I’m still not sure what I thought of The Dark Knight Rises; it was too good to be bad, but too muddled and choppy to be unreservedly good. But if there’s one thing I learnt from Baleman’s last go around it’s that nothing takes away the sense of danger and urgency more than a film’s protagonist being in possession of a flying armoured tank equipped with machine guns and EMP cannons.

Batman may possess the knees of an octogenarian, and presumably his Howard Hughes-lite lifestyle has taken a considerable toll on his constitution, but all that is moot when he can tear-arse around Gotham City in this…

I have this, therefore your threat is invalid.

By the end of the film I started to feel a bit sorry for merciless warlord Bane. He’d spent months befriending homeless people of Gotham – not an easy task when you sound like a posh horse playing the bagpipes – and evicting the selfish 1%. He’d also spent ages stealing Batman’s playthings, including tanks and a giant ticking doomsday device, but all that is swiftly nullified when Batman swoops in with his giant flying death plane.

On a more serious note, it seems The Dark Knight Rises, like Prometheus before it, has been chopped down considerably before reaching cinemas. The pacing seems a little off and there are plot-holes and leaps in logic that you wouldn’t expect from a filmmaker like Christopher Nolan. Unfortunately, Nolan isn’t the kind of filmmaker to re-assess or release alternate cuts, so what we see in the cinema may well be his last word on the film – despite the possibility of there being a stronger telling of this story out there somewhere.

Anyway, I’m probably going to go and see it again to make my mind up, so maybe Nolan has discovered a new way to mess with our tiny little minds while ensuring Batman’s last go-around garners enough money to keep him in IMAX cameras for the foreseeable future. Which makes The Dark Knight Rises like a real-life version of The Prestige. Maybe he is a genius, after all?

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