We finish off Christopher Nolan’s Batman trilogy with The Dark Knight Rises, the most entertaining and enjoyable of the three films. In a Gotham free of crime thanks to the draconian Dent Act, passed in the wake of Harvey Dent’s murder at, so the story goes, the hands of Batman, who hasn’t been seen since, the intriguing, intimidating, revolutionary figure of Bane arrives to terrorise and occupy the city. A recluse since the events of The Dark Knight, the threat of Bane gets Bruce Wayne back in his cowl, but he finds he’s met his match.
We again question the film’s politics, Mike arguing that its fascism isn’t so much particular to this series as a core component of Batman in principle, and that maybe the most a Batman story can do is ignore it, rather than fix it. Its aesthetics come back into focus too, in its cinematic style and militaristic sensibility, José taking issue with both, though he loves the opening set piece. He finds a new appreciation for Michael Caine, and we take pleasure in the new additions to the cast, particularly Tom Hardy and Anne Hathaway, and we leave the series in agreement that no matter our problems, it ended on a fun note.
Visually disappointing but narratively enthralling film about a Looper, an executioner who kills people from the future in the present. Time travel doesn’t exist in the present but it does in the future, thus people from the future get shipped back to the film’s present, the looper shoots them as they appear, disposes of the body and gets paid. No one is looking for the bodies in the present and nobody can find them in the future. But who is disposing of these bodies and why? That’s what the rest of the story tries to tell in this dystopian futuristic thriller in which one can detect elements of The Omen (Richard Donner, USA, 1976) and The Fury (Brian de Palman, USA, 1978). The story lacks tension and feels a bit long but it does fascinate. The drugs, the want, the sense of a failed state with no law and order, with hungry people rummaging the countryside and those prairies full of rotting fields are a subtle critique of America now and, like many contemporary films, Looper deals with current anxieties by depicting, denouncing and somewhat resolving the most hateful aspects of this new Depression we’re living in, albeit tangentially. Joseph Gordon-Levitt does a subtle imitation of a young Bruce Willis, it’s mostly the nose, but with a few mannerisms thrown in; then he shows what a truly brilliant actor he is because he can let go of the disguise; it’s not straightforward imitation. Emily Blunt disappoints; sadly, because she’s so sympathetic one wants her to be good. Looper is intelligent and enjoyable sci-fi thriller that offers well-executed action and also leaves audiences with an interesting set of ideas to think about and discuss.