Bringing a certain seriousness to the comic-book movie is one thing, but draining it of all wit is quite another. Never has someone so readily sacrificed the chance of enjoyment at the altar of their own stony-faced stoicism.
But the point remains that the acclaim and adulation heaped on it over the last half-decade has been wildly disproportionate. The Dark Knight: my most overrated film.
Christopher Nolan wows audiences with verve, but multiple plots packed like sardines in a tin and a humourless superhero make this Batman film leaden viewing, writes Alex Hess How Peter Bradshaw reviewed The Dark Knight in More most overrated films. So let me start with my dismemberment of the most popular American film of the 21st century. You positively can't fault Christopher Nolan for his desire. He's assembled sequences of snow-suited espionage inside a character's multi-layered subconscious.
He's dispatched heroes back and forth through time-expanding intergalactic wormholes. He's even persuaded Al Pacino through a whole film without raising his voice unless necessary.
Hollywood's brilliant kid is surely not a chief who would actually be accused of avoiding any and all risks — let's remember the importance of that. Reaching skyward must be hailed to a point. Meeting your targets matters, as well — and the more energetically ambitious you are, the riper you become for spectacular disappointment.
The Dark Knight illustrates this better than Icarus actually could. While Nolan's film has been generally praised from all quarters since its release — its main ethical-ness has been to hoist the stylish superhero classification to the degree of the smart-thinking, dim colored grown-up film — the reality remains that the outcome is a burdensome, enlarged picture.
In the first place, it bites off such an absurdly huge piece of topical meat that any possibility of biting through everything is a discount from the outset. The lights have scarcely diminished before the profound issues proliferate: the idea of fiendishness! Peace versus nihilist political agitation! The justice system versus vigilantism!
Public protection versus state-sponsored security! They're all in there, stuffed tight as sardines, everyone squeezing the life from those around it. Herofan Registered. Joined: Jan 7, Messages: 1, Likes Received: The Joker would probably have been a better character if he was out to make money or at least not so much to the other extreme as burning money. HBarnill Registered.
Joined: Jan 23, Messages: Likes Received: He only yelled when Harvey motioned towards his son. And how would you know? Travesty Registered. Joined: Jun 16, Messages: 24, Likes Received: 1, Now this explains why Gambols death scene looked so bad. Joined: Dec 28, Messages: 19, Likes Received: 11, I wouldn't say this movie was overrated. The film lacks the subtlety it deserved. It is almost sacrilegious to have the film mentioned in the same breath as that of the first two Godfather films, both being masterclasses in writing, directing, acting and cinematography.
And what really fascinates me about Hollywood is how they go about satisfying the most cynical cinephiles to the frenzied blockbuster maniacs. This is something that Hollywood has been succeeding at immensely over the years. But stirring ingredients of realism and human philosophy into the usual cup of formula driven superhero flicks was hitherto unknown and undone. This humanizing of a comic book character triggered a cinematic revolution.
The film had a profound impact on subsequent superhero movies. The film deserves every bit of praise in that respect. But is the film great enough to break out from the hurdles of its genre? It is a word that deserves a lot more restraint in its usage.
Great films are films that break the barriers to human sensibilities, the conventions of genres, transcend the deepest and most delicate human emotions and has the power to sprinkle our souls with fragrance of ecstasy and clouds of mystery.
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