The Amazing Spider-Man 2 (2014)
by Steve Habrat
Less than two years ago, Sony and Columbia Pictures rushed director Marc Webb’s The Amazing Spider-Man to the big screen, just five short years after Sam Raimi’s overstuffed Spider-Man 3. With a brand new cast led by The Social Network’s Andrew Garfield, The Amazing Spider-Man was a rush job of a summer blockbuster—a desperate attempt on Sony’s part to hold on to the rights of the Spider-Man character. It’s easy to see why Sony wanted to keep Spidey trapped in their web, as the beloved superhero is an audience favorite that guarantees the studio a big pay day. Yet for all the insistence that The Amazing Spider-Man was going to be a fresh start for the character, the film’s plot seemed awfully familiar and, frankly, a bit underwhelming when pitted against Marvel’s The Avengers and DC’s The Dark Knight Rises, the two summer kingpins of 2012. Now here we are at the commencement of the 2014 summer movie season and leading the blockbuster procession is The Amazing Spider-Man 2—a cramped comic book epic that fails to live up to its colossal hype. Sure it’s made with all the splashy action, on-again-off-again romance, wisecracks, and confliction that we have come to expect from a Spider-Man movie, but returning director Marc Webb and screenwriters Alec Kurtzman, Roberto Orci, and Jeff Pinkner appear to have been bitten by the same excess bug that nipped Raimi when he delivered his Spider-Man 3 dud.
The Amazing Spider-Man 2 finds brainy teenager Peter Parker (played by Andrew Garfield) continuing to battle crime on the New York City streets as Spider-Man. On the day of his high school graduation, Peter’s spider senses lead him to a high-speed chase through the city streets involving a highjacked truck that is carrying a massive load of plutonium. The man behind the highjacking is Aleksei Sytsevich (played by Paul Giamatti), a ruthless Russian mobster who will stop at nothing to outrun the authorities. With the help of Spider-Man, the authorities are able to corral Sytsevich, but during the chase, the webslinger saves Max Dillion (played by Jamie Foxx), an OsCorp employee who is largely ignored by his coworkers. In the wake of the rescue, Dillion develops an unnatural obsession with Spider-Man, believing that he is the superhero’s partner. Meanwhile, Peter suffers from visions of fallen police captain George Stacy, the father of his girlfriend, Gwen Stacy (played by Emma Stone), who made Peter promise to distance himself from Gwen after his battle with the Lizard. Haunted by the promise he made, Peter grapples with his romance with Gwen, which leads to a nasty break-up between the two. Shortly after the break-up, Peter reunites with his long lost friend Harry Osborn (played by Dane DeHaan), the son of OsCorp’s late president, Norman Osborn (played by Chris Cooper). Before his father’s death, Harry learns that he has inherited his father’s illness, and that he has to rush to find a cure before it’s too late. At the same time, a freak workplace accidently transforms Max Dillion into an electrified monster called Electro. After a botched attempt to calm the terrified Max in Times Square, Dillion develops a grudge against Spider-Man and vows to destroy him.
At two hours and twenty minutes, The Amazing Spider-Man 2 attempts to juggle a staggering number of subplots, all of which seem to demand more time than they are allotted. Webb and his screenwriters continue to reveal tidbits of information about Peter’s late parents, and Harry’s quest to cure himself leads to the creation of a familiar Spidey super villain. And then there are the romantic quarrels between the impossibly cute Gwen Stacy and the stammering Peter, a couple that have to hold the record for the most make-ups and break-ups in a single motion picture. Honestly, trying to keep up with all of it is exhausting, and in the process, Webb practically forgets about one character that we’re left wanting quite a bit more from. After a while, this overcrowded tale begins to feel a bit like Spider-Man 3, the film that single-handedly killed off Raimi’s series. It appears that neither the filmmakers nor the studio learned from this mistake, although Webb avoids the cartoonish brooding and cringe inducing camp that made Raimi’s such a painful embarrassment. What’s clear is that Sony is putting pressure on the filmmakers to set up spin-off movies and lay the foundation for the next two installments in this Spidey saga. Sony has already made it clear that they intend to craft a cinematic universe much like Disney’s Avengers line, although, this world is threatening to be too villain heavy.
While the jam-packed narrative causes The Amazing Spider-Man 2 to feel sluggish, the lighter moments between Peter and Gwen put a little pep in the film’s step. The relationship drama does get a bit tiresome, but the two stars have a chemistry that soothes some of the grumbles that are bound to slip out from many audience members who have grown weary of Spidey’s chaotic love life. It also helps that Garfield and Stone share an off-screen romance, which makes their on-screen relationship even cuter. On his own, Garfield continues to settle into the role of Peter Parker/Spider-Man, wisecracking his way through gunfights, car chases, aerial battles with Electro, and a final showdown with the charging Rhino. There is no denying that Garfield nails the cocky comedic side of the character, but he also proves that he can handle Peter’s darker demons that creep in when he’s not swinging through the concrete jungle. His inner angst is measured with a desire for answers about his parent’s mysterious death—a mystery that he grapples with in the privacy of his bedroom. Stone remains an actress you just can’t resist as her Gwen Stacy looks to a future without Peter by her side. In the final stretch of the film, she proves to be more than just a damsel in distress, daring to jump into the action and assist a desperate Peter as he fends off attacks from Dillion’s Electro and Harry’s cackling Green Goblin.
On the villain end of things, The Amazing Spider-Man 2 finds one half of the Sinister Six uniting to squash the Spider. If you thought that Lizard was a far-fetched villain, wait until you lay eyes on Electro, a glittery swirl of electricity given a tragic human rage by Jamie Foxx. Early on, Foxx really makes you feel for Max Dillion, a geeky engineer who talks to himself and frowns as his coworkers look right through him. As Electro, Foxx plays the character as a terrified monster that doesn’t wish to harm anyone, but this misunderstood monster performance is rapidly brought down through a sudden script shift that demands Electro get mean fast. DeHaan was born to play Harry Osborn, the chilly son of OsCorp’s late president who is doomed to become the leering Green Goblin. The scenes shared between Peter and Harry are pleasant enough, but there are far too little of them for us to really be shaken when Harry’s Green Goblin comes calling for Peter’s Spider-Man. Giamatti’s Aleksei is appropriately over the top, as he grunts and growls in a hammy Russian accent. Sadly, he’s reduced to an extended cameo, but when he jumps into that menacing Rhino suit and starts wrecking havoc in the streets of New York City, I promise your adrenaline will start surging, especially when he stares down quivering cops and proclaims, “I am zee Rhino!”
As expected, The Amazing Spider-Man 2 features numerous action set pieces that will thrill viewers of all ages. The scenes of Spider-Man swinging between skyscrapers are some of the most convincing we’ve seen so far, and Spidey’s first encounter with the skittish Electro shows off some impressive urban destruction. My personal favorite action moment is the confined fistfight between Spidey and the Green Goblin, a battle that ends with a shock guaranteed to blindside the packed theater. Another personal favorite is the Wall-Crawler’s showdown with Rhino, who charges into the battle guns and rockets blazing. As far as other complaints go, I found the score, which is composed by Hans Zimmer and the “Magnificent Six,” a super group led by Pharrell Williams, to be an absolute catastrophe. The chugging and whispering theme for Electro is just distracting as it attempts to get inside his glowing head, and the sudden lapses into shrill dubstep leaves your ears ringing. Overall, while there are things to like about The Amazing Spider-Man 2—the action, the CGI, the performances—the film doesn’t find Webb sending the friendly neighborhood Spider-Man to soaring new heights. What we’re left with is a cluttered and disjointed superhero outing preoccupied with enticing the audience rather than satisfying them until Spidey inevitably swings back onto the big screen.
by Steve Habrat
In 1976, little Opie Taylor himself Ron Howard starred in the Roger Corman car chase movie called Eat My Dust, agreeing to be in the film if B-movie king Corman would let him direct his own picture down the line. A year later, Corman made good on his promise and he let Howard direct Grand Theft Auto, his own car chase comedy tailored for the drive-in crowd. Several years and A-list movies later, it seems that the speed demon that lurks within Howard still hasn’t been tamed. Racing into theaters just in time for awards season is Rush, a stylish and sexy Formula One action-drama that also happens to be based on the real-life rivalry of James Hunt and Niki Lauda. From the time the green light flashes and those Formula One racecars roar to life, it’s clear that Rush is trying to blast itself straight into Oscar gold. While the melodramatic pauses that break up the tightly edited and sleekly framed action sequences might prevent Academy members from voting it into the Best Picture category, the film is a technical wonder, featuring screen-shredding crashes and sound work that kicks up the loose popcorn and Sour Patch Kids that are stuck to the theater floor. There are also the central performances, especially from newcomer Daniel Bruhl, who speeds off with nearly every single scene he struts steps into.
Picking up in 1970, Rush introduces us to lowly Formula Three racers James Hunt (played by Chris Hemsworth) and Niki Lauda (played by Daniel Bruhl), who quickly develop a fierce rivalry on the track of the Crystal Palace circuit in England. From 1970 to 1976, the British party boy Hunt and the all-business Austrian Lauda battle to enter the ranks of the Formula One drivers. In 1976, their rivalry was pushed to the breaking point as they went head-to-head in the Formula One races, risking their lives one race at a time to become the world champion. Meanwhile, their rivalry begins to spill over into their personal lives as Hunt struggles to hold on to his wife, supermodel Suzy Miller (played by Olivia Wilde), and first-place holder Lauda grapples with the fact that Hunt is breathing down his neck for the number one. The relationship between Hunt and Lauda takes a curious turn when Lauda is involved in a horrific car wreck that leaves him with third-degree burns covering his most of his face and badly damaged lungs. While fighting for his life, Lauda watches as Hunt closes in on the number one spot, which causes Lauda to make a speedy recovery and get back in the tournament.
Like most car films, Rush explores those who truly feel alive when they are defying death at over 100 miles per hour. Being a sports movie, the film never veers into existential terrain like such efforts as the recent art house thriller Drive or the high-octane cult-classic Vanishing Point. Howard and screenwriter Peter Morgan are more intrigued by the blistering rivalry between these two drastically different personalities and how, in the end, they actually needed each other. They balance the rat-faced geek vs. handsome jock act quite well, slipping it into tightly edited race sequences that make you feel like you’re squeezed into the driver’s seat with Hemsworth and Bruhl. Most thrilling are the races set against torrential downpours, placing us behind the helmets of Hunt and Lauda as they frantically search for a way to outdo the other. With visibility a blur and the engines rupturing our ear drums, you can’t help but admire these men as they put their lives on the line for a chance to stand above a cheering crowd and spray champagne into the air. What truly astonishes is the calm demeanor and nonchalant boldness of these men as the hop behind these mechanical beasts. They seem invincible, but Howard reminds us that they are flesh and blood through compound fractures and the fiery crash that almost takes Lauda’s life.
Bringing these two fearless daredevils to life are the brilliant Bruhl and Hemsworth, both of which settle quite nicely into the skin of their characters. Hemsworth sharpens his acting abilities as the playboy Hunt, who stumbles around the racetrack with a cigarette dangling from his mouth and a chugging a bottle of booze like he may never be allowed another drink. He’s irresistible to women, who get weak in the knees over the self-assured smile he flashes their way, and everyone seems to genuinely enjoy his presence when he steps into the party. The only time he ever shows any sort vulnerability is when he vomits before a race or when he is faced with the possibility that he may not get sponsored. At the other end of the spectrum is Bruhl’s Lauda, a squeaky clean stickler for the rules who is early to bed and early to rise. He rises to fame through money and by barking orders at the bewildered mechanics wondering just who the hell the guy thinks he is. He’s cold, calculating, and absolutely relentless in trying to keep Hunt down, spending every single solitary second tinkering with his car. Of the two men, Bruhl is the one who comes out on top, giving a top-notch performance that you just can’t take your eyes off. Don’t be surprised if you see his name among the Best Actors list when the nominees are announced.
With so much focus on the complicated relationship between Hunt and Lauda, Howard seems to be largely uninterested in adding a spark to each man’s personal life. Sure, we catch glimpses of Hunt’s crumbling marriage but it only gets maybe five minutes of screen time, and Lauda’s devotion to Alexandra Maria Lara’s Marlene Knaus is seen only through the silent glances that they continuously share. Wilde and Lara try to rise above their underdeveloped roles by hovering around television screens and holding their breath for their warring speed junkies, but none of the behind-closed-doors melodrama comes close to matching the breathless exhilaration of the races. Further muting the drama are the raw violin musical cues from composer Hans Zimmer, who contributes a beautiful but oddly mathematical score to deepen the impact of the emotional heart-to-hearts. Overall, as a study of ego and rivalry, Rush is a crackling triumph one could enjoy again and again. It finds Howard delivering on all the pedal-to-the-metal action that you’d expect from a film called Rush, and you simply won’t be able to pry your eyes off all that handsome cinematography. As an A-list crowd pleaser, this one should rocket right to the top of your must-see list.
True Romance (1993)
by Steve Habrat
Even though Quentin Tarantino did not direct the 1993 romantic thriller True Romance, one would swear that it was made by the vigorous film buff. Directed by the late Tony Scott and written by Mr. Tarantino, True Romance is a fast, funny, gory, and sexy tale about gangsters, drugs, pimps, comic books, Sonny Chiba, Elvis, and some of the strangest characters you are ever likely to see in a motion picture. Hot of the success of 1992’s indie Reservoir Dogs and made just before 1994’s star-studded Pulp Fiction, Tarantino’s script is a fiery blast of nerdy dialogue and fizzy romance matched up with an all-star cast (Christian Slater! Patricia Arquette! Samuel L. Jackson! Dennis Hopper! Brad Pitt! Christopher Walken! Val Kilmer! Gary Oldman!), who all give insanely memorable performances. You can feel Tarantino’s energy humming through the entire project but it’s Scott’s edgy and flashy directorial style that makes this nearly two hour film seem like it is only about a half-hour long. Seriously, I couldn’t believe how quickly this film moves and how short it actually felt. While True Romance is always fun and exciting, the film sadly looses a little steam near the climax. Maybe I was just fatigued from the Scott’s hyperactive style and Tarantino’s fast paced film-referencing conversations that led up to the final confrontation. I mean, did you ever think there would be a film that references both The Streefighter and Terrence Malick’s Badlands?
True Romance introduces us to comic book store clerk Clarence (Played by Christian Slater), a nerdy loner who attends a kung fu triple feature on his birth. While at the movies, he crosses paths with a beautiful blonde named Alabama (Played by Patricia Arquette). The two hit it off instantly over pie and conversations about Elvis, comic books, and kung fu. After a night of steamy passion, Alabama reveals that she was a call girl hired by Clarence’s boss as a birthday present but that she has fallen madly in love with him. The two marry and Clarence decides that he is going to seek out Alabama’s pimp, Drexel (Played by Gary Oldman), and let him know that his blonde bombshell is quitting. This meeting between Clarence and Drexel doesn’t go according to plan and Clarance ends up killing Drexel and accidentally leaving with a bag of stolen cocaine. Unsure what to do, Clarance seeks out the help of his estranged father, Clifford (Played by Dennis Hopper), and plans to flee to California. Hot on Clarence and Alabama’s trail is a gangster Vincenzo Coccoti (Played by Christopher Walken) and his sadistic enforcer Virgil (Played by James Gandolfini). Once they arrive in California and hook up with Clarence’s buddies Dick Ritchie (Played by Michael Rapaport) and Floyd (Played by Brad Pitt), things really get dangerous.
True Romance is loaded with juicy Tarantino moments, the ones where characters sit down to have a completely quotable conversation. You will be fighting off a grin during a diner conversation between Slater’s Clarence and Arquette’s Alabama. Comic geeks will swoon when Clarence takes Alabama to the comic shop where he works and they share a kiss over the first issue of Spider-Man. Fear not, folks, the great chatty moments don’t stop there. There is a hilarious scene where Hopper and Walken fire up cigarettes and have a war of words before one of them is staring down the barrel of a gun. And we can’t forget any dazed zinger that comes from Pitt’s Floyd. For as talky as True Romance gets, Tarantino and Scott deliver some seriously nasty moments of violence. The showdown between Drexel and Clarence will get the blood pumping something fierce with all its claustrophobic brutality while Alabama receives a vicious beating from Virgil, as he demands to know where the big bag of cocaine is hidden. And then there is the strangely beautiful gunfight at the end that has three groups going toe to toe as feathers and cocaine fly through the air.
True Romance may be a whirlwind of geeky chats and stomach churning violence, but it would be nothing without the oddball performances from its all-star cast. Slater is a knockout as Clarence, a comic and B-movie geek who finally gets the girl. His opening moments with Arquette are out of this world as they get to know each other over popcorn, pie, and Sonny Chiba. Arquette as a ray of sunshine with a violent streak, moved to tears when Clarence kills someone for her. Oldman gives a jaw-dropping performance as Drexel, the dread-locked pimp who chows down of Chinese while taking in The Mack. He taunts Clarence by calling him a “regular Charlie Bronson!” Walken gets a fine cameo as a soft-spoken gangster who cackles when Hooper insults him for his Sicilian background. It’s a small role, borderline cameo, but Walken nails it like he is the star of the show. Hooper leaves crazy on the shelf as Clarence’s father, a washed up ex cop who seems to be living a lonely existence with his dog in a rundown trailer. Pitt is absolutely hilarious as Floyd, a stoner rooted to the living room couch. He’s hysterical when he asks a handful of gangsters if they want to get high. Rapaport is his usual restless self as Dick Ritchie, an aspiring actor who is consistently exasperated with Floyd. And then there is Val Kilmer as Elvis, an apparition that appears and whispers words of encouragement to Clarence.
If you’re a cinema buff or a comic book fan, True Romance should be essential viewing for you. It’s consistently clever, retro, funny, pulpy, and heart pounding all while bopping along to Hans Zimmer’s score that pays tribute to Malick’s Badlands. When the film swaps the snowy streets of Detroit for the sun-kissed streets of California, the film looses some of the momentum it had gathered early on. The end showdown is visually thrilling and certainly a bloody, gory show, but the viewer is suffering burn out from the white-knuckle pace of the rest of the film to really appreciate it. Still, its worth catching True Romance simply to see this cast really let their crazy sides fly and it’s the true definition of entertaining. It’s also worth it to catch Pitt in a hilarious haze of marijuana smoke and lukewarm beers. Overall, its hard not to wonder what Tarantino would have done with the film had he directed it but Scott shapes all the action into a banshee of a thrill ride. Just make sure you keep a B-movie history book close by and you brush up on your comic knowledge. It will lead to a deeper appreciation of the film.
True Romance is available on Blu-ray and DVD.
The Dark Knight Rises (2012)
by Steve Habrat
It is finally here, folks! One of the most anticipated films of all time is finally crashing into theaters and everyone is dying to know if it lives up to the sky high expectations that have been set by critics, fanboys, and average moviegoers alike. Well folks, Christopher Nolan’s The Dark Knight Rises, the final installment in his wildly prevalent Batman franchise, does live up to the gigantic expectations. In fact, it lives up to those expectations and then blows them to smithereens. If you can believe it, Nolan manages to craft a film that is bleaker and darker than anything he came up with in his shadowy origin tale or his chilling bridge film. This goes way beyond dark territory and dives headlong into black no man’s land. Nolan pits our flesh and blood hero against a foe that he is no match for and throws in an evil plot to end all other evil plots. Raising the bar even higher than he did with 2008’s showstopper The Dark Knight, Nolan once again begins tinkering with the formula of the superhero movie and what he conjures up is a mammoth ogre of a film that finds itself intrigued with our unshakeable fear of terrorism in our post 9/11 world. It could be called a rehash but Nolan is witty enough to put the lives of hundreds of thousands on the line and with a number like that, there is no way everyone can survive.
I won’t provide too much about the plot in this review so I will stick to the barebones basics. Eight years after the Joker brought Gotham City to its knees, crime has been almost completely scrubbed away from the streets of Gotham. The city still mourns the death of their “white knight” Harvey Dent, who was driven insane by the Clown Prince of Crime and went on a killing spree that left several individuals dead. In an attempt to keep hope alive in Gotham, Batman (Played by Christian Bale) has taken the fall for Dent’s crimes and disappeared from the city. Commissioner Jim Gordon (Played by Gary Oldman) has been grappling with the fact that he has been feeding the public lies and finds himself on the verge of revealing the true Harvey Dent to the citizens of Gotham. Bruce Wayne, who is still licking the wounds he suffered at the hands of Dent and the Joker, stays locked away inside Wayne Manor, which has now been rebuilt. Wayne is shaken out of retirement after he stumbles upon a vampy burglar by the name of Selina Kyle (Played by Anne Hathaway) making off with his mother’s necklace. As Bruce begins to investigate Kyle’s background, he discovers a much larger plot to destroy Gotham City. This plot is being led by the terrifying mercenary Bane (Played by Tom Hardy), who is diligently building an army below the streets of Gotham, waiting for the proper moment to emerge and turn the city to ash.
Dropping the thriller routine that he was fond of in The Dark Knight, Nolan crafts a large-scale disaster epic that leaves our hero scrambling to gather all the help he can find. He discovers that he may be able to trust Kyle, who is desperate to erase her rocky past any way she can. Batman also finds that he can trust Gotham City beat cop Detective John Blake (Played by Joseph Gordon-Levitt), an admirer of Batman’s efforts to clean up the city. He also finds help in the usual suspects Lucius Fox (Played by Morgan Freeman), his gadgets man, Commissioner Gordon, and Alfred Pennyworth (Played by Michael Caine), his trusty butler. While The Dark Knight Rises slowly evolves from disaster film into war epic, Nolan bombards the viewer with countless images of destruction and devastation that settles in the pit of your stomach like a rock. We’ve all seen the scenes of the football field collapsing and the overhead shots of bridges getting blown to hell, but that doesn’t soften their impact, especially when Hans Zimmer’s rumbling score joins in. It is through heavy scenes like this that you have to wonder if these new alliances will even make a ripple against Bane’s tidal wave of terror.
While The Dark Knight Rises has plenty of jaw-dropping action sequences, the film is carried off into greatness by the performances of everyone involved. The standouts are definitely the new kids on the block, Tom Hardy, Anne Hathaway, and Joseph Gordon-Levitt. The one who steals the movie (fitting for her character) is Hathaway’s Selina Kyle, who is never once referred to as Catwoman. A Robin Hood figure dressed in a black body suit and goggles, Kyle is firecracker as she slinks through this boys show. She gets a kick out of seducing rich men and then taking them for all that they have. While Hathaway is great, she gets some competition from Hardy’s Bane, a hulking terrorist with a fang-like gas mask bolted to his face. While Hardy is given the nearly impossible task of following up Heath Ledger’s Joker, he holds his own as an equally sadistic “liberator” who manhandles anyone who tries to go up against him. Rounding out the new kids is Joseph Gordon-Levitt’s beat cop Blake, a good guy who catches the attention of Commissioner Gordon, and Marion Cotillard’s Miranda Tate, a Wayne Enterprises investor who is desperately trying to shake Bruce Wayne out of his funk.
Then we have the veterans who all exit Gotham City in plenty of style. Bale shines even brighter here as Wayne, now a gaunt recluse who has shut himself out of the world in the wake of what the Joker took from him. You will want to stand up and cheer when Bruce finally leaves the halls of Wayne Manor and hits the streets once again as the Batman. As Batman, Bale brings a ferocity that we haven’t yet seen from him as Batman. We briefly glimpsed it in the interrogation scene in The Dark Knight but here; Batman is a predator that is foaming at the mouth. Morgan Freeman’s Lucius Fox jumps at the opportunity to get Bruce back in the crime fighting game. He gets to unveil Batman’s latest “wonderful toy” The Bat, a prototype flying machine that is beyond nifty. Caine’s Alfred gets the most emotional moments of the film as he pleads with Bruce to not confront this new evil that is ripping Gotham to shreds. He gets one specific scene with Bruce Wayne that will hit you in the gut like a wrecking ball. Then there is Oldman’s Gordon, who is suffering from the fib he has told about Harvey Dent. You will fight back geeky applause when Batman and Gordon finally reunite after eight years.
Sadly, The Dark Knight Rises does have a few flaws, which are mildly distracting. One in particularly really bothered me but I won’t reveal it here because many may label it a spoiler. There is also one character that is left slightly undeveloped, which was a shame because it would have improved the twist at the end of the film. Despite the flaws, Nolan once again holds up a gritty reflection of our current political backdrop. While I don’t think it was intentional, Nolan touches upon the Occupy Wall Street movement and the 99% rising up against the 1%. The film was written just slightly before the protests but you have to hand it to Nolan for picking up on the tensions. He also can’t resist touching upon terrorism, the theme even heavier here than it was in The Dark Knight. While I am reluctant to say too much about the film because the less you know going in, the better it will be, I can promise you that the last hour of this film is why we go to the movies. You will fight the urge to leap out of your seat and throw air punches as Batman and Bane battle for the fate of Gotham City. I’ll admit that I was fighting back tears in the final moments of the film, Nolan wrapping everything up in the finest way possible, which meant the world to this Batfan. While its few flaws may make it fall short of being a masterpiece, The Dark Knight Rises is easily the best Batman film ever made, the best blockbuster of the summer, and the best film of 2012 so far. If you want my opinion, epic doesn’t even scratch the surface of what Nolan has delivered here. It is a commanding tour de force that will almost make you forget to breathe. A must-see.