87% The Dark Knight Rises

All Critics (269) | Top Critics (44) | Fresh (233) | Rotten (36)

The story is dense, overlong, and studded with references that will make sense only to those intimate with Nolan's previous excursions into Batmanhood.

There was an opportunity here for Nolan to show us another way, to (again) stretch the boundaries of what is possible in a superhero film. Instead, alas, the latter half of The Dark Knight Rises retreats toward conventionality.

I'm not arguing that Rises should be Singin' in the Rain. But its Wagnerian ambitions are not matched by its material. It hasn't earned its darkness.

The biggest surprise may just be how satisfying Nolan has made his farewell to a Dark Knight trilogy that many fans will wish he'd extend to a 10-part series, at least.

Others will see it differently, but for me this is a disappointingly clunky and bombastic conclusion to a superior series -- Nolan's biggest and worst movie to date.

The director and cowriter/brother Jonathan Nolan pay heed to Wayne's wounded emotional arc. And the film is a feat of painstakingly crafted closure.

Christopher Nolan ends a near perfect trilogy of dark and intelligent Batman films with a near perfect third leg in a marvelous re-imagining of the Dark Knight...

Perhaps the best way to summarize the movie is to borrow the final line from one of the comics that inspired it: The Dark Knight Rises is a good film. Good enough.

... Nolan thinks small in a big way... providing an imperfect yet satisfying conclusion, and that in itself is quite an accomplishment.

Christopher Nolan's Batman saga comes to an end with this engrossing and absolutely spellbinding installment...

The weakest of Nolan's three Batmans with offputting politics and a dull villain but its fascinatingly vertical construction and Catwoman save it.

Rises a Satisfying Conclusion to Nolan's Trilogy.

It gets away from the great Christopher Nolan for a time during the film's soft middle, but he brings the conclusion to his Batman trilogy home with a bang.

All in all, the gifted (writer-director Christopher) Nolan's latest epic is typically well-constructed (despite a plot hole here and there) and beautiful to look at.

Enjoying TDKR requires messiah-like trust in Nolan that he'll eventually reward us, as long as we don't get too hung up on all the plot holes and leftover genre tropes.

A bit of a letdown, containing nothing close to the brilliance of the late Heath Ledger's performance in the previous film, but it doesn't glorify nihilism, chaos and anarchy like the previous film did because it's villains aren't charismatic.

The summer's most grandiose, grown-up, operatic superhero movie, one that makes others look, in comparison, like kids playing around in action-figure pajamas.

A fantastic conclusion even if a bit bloated.

Demonstra que um longa baseado em super-her?is pode ser adulto, investir no realismo e representar um passatempo escapista sem, com isso, desrespeitar a intelig?ncia de seu p?blico.

Nolan's final Batman film delivers grand excitement, grounded performances and the kind of conservative themes rarely embraced in blockbuster films.

Complex and comprehensive, beautiful if bloated, is nonetheless superlative filmmaking and even though over 160 minutes manages to rivet the senses in every frame.

The Bane voice drove me crazy, but I still liked it.

In his last adventure under Christopher Nolan's guidance, the Dark Knight never quite rises to the occasion.

If Nolan has accomplished nothing else here, he has made one of the more human movies of this type.

A joyless, bitter epic without a hint of exhilaration.

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Source: http://www.rottentomatoes.com/m/the_dark_knight_rises/

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