The Dark Knight Rises. Nuove recensioni dagli Stati Uniti

Mano a mano che si avvicina la data d’uscita del film di Nolan, vengono svelate le recensioni dei maggiori quotidiani e riviste americane ed inglesi.

Su Time magazine, Richard Corliss ha scritto: Although his movie contains elaborate fights, stunts, chases and war toys, and though the director dresses half his characters in outfits suitable for a Comic-Con revel, Nolan is a dead-serious artist with a worldview many shades darker than the knight of the title. The Avengers is kid stuff compared with this meditation on mortal loss and heroic frailty. For once a melodrama with pulp origins convinces viewers that it can be the modern equivalent to Greek myths or a Jonathan Swift satire. TDKR is that big, that bitter — a film of grand ambitions and epic achievement. The most eagerly anticipated movie of summer 2012 was worth waiting for.

[…] The form of the storm is a creature called Bane, an immense hulk with an air of courtly menace and, to reduce his pain, a tubular mask that looks like a small creature from the original Alien permanently leeched onto his face. Long ago, Bane escaped from a deep Asian pit where tough men were left to wither and die. Now he is the muscle, and possibly the brains, of the League of Shadows from Batman Begins. And he has a master plan to free — read: enslave — Bruce’s city, employing the ability to cloud men’s minds by lightly touching their heads and, even more effective, a four-megaton nuclear device.
[…] Nolan’s mask is his guise as a director of comic-book entertainments, when he’s really out to excoriate American greed and laziness and its citizens’ susceptibility to a demagogue’s threats and promises.

[…] Nolan has said he was inspired by Charles Dickens’ A Tale of Two Cities; he borrowed the novel’s setting in a time of revolution, its use of a storm motif and its proliferation of characters who are the doubles or mirror images of each other. (Bane, who literally went to the same school as Bruce, might be Batman’s evil twin.) At the end, Alfred reads the last lines from A Tale of Two Cities: “It is a far, far better thing that I do, than I have ever done; it is a far, far better place that I go to than I have ever known.”

Peter Travers su The Rolling Stone invece ha scritto: Audiences will be arguing forever about director Christopher Nolan’s capper to his Batman trilogy. Want to bitch? Start with the reactionary politics and that franchisefeeder of an ending. But the sheer scope of Nolan’s vision – with emotion and spectacle thundering across the screen – is staggering.

[…] From the opening skyjacking to the blowing up of a football field and a nerveshattering prison break, the film shakes you hard and often.

[…] a refresher in Batman Begins, the League of Shadows and evil genius Ra’s al Ghul really helps. Otherwise, just let The Dark Knight Rises propel you into Nolan’s carefully wrought maze. You may have to fight yourself out. But a movie this potent and provocative is well worth the battle.

Roger Ebert gli assegna solo 3 stellette (su 4), non troppo convinto da Bane e dalla prima parte del film: “The Dark Knight Rises” leaves the fanciful early days of the superhero genre far behind, and moves into a doom-shrouded, apocalyptic future that seems uncomfortably close to today’s headlines.

[…] The result, in Christopher Nolan’s conclusion to his Batman trilogy, is an ambitious superhero movie with two surprises: It isn’t very much fun, and it doesn’t have very much Batman. I’m thinking of the over-the-top action sequences of the earlier films that had a subcurrent of humor, and the exhilarating performance of Heath Ledger as the Joker. This movie is all serious drama, with a villain named Bane whose Hannibal Lecterish face-muzzle robs him of personality. And although we see a good deal of Bruce Wayne, his alter-ego Batman makes only a few brief appearances before the all-out climax.

[…] Bane is the least charismatic of the Batman villains, but comes close to matching Bruce Wayne and Batman in screen time.

[…] This is a dark and heavy film; it tests the weight a superhero movie can bear. That Nolan is able to combine civil anarchy, mass destruction and a Batcycle with exercise-ball tires is remarkable… That it concludes the trilogy is inevitable; how much deeper can Nolan dig? It lacks the near-perfection of “The Dark Knight” (2008), it needs more clarity and a better villain, but it’s an honorable finale.

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