Chris Nolan Rises

By now it must be irrefutable that Christopher Nolan is one of the greatest film-makers working today, and I would argue till I am blue in the face with anyone who says he has made a single feature that is not a superb example of the film-making art. He can do it all, complex, thought-provoking, exciting, adventurous, heart-rending, challenging, cerebral. He has taken mind-bending arthouse conception and made it mainstream with 'Memento', he has taken crime drama and elevated it to art with 'Insomnia', made recording slight of hand an unexpected delight with 'The Prestige', but the greatest trick that he ever pulled, his greatest achievement to date must be his realisation of the cinematic holy grail, the one thing that everyone from the business men to the punters; the technicians to the marketeers; the film buffs to the thespians have been craving for decades, an action triology that is good all the way through, an action triolgy that is intellegent, surprising, rewarding and successful. With Batman that is what he has done. Okay, it's not perfect, no film is. In this latest installement there is still a quibble or two. Bane's voice is annoying. Presumably the queer Dickensian tone was chosen to draw a distinction between it and Bale's gravelly drawl, but there is no obvious rationale for such sub Carry On comic accent. Also, Warner Brothers can expect a class action suit for whiplash after the tirade of cuts in the last 15 minutes, but these are quibbles, when the whole is an audaciously grand construction of a scale dwarfing most blockbusters, beautifully capturing the feel of the Batman stories, and not drenching them in stultifying darkness as has been done before, but having the courage to shine a light on the man behind the mask. Because Nolan knows that a blockbuster is just a big empty shell if it is not peopled by living breathing characters. They are here in abundance, and it is the very personal loves, friendships, rivlarlies and hatreds between them that drive the movie, that fill Nolan's magnificent construction with life. And in the end it all pays off, the huge set pieces, the fights, the flashbacks, the fiesty dialogue, the human relationships, every element is resolved, tied up and presented to the viewer with a big bow on it. Nolan knows what we want, he knows how to present it to us, and he provides it to us in spades - satisfaction.

Four Thumbs Up

Beautifully constructed morality tale from Rupert Wyatt with some really remarkable visuals. The effects work and the actors’ interactions with their 'props' are so assured that the outcome is highly convincing to the point that you won’t notice the join, and it's a huge accomplishment that will (if there's any justice) deservedly catapult Mr. Wyatt into the big leagues.

It’s a good if rather predictable story, but satisfying to spot the delicately placed traces of continuity that link to the later phases of the PotA franchise. In the first half at least John Lithgow is the emotional heart of the film and his performance is extremely touching and effective. James Franco’s is a strong turn too and Freida Pinto provides a powerful counterbalance to Franco's character’s increasingly reckless pursuit of a cure. It’s also good to see Tom Felton casting off his robes and discarding his wand (although just as nasty as ever).

John Lithgow

In relation to Caesar and the other apes it is difficult to comprehend the skills that must be necessary to perform effectively with what must be highly invasive technology. Andy Serkis is obviously a highly skilled actor in his own right, as evinced by his performances as Ian Dury and in The Prestige, Brighton Rock and Little Dorrit (tv) to name a few, but is he really the only guy who can play these marquee motion capture roles? I don't mean to be critical, far from it, I think Mr. Serkis will be remembered as the first and possibly greatest exponent of this newest branch of thespian-ism, but only because of making the transition to 'live action'. I find it interesting to consider whether any of Serkis's fellow mocap-ers will ever have the profile that he has deservedly achieved.

Andy Serkis - I still say Bluetooth is yesterday's technology

In the end RotPotA is highly enjoyable effects romp but is best, perhaps unusually, not in its big set pieces but in the personal interactions at the film’s heart.

All four thumbs up - bring on the Dawn...

The Mesmerising Mr. Nolan Works His Magic

Another masterful directorial outing for Christopher Nolan who has not put a foot wrong yet, The Prestige is sandwiched between Batman Begins and The Dark Knight and serves to once again highlight the wonderful diversity of his work. That he was overlooked for a directorial nomination for 'Inception' is to the eternal shame of the Academy.

The rivalry between Jackman and Bale's characters is loaded with intrigue at every mesmerising twist and turn, and they are supported by a superb cast of characters each presented with an engaging part that the audience cannot fail but invest in. But it is the story that is the true star, brought to life by Nolan, but beautifully imagined by author Christopher Priest.

The tricks are all explained but will enthral you nonetheless, as will this excellent film.