What has been said about the Shadowy Knight cannot be elaborated on - so I won’t. The film is muscling its intention into my #1 celebrated laughable movie adaptation of all time.
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The reason for my review is in hopes of saving you some money. This double disc Special Edition doesn’t state the imprint you pay for it. There isn’t even deleted scenes!!! I would achieve your very hard earned dollars and recall the single disc version and wait for the inevitable ULTIMATE re-release that will approach later on down the road.
But nonetheless, a mammoth film - you will not be dissapointed; I impartial wish the studio would have given a better Special Edition release than what we have here. So bask in!
Christopher Nolan has a vision. And whether you agree with it or not, he undeniably completes it in “The Dismal Knight”–a vicious, provocative, overwhelming, shiny event- film that re-defines ‘comic-book-flicks’. In Nolan’s grim, dark-depiction of Gotham-City (the crime-ridden hell protected by legendary superhero Batman), the director strives to invent everything steady (something he began in the well-received “Batman Begins”) . He makes it plausible, possible. And yet there’s more to it: impartial as ‘Begins’ was a dissection of sage, the nature of symbols and heroes, ‘Knight’ is the escalation of that concept. It’s a biblical- confrontation of ‘good-and-evil’, yet as ‘good-and-evil’ really exist: a conflict of ideals, something that can’t be purely-defined but that is relative to a viewpoint. In Nolan’s world, the line of villainy and heroism isn’t crossed… it’s non-existent. The bad-guys don’t ogle themselves as bad-guys, and as such something so unnervingly-real comes across it might soar past some people’s minds (no insult to anybody, it’s fair favorite that people don’t see deep into ‘popcorn-flicks’) : the battle is a complete ambiguity.
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The film runs at nearly 2.5-hours, yet never ceases to lose interest or momentum. It doesn’t extinguish a scene or moment; every event is utilized and vital. ‘The Sad Knight’ tells a myth worth telling and it takes the superb amount of time to jabber it. Action-sequences are frantic, old-school, eye-grabbing stunts (vastly capable to ‘Begins’) and in their chaotic intensity we watch that they benefit purpose to the sage, yet more though-provoking are not played for pure entertainment-value: we are meant to sight, skittish, simply hoping that the outcome will go the hero’s intention. Attention is never lost because we are immersed in a breathtaking, almost completely-unpredictable record (it packs many a shock), that makes us judge and more importantly gains our emotional-investment. We approach to care for the characters, because they are believable, developed, and personified fully.
Everyone has great-chemistry together. Maggie Gyllenhal is a more aged Rachel Dawes than Katie Holmes. Morgan Freeman provides his authoritative presence to the role of bad- gadget-inventor/Wayne-Enterprise CEO Lucius Fox, and under anyone else’s portrayal, the fragment would be less-memorable. Gary Oldman underplays his world-wearied lawman with such honest-nobility, you never feel for a second any of its forced-acting. The irreplaceable Michael Caine makes a gentle, reassuring, father-like presence as Alfred, and the movie would surely fail without his strong-presence and interjected-moments of light-humor.
And while everyone (rightfully) pours the praise unto Bale and Ledger, I contemplate most are glancing-over Knight’s breakout-performance. As Harvey Dent, Aaron Eckhart does more than contain himself in the company of such a renowned-cast. He makes his presence known, whether he’s playing on the easy-going charisma of Gotham’s ‘White-Knight’ or the broken and damaged, twisted-soul of Two-Face. He achieves a full-impact with the tragedy that comes unto his character, and so closely connects with Dent, that he makes his hurt tangible for us: we sympathize even as we become scared. He captures both facets of each personality flawlessly.
Now, some people cite that ‘Knight’ has a potential fatal-flaw in the supposedly wooden- acting of Christian Bale. Admittedly, his development is not as huge as in ‘Begins’ (yet that film gave us such a proper psychoanalysis of Wayne, we hardly need more), yet what Bale pulls off is admirable. Wayne is not an eccentric personality. He is a disillusioned man who can hardly bag any joy in having no family, giving up his love-interest and spending his life fighting a battle that may never raze. He’s unlit and conflicted, and Bale plays up on that brooding-mood by making Wayne gawk as though a thousand dark-things were on his mind. He’s not wooden…he’s a humorless, tranquil individual. Even when Wayne is acting as a frivolous playboy for the public, every now and then Bale offers us a grand witness that reminds us its all a façade; that deep down, something more apprehensive irks him. Occasionally he offers a broken-smile when exchanging banter with Alfred, letting us know that beyond the dour depression of the Caped-Crusader lies a damaged human-being. It is only in the guise of a growling masked-man, that he can unleash his just, ferocious personality.
Finally, who could forget Heath Ledger. Now, when he was first-announced for the piece, I was (along with many other people) asking myself: “Why? “. Mr. Ledger had proved with ‘Brokeback Mountain’ he could philosophize a potent performance. But he hadn’t before. It is only, after seeing this film, that I know the acknowledge to ‘why? ‘: I observe the significance of his loss.
When Heath appears in this movie, he is completely unrecognizable. His recount is distinctly-altered; a near-whiny, pedophile-like tone that sends shivers down the spine. His face is completely splattered with makeup that renders him both freakishly-nightmarish and strangely-funny. And when you look him, you don’t contemplate it’s him. In this, his final performance, Ledger proved he was a chameleon. His two iconic performances in this, and ‘Brokeback’, could not be more different. I am convinced he could have been anything in his career. He commits so intensely to character that the line of actor/portrayal dies. His every tick and gesture only further-enhances his character. Heath never hams the role up or goes for something cheap: he delivers a fully-immersed note of psychotic madness…or do we unprejudiced mark him that to feel safer? The movie writes the character brilliantly; blending hideous truth into his every social-accusation, and making us expect why we laugh at his sick-jokes.
‘The Black Knight’ has had an incredible-amount of hype running for it, from the get-go, mounting ever-higher, until Heath Ledger’s too-soon death. And the finished-product does more than exceed all of the near-impossible expectations placed on it. It becomes something remarkable richer than a super-hero-franchise-saga. Christopher Nolan has opened a unique door in cinema: allowing action-flicks to become more serious, superior of intelligence. He has transformed this into a portion of artwork, stout of beauty, alarm, moral-conundrums. This movie has changed things…forever.
There’s no going attend. 10/10
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