By Lou Lumenick on July 18, 2012
Batman is lured back into action after a lengthy hiatus — to prevent a terrorist from nuking a Gotham City closely resembling the Big Apple — in the imposingly dark and hugely entertaining “The Dark Knight Rises.’’
Superhero movies are perhaps the most predicable genre out there right now (sorry, Marvel fans), but take it from someone who can usually spot plot twists half an hour away: Christopher Nolan’s dramatically and emotionally satisfying wrap-up to the Dark Knight trilogy adroitly avoids clichés and gleefully subverts your expectations at every turn.
Eight years after the end of 2008’s “The Dark Knight,’’ Christian Bale’s Bruce Wayne is a shattered recluse who hobbles around his mansion on a cane following the death of his fiancée — and his long-unseen alter ego, Batman, is being blamed for the death of DA Harvey Dent.
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By Stuart Kemp on July 18, 2012
LONDON: Christopher Nolan's The Dark Knight Rises has booked an eye-popping £1 million ($1.5 million) in advance booking at BFI Imax, breaking all previous sales records for the venue.
The venue, operated from Wednesday July 17 by Europe's largest exhibitor Odeon, for the British Film Institute, said there have been over 60,000 tickets bought and 43 shows sold out so far for the Warner Bros. release this week.
The venue said 62,300 tickets have flown off the shelves for the film, grossing £1 million ($1.5 million) two days ahead of the film’s opening July 20, since tickets went on sale five weeks ago. Please click here to read the entire article.
By Stephen Kelly on July 17, 2012
He's anti-3D, still shoots on film and believes in using as little CGI as possible -- Christopher Nolan is Hollywood's traditionalist. But for his latest, The Dark Knight Rises, Nolan needed an epic camera to match the scale of his vision for his third Batman film.
"The Imax cameras use 65-millimetre 15-perforation film advanced horizontally through the camera at 24 frames per second," explains David Keighley, Imax's chief quality officer. "The frames are nine times bigger than a traditional 35mm movie frame. For Chris [Nolan] it's the closest you can get to zooming down the road in the Batmobile." Please click here to read the entire article on Wired UK.
By MEKADO MURPHY on July 16, 2012
IN 2008 the director Christopher Nolan’s “Dark Knight,” the second in his trilogy of Batman movies, introduced some audiences to a character not before seen in the franchise, or any studio narrative feature until that time. But that character wasn’t on the screen. It was the screen.
That would be Imax, a vast screen that can be as tall as an eight-story building. Though the name is popularly used to refer to screens, it is primarily a format involving special cameras and large-scale film, and before “Dark Knight” it had been known best for short documentaries about ocean life and space travel. Mr. Nolan shot parts of “The Dark Knight” using Imax cameras, with 30 minutes of such footage making it into the final film. When those images were seen in an Imax theater, they filled the screen from top to bottom with a giant, high-resolution image.
By Todd McCarthy on July 15, 2012
The Bottom Line: A truly grand finale raises Christopher Nolan's Batman trilogy to the peak of big-screen comic book adaptations.
The real world threats of terrorism, political anarchy and economic instability make deep incursions into the cinematic comic book domain in The Dark Knight Rises. Big-time Hollywood filmmaking at its most massively accomplished this last installment of Christopher Nolan's Batman trilogy makes everything in the rival Marvel universe look thoroughly silly and childish. Entirely enveloping and at times unnerving in a relevant way one would never have imagined, as a cohesive whole this ranks as the best of Nolan's trio, even if it lacks -- how could it not? -- an element as unique as Heath Ledger's immortal turn in The Dark Knight. It's a blockbuster by any standard.
The director daringly pushes the credibility of a Gotham City besieged by nuclear-armed revolutionaries to such an extent that it momentarily seems absurd that a guy in a costume who refuses to kill people could conceivably show up to save the day. This is especially true since Nolan, probably more than any other filmmaker who's ever gotten seriously involved with a superhero character, has gone so far to unmask and debilitate such a figure. But he gets away with it and, unlike some interludes in the previous films, everything here is lucid, to the point and on the mark, richly filling out (especially when seen in the IMAX format) every moment of the 164-minute running time.
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