even more annoying when this happens and the person in question is carrying a giant box of popcorn and a drink. So let me get this right, your mega late for the movie, but you still felt the need to spend ages in a queue? Get your arse in gear and show respect for those who made it on time.

2) Noisy Food
Yes I know this is probably a case of me being too picky. But its the timing of the food being opened rather than the food itself. The adverts for products come and go. Next up is the semi-exciting trailers. All come and go pleasantly.  Darkness then falls. The BBFC rating appears and then vanishes as the screen goes black and silence falls.  Then the movie starts.  And that's when you decide to open your ridiculously loud packet of crisps and start shovelling popcorn in your mouth like your wrist is part-Terminator. As soon as you do that I'm jolted from my cinema experience and back into the hell of reality.C'mon! If your sitting there, open it before the movie starts.

3) Mobile Phones
Do I need to say any more about this? If you can't sit for 2 hours without looking at your phone then you shouldn't be at the cinema because clearly you don't have the attention span to watch a film.  I'm guessing you don't have books at home either. Respect those around you - and stop looking at it.

4) Talking/Laughing (non-comedic films)
I was in the middle of watching the brilliant "Get Low" drama last year, and it was almost ruined by some brat giggling through it.  Thankfully someone a few rows back shouted "Shut the f**k up". Unfortunately there just aren't enough back-row saviours to solve this problem.  If you want to be social or chat, or share your jokes, then great. Go to the pub. Don't go to the cinema because we are there to watch the movie, not listen to your irritating voice.

5) Going To The Toilet
If you rush to the toilet 2hrs in to a 31/2 hour epic then ignore this. I've done that myself and it cannot be helped.  This is for those who sit through all the trailers, chat to their mates for ages, then, just as I'm slipping into my cinematic experience, it's rudely interrupted because that's when they decide to go, and I'm treated to their outline as well as the clump of their boots, twice over.

6) Foot-tapping/Other Repetitive Movement
This one is a major source of annoyance for me, because, much like the sign language woman in the lower right hand corner of your screen, as soon as you see it, you cannot ignore it.  If the movie bores you so much, then please leave. Don't sit there tapping your foot like your in your own lounge.  If its a twitch, then it can't be helped, but this is for those who constantly waggle their limbs like they have caffeine for blood. Sit at bloody peace.

Cinema chains:

1) Check The Temperature
Hands up who has went to the cinema and has had to keep their jackets on because it's so bloody cold? The ridiculous nature about this is that it's probably the a/c unit, rather than it being just cold.  Even though the staff walk up and down the steps about dozen times throughout the movie, nothing is done about it. Not easy to get immersed in the film when you have a large jacket on that rustles each time you reach for a Malteaser.  Either turn the a/c off, or put the heating on.

2) Letting People In Late
Now this is one that really gets me. Clearly the movie has started because it started at 2pm and it's now 2:40pm.  And yet why is someone now wandering in and doing that thing where they stare at the seats as though they have never seen a cinema before? This is irritating on three levels. One - Its disturbing my enjoyment of the movie, and Two - you have charged them full price even though they have missed a chunk.  Three - But maybe you deserve it if you still want to see a film after missing the first 15 minutes (I mean seriously - who does that???Would you not rather see something else and see this film another time?) Stop it. The doors shut for a reason. So stop selling tickets beyond a certain time - that time being the start of the trailers.

3) The Certificate Is There For A Reason
How many 25-30 yr olds have been asked for ID when trying to buy a tiny bottle of wine on a Friday night after a hard week of work? And how many have been asked when trying to put the lottery on? Challenge 25, right.  I bet none of the 25-30 yr olds have been asked for ID at the cinema.  Which is great, except that almost no one gets asked, so 12, 15, 18 rated films are always filled with those who are clearly under age.  Very annoying since they will be the first to make any noise.

4) Better Offers On Food/Drink
I'm no cinema boss, but surely this is an area they could capitalise on.  We are going to the cinema with food and drink, so it's a ready market.  And while there are some rich souls who can afford to pay the prices the set, most of us will no doubt nip to the wee newsagents across the road for a juice and some chocolate.  Entice us in Mr Cinema Boss! Offer it, and they shall come.

5) Staff Training
You offer staff training Odeon? Cineworld? AMC? Yeah of course you do. That's why I can see 2 tills on, a queue of about 25 people, and another 2 staff doing that "If I Stare At My Screen Then It Looks Like I'm Busy And Therefore Cannot Serve". Kick their arse. Fed up seeing staff wandering about (what do they actually do exactly besides serving at a till or the cinema bar, stock up and tidy?) doing nothing. I could literally walk in with a blank piece of paper and the zombie who greets me with a "enjoy the film" would still put a tear in it and wave me through.  Better customer service needed by a long way.  Of my local Cineworld (tallest in the world) in Glasgow, there are some really good workers. Which just shows up the ones who aren't, and sadly this is the case for a lot of cinemas. If the customer service level was like that in a shop, you would be hauled through the back and bollocked.

And there you have it.  Too picky? Perhaps. Too neurotic? Maybe. But is there any on the list that you would disagree with? Anyone who enjoys listening to loud chatter, or a big bag of Quavers being opened? Or to stand in a queue on Orange Wednesdays and watch as only 2 out the 10 available tills are on and not feel annoyed?

We all love the cinematic experience we get at the cinema, and just because it's 2012 and technology is upon us like a rash, does not mean we should accept any less than a perfect experience. In darkness. In silence. Ensnared by all that is on the screen.