subject: Watch The Dark Knight Movie Online [print this page] Watch The Dark Knight Movie Online Watch The Dark Knight Movie Online
Nolan and the brother Jonathan (they co-wrote the script) have a very fine, ironic place to start: Batman (Christian Bale) has inspired copycat vigilantes, and they're making a straight bigger mess of crime-plagued Gotham City. It's like an action-the introduction of the vigilante do-gooder-has triggered the same and opposite reaction. And Batman features a true counterforce: a Joker (Ledger) who's a terrorist, an one-man insurgency, devoid of motivation except bringing chaos. He fancies himself a Lord of Misrule; he taunts the gangsters whose goons he exploits; and he assassinates-or actively works to corrupt-do-gooders like cleft-chinned district attorney Harvey Dent (Aaron Eckhart). Batman-talons tied by pesky ethics-can't stanch the madness.
On paper, the morality play is intriguing, quite a few the dialogue should have stayed on paper (I know a report guide: "The Joker tells Batman he can't fight chaos while he has a lot of 'rules.' Do those rules ultimately help or hinder Batman in their search for justice?"). Nolan is grappling with the Big Themes of vigilantism (especially urban vigilantism), and the man did pretty much in Batman Begins: The movie was a foundation that to build a brand new series; even the mouth of your ridiculously chirpy Katie Holmes (as Rachel Dawes, stalwart assistant D.A.), the thesis line, "Justice concerns harmony. Revenge is about making yourself feel better," made a great superhero mantra. However the psychological twists from the Dark Knight-especially the transformation of Dent into "Two-Face"-are baffling as drama. They play as if they'd been penned by Oxford philosophy majors wanting to strengthen a bit of American pop-to turn it into an uncivil Shavian dialogue, Don Juan in Hell with mutilations and truck crashes.
Oh, the verbiage probably wouldn't matter if those truck crashes were any fun, although the tumult is spectacularly incoherent. Nolan appears to be concept of tips on how to stage or shoot action. He got away while using chopped-up fights in Batman Begins because his hero became a barely glimpsed ninja, coming at villains from all angles in stroboscopic flashes. There are other variables here, this means more opportunities to say "What the f--- just happened?" I defy you to definitely make spatial sense from the early scene through which Batman battles faux Batmen, gangsters, plus the Scarecrow (Cillian Murphy within a cameo that relates to nothing). If you can, start working on Level 2, diagramming the "Bat-tank versus Joker-truck versus cop car" chase. Then, finally, go ahead and take Ultimate Challenge: adopting the climax with Batman, the Joker, more faux Batmen, decoy hostages dressed as clowns, a SWAT team, and Morgan Freeman's Lucius with many form of sonar monitoring gizmo that tracks many of the parties on video screens. Actually, Freeman appears to be they know what's taking place ,. Maybe the sequence plays well in sonar.
I saw it in Imax, and let me tell you, on that colossal screen, those skyscraper bat-plunges (in Gotham and Hong Kong) are something to see-and feel. As long as they rigged up that Disney World thing where your seats tilt in sync using the camera, they'd should keep out pregnant women and folks with anxiety about heights. The momentum doesn't bring, though. The Dark Knight is fits and starts-fitfully suspenseful, fitfully scary, one jerky episode after another with jolts of brutality to prevent you revved up. When Burton's Batman was released, some prominent critics griped that this film was too violent for little ones. Wait'll they purchase a load of the.
The Dark Knight needs every drop of Christian Bale's charm. His Batman rasps his lines within a voice that's deeper and hammier than ever before, and when Bruce Wayne is required to pretend to certainly be a mindlessly hedonistic playboy, his smirk features a trace of Dubya entitlement. (Bruce pushes to make use of Lucius's sonar device for FISA-like surveillance, and Lucius-despite his stern civil-libertarian qualms-does it just this once.) Maggie Gyllenhaal takes over (hooray!) for Katie Holmes and graciously doesn't trash her predecessor's characterization. She is smart of computer: Rachel is a bratty little show-off who also happens to be style of smart. The other great pleasure is watching Pretentious English Thespian Gary Oldman take part in the soon-to-be Commissioner Gordon because the most ordinary of ordinary American Joes. Rarely has flatness been so witty.
