The Dark Knight Rises. Ecco le prime recensioni di Variety e The Hollywood Repoter

A pochi giorni dall’uscita in sala de Il cavaliere oscuro – Il ritorno o se volete di The Dark Knight Rises, è caduto l’embargo sulle recensioni da parte della stampa americana che lo ha visto una settimana fa.

I primi, come sempre, sono i critici delle due riviste di settore, Variety e The Hollywood Reporter, da sempre vicini all’industria, ma ugualmente molto autorevoli.

Todd McCarthy – “il miglior critico del mondo” secondo la nota definizione di Tullio Kezich – su THR ha scritto nel suo famigerato statement d’apertura: “Big-time Hollywood filmmaking at its most massively accomplished, this last installment of Christopher Nolan‘s Batman trilogy makes everything in the rival Marvel universe look thoroughly silly and childish. Entirely enveloping and at times unnerving in a relevant way one would never have imagined, as a cohesive whole this ranks as the best of Nolan’s trio, even if it lacks — how could it not? — an element as unique as Heath Ledger‘s immortal turn in The Dark Knight. It’s a blockbuster by any standard.”

Secondo McCarthy: “Nolan has thus boldly rooted his film in what are arguably the two big worries of the age, terrorism and economic collapse, the result of which can only be chaos. So when virtually the entire Gotham police force is lured underground to try to flush out Bane, the latter has the lawmen just where he wants them, trapped like animals in a pen waiting for slaughter. And the fact that Gotham City has, for the first time, realistically used New York City for most of its urban locations merely adds to the topical resonance of Bane’s brilliantly engineered plot, in which he eventually takes the entire population of Manhattan hostage. Nolan has always been a very serious, even remorseless filmmaker, and never more so than he is here.

Despite all the advanced technology deployed to make The Dark Knight Rises everything it is, Nolan remains proudly and defiantly old school (as only the most successful directors can get away with being these days) when it comes to his filmmaking aesthetic, an approach indicated in a note at the end of the long final credits: “This motion picture was shot and finished on film.”

Ugualmente positiva, ma meno entusiastica, la recensione di Justin Chang su Variety:

While The Dark Knight Rises raises the dramatic stakes considerably, at least in terms of its potential body count, it doesn’t have its predecessor’s breathless sense of menace or its demonic showmanship, and with the exception of one audacious sleight-of-hand twist, the story can at times seem more complicated than intricate.
 
Attendiamo ora quelle di Ebert e dei grandi giornali NYT, LAT, New Yorker.
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