The thought of the two of them in a big, meaty conversation about the genre is a good one. It includes unseen footage, the story of how the films came to be, and new interviews with the likes of Michael Mann, Zack Snyder, Damon Lindelof and Guillermo del Toro.
The set will also include art cards, a page hardback book, and some Mattel vehicles. The release date we have for it is 24th September. It's Blu-ray only as far as we can tell. Please, if you can, buy our charity horror stories ebook, Den Of Eek!
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In The Dark Knight Rises , he excoriates a big society do he attends as he ends his tenure as a recluse and dashes out again investigating, saying that the money raised for charity is really just to fund self-aggrandizement. The people are "phonies," the contributions a tax write-off to fuel partying, the events nothing more than celebrations of the ego rather than sincere efforts to help make a difference. Wayne intrigues for many reasons, not the least of which that he employs his fortune to make a difference.
There's no poking around the edges of things, indulging in lightweight philanthropy, or simple indulgence while concentrating on racking up the profits.
In fact, Wayne only returned to Gotham, and his life as "billionaire Bruce Wayne," in the first film as a means to an end. He's very single-minded. Indeed, Wayne never appears in the trilogy as a figure particularly interested in his role as billionaire capitalist. After his seven-year sojourn away from Gotham, depicted in the first film, he returns to begin his fight to change Gotham by taking on its rampant crime and corruption. He creates the public persona of Bruce Wayne in a calculated manner, just as he creates the Batman.
The eccentric playboy billionaire is every bit the fictional creation that the caped crusader is. Perhaps more so, because Wayne seems much less interested in it. Notwithstanding its somewhat corrosive view of the very rich, the trilogy doesn't see see liberalism, noblesse oblige variant or otherwise, as an effective answer, either. Nor does it embrace Occupy-style social revolt, viewing it rather sardonically as something prone to manipulation, as well as another form of self-aggrandizement. Which, given the evaporation of the Occupy movement, may lend it more weight than it deserves.
But Nolan understands the power of the idea, if not its brief and shaky manifestation in the real world last year. As for liberalism, the trilogy presents it as a failure, albeit one that was only incompletely tried. Bruce Wayne's father was a sort of New Deal liberal, spending massively on anti-poverty projects and building an extensive cheap public transit system to link the city together before being murdered by a poor man turned to crime.
Wayne's opponent for most of the The Dark Knight Rises , before his true enemy is revealed, Bane, manipulates populist sentiment to build his power as a warlord. This is why Bane is able, utilizing Occupy rhetoric, to emerge so successfully as Gotham's war lord with his coup. While Bane undoubtedly despises the gullibility and greed of his new Gotham followers, though not his dedicated soldiers, he especially despises the capitalists of Gotham.
Told during a daring raid that there is no money for him to steal in the stock exchange, he asks his yuppie interlocutor: "Then why are you here?
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Lucius Fox is appalled to see some of an earlier invention of his used for the purpose of spying on everyone in Gotham, insisting that is too much power to be concentrated in anyone's hands. Wayne, insisting that it must be used to find the Joker, tells him that is why he has left the power in Fox's hands. In the end, with the Joker found and stopped, Wayne allows Fox, who has vowed to resign in protest once the Joker is found, to destroy the system. And there is the cynical deal to preserve a semblance of public idealism and pass convenient new anti-crime legislation.
The Joker succeeded in bringing Harvey Dent, Gotham's "white knight" district attorney, down to his level, successfully driving him insane and turning him into a ruthless murderer. But Batman and Police Commissioner James Gordon contrive to sweep all that under the rug and place the blame for Dent's actions on Batman. Dent's unblemished reputation is used to pass sweeping anti-crime legislation which, though the third film is vague about this, apparently does away with some criminal defenses previously in use. But the film makes the subversive point that, although the crime rate is substantially lowered, the corruption of Gotham continues and opportunity for all is not increased.
The trilogy showcases the danger, and at times the necessity, of elements of the surveillance state. But the films argue that it only can stand on a temporary basis. On any permanent basis, it breeds fascism. As for the public myth, it turns out to be corrosive. Not only for Gordon -- on whom it eats away, helping wreck his family -- but for the city as well. The law that the myth enables makes it possible to crater the crime rate, but the city is nearly as corrupt and inequitable as before.
This is especially so after his one stab at renewed world-changing, a cheap clean energy system from nuclear fusion, becomes untenable. His body significantly damaged from his nocturnal pursuits -- remember, Batman has no superpowers, only the technological edge afforded him by great wealth, and can't afford to lose even one fight -- he is something of an emotional and physical wreck as The Dark Knight Rises begins.
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He's not a solution for society's problems, he's a last resort. Bruce Wayne, after all, is a vigilante, in the checkered tradition of the San Francisco Committee of Vigilance, which emerged amidst the chaos of the California Gold Rush, and many others long before the term "vigilante" was used. And Wayne is a vigilante with a difference; he is a masked vigilante. Right up until the conclusion of the trilogy, he is a masked man in all aspects of his life.
Rachel Dawes, well-played by Katie Holmes in the first picture and also well-played by Maggie Gyllenhall in the second, tells him at the end of Batman Begins that her fundamental problem with him is "your mask. He tells Selina Kyle, who clearly intrigues him from the moment he catches her robbing him, that she is more than she appears to be just as he told Rachel that he was more than he appeared to be midway through the first film, when Rachel encountered him in eccentric playboy mode, having just joined his Euromodel playmates in an impromptu hotel restaurant swim.
Bruce Wayne's key mentor turns out to be the architect of the destruction of Gotham City read: New York.
Christian Bale, as goes almost without saying, is not merely good in the role, he's definitive. The stepson of Gloria Steinem is excellent as Batman, as Bruce Wayne, and as the man wondering who he really is behind the "Bruce Wayne" persona he created as cover. When he catches up with Selina at the society function and tells her she has a lot of cheek looking like a cat burglar since she is one, she has a pointed question for him:.
Anne Hathaway is a revelation in the role of Selina Kyle. Hathaway's casting had struck me as a mistake. A fine actress, she seemed too much the goody two-shoes for a character who is, after all, the sexy sociopath known as Catwoman.
Though she's never called that in the trilogy. So I was very pleasantly surprised to have gotten her totally wrong. Hathaway shines in every scene. She's like a dangerous Audrey Hepburn: Smart, witty, sexy, convincing in action scenes, a slinky black-clad black belt. Like me! They need you right now. But when they don't They'll cast you out. Like a leper. See, their morals. Their 'code. Dropped at the first sign of trouble. They're only as good as the world allows them to be.
I'll show ya.
'Dark Knight Rises': Digital Spy's review
When the chips are down, these, uh, these 'civilized' people, they'll eat each other. See, I'm not a monster. I'm just ahead of the curve. The Joker was right about how readily Gothamites would believe that Batman was just bad news. And he while he was premature about how quickly they would turn inward and on one another, he wasn't that far off, as we see in the third film. But it took the combined efforts of the villain Bane and the ultimate villain, his beloved Talia al Ghul, daughter of Wayne's mentor-turned nemesis Ra's al Ghul, to force the issue.
Incidentally, I never thought that Jack Nicholson could be topped as the Joker, but Heath Ledger delivered a performance for the ages. The League of Shadows may have had nothing directly to do with creating the Joker, but its efforts and Batman's reaction to those efforts helped create the context for him. Nolan's dared to pose a simple question: Why does a billionaire dress up as a bat and fight crime?
The answers served up spectacular results, and things got better with 's Oscar-winning sequel. A sprawling crime epic evoking Michael Mann's Heat and Sidney Lumet's Prince of the City , the film saw Batman tussle with arch-nemesis The Joker a stunning final performance from Heath Ledger while corruption spread like a virus through Gotham's corridors of power.
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It's understandable, then, that The Dark Knight Rises arrives on the back of deafening hype. It also promises to do something unprecedented for a comic book franchise - bring the curtain down on its three-film story arc with a definitive full stop. The action picks up eight years after the events of The Dark Knight as Bruce Wayne, battered and bruised from his years of fighting crime, has retreated to his mansion as a Howard Hughes-like recluse.
Thanks to the Harvey Dent Act, organised crime has been quashed and Gotham is safe.
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In peacetime, Batman isn't needed anymore. The harmony doesn't last, however, as Tom Hardy's terrorist Bane - introduced in a daring mid-air plane hijack - arrives on the scene. A blend of hulking physical power, impressive intellect and strange English gent accent, his MO is to tear Gotham to the ground through crashing the stock market and reigniting the city's streets of fire with an underground army. It's a smart and socially relevant plot point in the wake of 's market crash and last year's Occupy movement.
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