Reviews of Films I Have Never Seen:
THE DARK KNIGHT RISES – Artsy Ending Boosts Action Flick

Keep in mind that I rarely implore, but today is different: stay open to new cinematic techniques.

Director Christopher Nolan’s dramatic Act III will be squandered if you react poorly, storm from the theater, and start tweeting about being ripped off.

Ignore web rumors about severe production economies in Nolan’s final installment of the Dark Knight trilogy.

Don’t listen to any buzz that Nolan was ordered to save money or the film would be taken away and completed by fourteen-year-old boys or J.J. Abrams.

The script by Nolan and his brother, Jonathan, with David S. Goyer plunges us into a post-Joker Gotham City.

Eight years have passed.

The laughs are gone. Crime is down.

Rachel Dawes and Harvey Dent are dead.

Alfred (Michael Caine) has a bladder condition and must carry around a quart of Brute aftershave to tamp down unpleasant odors.

Bruce Wayne (Christian Bale) passes the time by growing facial hair, purposeless and alone with his memories, much like Phil Donahue. Lucius Fox (Morgan Freeman) and Commissioner Gordon (Gary Oldman) often drop in to watch Animal Planet marathons of My Cat From Hell. But the conversation is bittersweet while Alfred’s snacks of summer sausage and cheddar reek of aftershave.

But then Bane (Tom Hardy) arrives.

Here is a villain worthy of the Dark Knight. But Bane crushes our hero and sets about destroying Gotham City. A shattered Batman finds himself allied with tricky Catwoman Selina Kyle (Anne Hathaway).

Here Nolan breaks new cinematic ground. Embracing the theme of darkness, the director gradually diminishes all lighting beginning at the one-hour mark. At first, you don’t notice. Then it seems like the film only uses source light such as street lamps and neon signs. Then everything is in shadow and you have to guess who is who.

Finally, for the last twenty minutes, the screen is absolutely black. You see aircraft running lights and gunshots while explosions briefly illuminate scenes. And, of course, you hear the dialogue. But like the characters in this murky world, you aren’t really sure of anything.

I’ll admit, I felt kind of cheated at first. But after a time I grew to appreciate Nolan’s intricate blend of theme and non-image.

You may not instantly notice how cool a black screen can be. But if you do, congratulate yourself.

It’s clear that you ‘get it.’

Casting kudos to John Papsidera and Toby Whale for getting over 175 actors to appear in uncredited roles.

Four stars to Faberge, makers of Brut, for outstanding product placement.