Nolan ends it all with exhilaration, empathy and excellence.

Rating: 9/10 (24 July 2012)

Eight years ago, Batman (Christian Bale) took the fall for the murders committed by Harvey Dent in order to preserve the White Knight's legacy as the defender of Gotham. Dent's death has not proved to be in vain, as the city has remained relatively crime-free during Batman's proverbial exile and Bruce Wayne's subsequent life as a recluse. But as new terrorist leader Bane (Tom Hardy) hatches a plot to literally destroy the city from the inside out, Wayne must again don the cape and cowl and finally become the hero his city deserves.
The Dark Knight Rises is not only an incredible piece of cinema in its own right, but its qualities are accentuated given it is the last film of a truly thrilling series from director Christopher Nolan. The film opens by reacquainting the audience with the bat-verse. Each character, new or established, is introduced in meticulous detail, which could be either a good or bad thing depending on how familiar you are with the source material. The plot does meander intermittently during this time, none more so than when a MacGuffin pops up as the unnecessary driver of Selina Kyle's (Anne Hathaway) motives.
But that is arguably the only weak point in a film that seamlessly combines well-rounded characters with exciting set pieces and a masterful conclusion that subverts exactly what it means to be a 'hero.'
Newcomers John Blake (Joseph Gordon-Levitt) and Miranda Tate (Marion Cotillard) are essentially original creations, but they prove to have much more in common with Batman lore than first thought. Hathaway brings a unique dynamism to Catwoman, and each time she and Bale share the screen completely dispels what appeared to be, on paper, the film's biggest setback. Bane is no Joker, and his introduction doesn't quite reach the exhilarating heights of the funnyman's bank heist, but Hardy's performance more than does the mighty mercenary justice.
With this trilogy, and a quiet little side project called Inception along the way, Nolan has carved out a reputation as the saviour of mainstream blockbusters, and his action sequences in Rises are accordingly first-rate. Respect must be given to the sheer effort and co-ordination needed to pull off Bane's takeover of Heinz Field and the enormous battle between the inmates and Gotham's police force, but it is a severely crippled Wayne's attempt to escape his cruel fortress that will have most viewers emitting a silent cheer, and barring that, an audible one.
Of course, visual accomplishments can only take a film as ambitious as this one so far. The final act deals extensively with the emotional toll being Batman has taken on Bruce Wayne versus his innate philanthropic need to constantly be the hero. The mask itself becomes a prominent motif, perhaps representing the personal suffering Wayne has hidden from for so many years. The saga ends on a note of closure and an overwhelming feeling of satisfaction, implying that one legacy cannot begin until another one ends.
*There's nothing I love more than a bit of feedback, good or bad. So drop me a line on jnatsis@iprimus.com.au and let me know what you thought of my review. If you're looking for a writer for your movie website or other publication, I'd also love to hear from you.*