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'The Dark Knight Rises' early reviews arrive

As Warner Bros. lifts its review embargo, online reviews of the hotly anticipated Batman finale start rolling in.

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The film has several exciting action set-pieces, many of which utilize the aerial vehicle The Bat, but none of which provoke the kind of jaw-dropping reaction that the truck flip did in The Dark Knight. Still, there are enough brawls, chases, and stuff going boom to satisfy hungry action fans. The battle in the streets pitting Bane’s army against Batman and the GCPD is quite a sight to behold in IMAX. Speaking of which, far more of this film was shot in IMAX than The Dark Knight, but the transitions here between full screen IMAX and the almost “letterbox” effect of regular film can be jarring. That said, IMAX really is the best way to watch this movie. The aforementioned gripes aside, director Christopher Nolan and his team have delivered the grandest, most emotional and superheroic chapter in their Batman saga. The Dark Knight Rises is a fitting emotional and narrative conclusion to this particular interpretation of the enduring story of Bruce Wayne the man and Batman the legend.

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Screen Rant had a humble start back in 2003 as a place to rant about some of the dumber stuff related to the movie industry. Since then, the site has grown to cover more and more TV and movie news (and not just the dumb stuff) along with sometimes controversial movie reviews. The goal at Screen Rant is to cover stories and review movies from a middle ground/average person perspective.

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Rather than drawing from the comics, Nolan instills real world issues into his Gotham City with a conflict that forays into corporal punishment, the stock exchange and ideas for sustainable energy–all things we might regularly read about in the papers, which either will make the situations more relatable or will have you rolling your eyes at having politics mixed in with your entertainment. Making a story that revolves around the distinction between Gotham’s haves and have nots—something that’s permeating many works of fiction right now–may seem fairly hypocritical for a filmmaker who is probably living as comfortably as Bruce Wayne by now. Fortunately, many of these issues are at least partially forgotten once Bane finally emerges in the Gotham daylight and we see the scope of his master plan to terrorize Gotham City. [Nolan] also figures out a convincing way to wrap everything up in a nice bow, making one feel like he’s created a bonafide Batman story in three movies that can stand up on its own merits completely separate from the comics or any previous incarnations.

From Hit Fix:

The technical side of things is sharper than ever before, and if this really is the last film that Wally Pfister shoots, he’s going out in style.  Even more of this film was shot with IMAX cameras than “The Dark Knight,” and it makes for some breathtaking visual moments that match the emotional impact of the film’s operatic final act.  Hans Zimmer’s work here is brutal, percussive, borderline crazy.  It feels like things are starting to shake to pieces, like the entire world is about to implode.  I found the final movement of the film, a good thirty minutes or so, almost unbearably emotional, and I think it may be the best stretch in any of the films.  There are some logic issues I have with parts of the film, and we’ll get into those in the “Second Look,” but there is a clean, uncompromised emotional arc that steamrolls those problems for me, and I think the film more than fulfills the promise made by the first two films. ["The Dark Knight Rises"] confirms that these films have always had an endgame in mind, and it has been a remarkable ride, one I would not want to follow.  Whoever Warner Bros hires to reboot the “Batman” films a few years from now, I wish you luck.  The bar is as high as it could possibly be.

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