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Buy The Dark Knight At Amazon!.
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What has been said about the Sad Knight cannot be elaborated on - so I won’t. The film is muscling its draw into my #1 approved funny movie adaptation of all time.
Buy,Download, Or Stream The Dark Knight! Click Here
The reason for my review is in hopes of saving you some money. This double disc Special Edition doesn’t bid the tag you pay for it. There isn’t even deleted scenes!!! I would keep your very hard earned dollars and take the single disc version and wait for the inevitable ULTIMATE re-release that will reach later on down the road.
But nonetheless, a large film - you will not be dissapointed; I fair wish the studio would have given a better Special Edition release than what we have here. So bask in!
Christopher Nolan has a vision. And whether you agree with it or not, he undeniably completes it in “The Shaded Knight”–a vicious, interesting, overwhelming, shimmering event- film that re-defines ‘comic-book-flicks’. In Nolan’s grim, dark-depiction of Gotham-City (the crime-ridden hell protected by legendary superhero Batman), the director strives to compose everything accurate (something he began in the well-received “Batman Begins”) . He makes it plausible, possible. And yet there’s more to it: fair as ‘Begins’ was a dissection of story, the nature of symbols and heroes, ‘Knight’ is the escalation of that belief. It’s a biblical- confrontation of ‘good-and-evil’, yet as ‘good-and-evil’ really exist: a conflict of ideals, something that can’t be purely-defined but that is relative to a viewpoint. In Nolan’s world, the line of villainy and heroism isn’t crossed… it’s non-existent. The bad-guys don’t scrutinize themselves as bad-guys, and as such something so unnervingly-real comes across it might coast past some people’s minds (no insult to anybody, it’s fair approved that people don’t study deep into ‘popcorn-flicks’) : the battle is a complete ambiguity.
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The film runs at nearly 2.5-hours, yet never ceases to lose interest or momentum. It doesn’t raze a scene or moment; every event is utilized and vital. ‘The Dim Knight’ tells a record worth telling and it takes the friendly amount of time to bellow it. Action-sequences are frantic, old-school, eye-grabbing stunts (vastly generous to ‘Begins’) and in their chaotic intensity we ogle that they support purpose to the legend, yet more fascinating are not played for pure entertainment-value: we are meant to gape, vexed, simply hoping that the outcome will go the hero’s scheme. Attention is never lost because we are immersed in a breathtaking, almost completely-unpredictable anecdote (it packs many a shock), that makes us assume and more importantly gains our emotional-investment. We advance to care for the characters, because they are believable, developed, and personified fully.
Everyone has great-chemistry together. Maggie Gyllenhal is a more conventional Rachel Dawes than Katie Holmes. Morgan Freeman provides his authoritative presence to the role of bad- gadget-inventor/Wayne-Enterprise CEO Lucius Fox, and under anyone else’s portrayal, the fraction would be less-memorable. Gary Oldman underplays his world-wearied lawman with such honest-nobility, you never feel for a second any of its forced-acting. The irreplaceable Michael Caine makes a gentle, reassuring, father-like presence as Alfred, and the movie would surely fail without his strong-presence and interjected-moments of light-humor.
And while everyone (rightfully) pours the praise unto Bale and Ledger, I mediate most are glancing-over Knight’s breakout-performance. As Harvey Dent, Aaron Eckhart does more than contain himself in the company of such a renowned-cast. He makes his presence known, whether he’s playing on the easy-going charisma of Gotham’s ‘White-Knight’ or the broken and damaged, twisted-soul of Two-Face. He achieves a full-impact with the tragedy that comes unto his character, and so closely connects with Dent, that he makes his harm tangible for us: we sympathize even as we become apprehensive. He captures both facets of each personality flawlessly.
Now, some people cite that ‘Knight’ has a potential fatal-flaw in the supposedly wooden- acting of Christian Bale. Admittedly, his development is not as gigantic as in ‘Begins’ (yet that film gave us such a honorable psychoanalysis of Wayne, we hardly need more), yet what Bale pulls off is admirable. Wayne is not an eccentric personality. He is a disillusioned man who can hardly gather any joy in having no family, giving up his love-interest and spending his life fighting a battle that may never kill. He’s shadowy and conflicted, and Bale plays up on that brooding-mood by making Wayne gaze as though a thousand dark-things were on his mind. He’s not wooden…he’s a humorless, peaceful individual. Even when Wayne is acting as a frivolous playboy for the public, every now and then Bale offers us a much watch that reminds us its all a façade; that deep down, something more stupefied irks him. Occasionally he offers a broken-smile when exchanging banter with Alfred, letting us know that beyond the dour depression of the Caped-Crusader lies a damaged human-being. It is only in the guise of a growling masked-man, that he can unleash his correct, ferocious personality.
Finally, who could forget Heath Ledger. Now, when he was first-announced for the section, I was (along with many other people) asking myself: “Why? “. Mr. Ledger had proved with ‘Brokeback Mountain’ he could train a potent performance. But he hadn’t before. It is only, after seeing this film, that I know the reply to ‘why? ‘: I gaze the significance of his loss.
When Heath appears in this movie, he is completely unrecognizable. His snarl is distinctly-altered; a near-whiny, pedophile-like tone that sends shivers down the spine. His face is completely splattered with makeup that renders him both freakishly-nightmarish and strangely-funny. And when you spy him, you don’t believe it’s him. In this, his final performance, Ledger proved he was a chameleon. His two iconic performances in this, and ‘Brokeback’, could not be more different. I am convinced he could have been anything in his career. He commits so intensely to character that the line of actor/portrayal dies. His every tick and gesture only further-enhances his character. Heath never hams the role up or goes for something cheap: he delivers a fully-immersed present of psychotic madness…or do we unprejudiced mark him that to feel safer? The movie writes the character brilliantly; blending ghastly truth into his every social-accusation, and making us interrogate why we laugh at his sick-jokes.
‘The Shaded Knight’ has had an incredible-amount of hype running for it, from the get-go, mounting ever-higher, until Heath Ledger’s too-soon death. And the finished-product does more than exceed all of the near-impossible expectations placed on it. It becomes something mighty richer than a super-hero-franchise-saga. Christopher Nolan has opened a novel door in cinema: allowing action-flicks to become more serious, satisfactory of intelligence. He has transformed this into a portion of artwork, chunky of beauty, alarm, moral-conundrums. This movie has changed things…forever.
There’s no going benefit. 10/10
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