The Dark Knight Rises Review and Bluray Feautres
The Dark Knight Rises
20 Jul 2012
Behind the scene and other Major Plot Points
Most difficult scenes were fighting sequences for Tom Hardy
While doing promotional interviews for the film Tom Hardy stated that the most difficult parts of the movie to shoot were the fight scenes. Not because of the physicality of them, but because he was such a huge Batman fan growing up that he said “it felt like I was beating up my childhood hero”. However he also said that despite his worship of the character, the moment Chris Nolan yelled ‘action’ Hardy just started throwing punches as hard as he could.
Preparation for the role
To prepare for his role as Bane, Tom Hardy gained 30 pounds in weight, and studied various fighting styles to use in the film.
Unprecedented access to extensive stunt training and equipment
Tom Hardy accepted the role of Bane without reading the script. He was verbally told that he would have unprecedented access to extensive stunt training and equipment that he could enjoy knocking around
Logic behind choosing Bane as the main villain
According to Christopher Nolan, Bane was chosen as the film’s main antagonist “TO TEST BATMAN MENTALLY AS WELL AS PHYSICALLY.”
Time taken to design Bane’s coat (and logic behind it)
According to costume designer Lindy Hemming, she took two years to design Bane’s coat; it was inspired by a Swedish army jacket and a French Revolution frock coat, to make Bane look equally dictatorial and revolutionary, “like an amalgam of all sorts of bits and pieces he cobbled together as he passed through some very remote places.
VERY IMPORTANT POINT LOGIC BEHIND DIFFERENT FOOTSTEPS NOISE OF BANE AND BATMAN
During Bane’s first encounter with Batman, Bane’s footsteps on the steel grating of the walkways produce loud, heavy thuds while Batman’s footsteps make little sound at all. This was done by the sound effects team to further contrast Bane’s “brute” style from Batman’s “stealth” method of combat.
IMPORTANT RECURRING THEME THROUGHOUT THE MOVIE (MASK)
Christopher Nolan used a heavy mask motif through out the movie; Batman, Bane, and Catwoman all wear masks, Bruce Wayne has a collection of African tribal masks in the room where he and Officer Blake first talk in Wayne manor, and Miranda Tate hosts a masquerade party.
Reason behind shooting major sequences in Pittsburgh
According to producer Emma Thomas, the filmmakers elected to shoot the film in Pittsburgh to emphasize Gotham’s immense size and scope and because “they literally shot every inch” in Chicago, where the previous two films were shot.
Suit used by Selina Kyle
Selina Kyle’s catsuit was made from two layers of polyurethane-coated spandex
VERY IMPORTANT POINT – DESIGN OF BAT BASED ON MILITARY AIRCRAFT
In designing the Bat, production designer Nathan Crowley approached it as if it were an actual military project, emphasizing the need for it to “fit into the same family as the Tumbler and the Batpod”: he incorporated designs from military aircraft, including the Harrier Jump Jet, Bell Boeing V-22 Osprey and the Boeing AH-64 Apache.
Different interpretations of the last scene of the movie
Some viewers found ambiguous the scene at the end of the movie in which Alfred sees Bruce and Selina at a café. While some took it at face value (that Bruce survived and Alfred really saw him), others thought that Bruce was dead and saw the café scene as a non-literal fantasy nod to Alfred’s stated wish from earlier in the movie that Bruce might be able to someday find peace and a normal life. In a December 2012 interview with the LA Times, actor Michael Caine (Alfred) seemed to settle the question when he said that Bruce was supposed to be unambiguously alive during the scene: “They were there….They were real. There was no imagination. They were real and he was with Anne Hathaway [who played Selina Kyle], the cat lady, and I was happy ever after for him as I told him during the picture.” Furthermore, the film’s shooting script also specifies that Bruce is alive during the café scene. A line of spoken dialog towards the end of the film also notes that Martha Wayne’s pearls are missing from the Wayne estate. In the final scene, Selina is seen wearing the necklace.
I was surprised at just how much of a great, thrilling time I had. It’s a film that genuinely earns its stripes as a grand, epic work of cinema. (Click here to see)
Caps off the trilogy with passion and dignity, if not always with slam-bang entertainment. Whoever directs the reboot in five years will have a lot to live up to.(Click here to see)
This is a solid film, taking itself seriously and asking that we do the same.(Click here to see)
Christopher Nolan’s dramatically and emotionally satisfying wrap-up to the Dark Knight trilogy adroitly avoids clichés and gleefully subverts your expectations at every turn(Click here to see) (MetaCritic)
When The Dark Knight stormed Blu-ray, its arguably striking transfer earned top marks. However, some weren’t so impressed. Contrast had been raised to detail-quashing extremes, color had been boosted, severe edge halos littered the image, and a variety of other eyesores left a small but vocal group of videophiles grumbling. Preservation and restoration expert Torsten Kaiser had this to say in a 2011 Blu-ray.com interview: “By far the biggest error its producers committed was the complete change of the film’s original color timing. The Dark Knight was not copied with an optical printer. The original material – I held it in my hands – it was gorgeous. It was absolutely gorgeous. It was… I fell flat off my chair. The colors are so different compared to those that appear in the Blu-ray transfer. I’ve seen the Blu-ray once, and I’ve never looked at it again.” Harsh words, perhaps. But it was a sentiment shared by many, myself included. Thankfully, The Dark Knight Rises doesn’t suffer the same fate. Contrast is still a tad overbearing (more on that in a moment), but every other aspect of Warner’s 1080p/AVC-encoded video transfer — which seamlessly shifts between traditionally filmed sequences presented at 2.40:1 and 70mm IMAX scenes presented at 1.78:1 — is terrific.
Cinematographer Wally Pfister’s wind-swept Gotham palette is rich, satisfying and, to borrow a word from Kaiser, gorgeous. Warm hues adorn the decadent homes of the city’s elite, dusty desert colors blanket Bruce’s stint in prison, and crisp white snow falls on a captive Gotham. Skintones are lovely too (barring a few slightly orange faces), as are primaries, which are positively radiant at times. Black levels are incredibly deep as well. Too deep, mind you — crush is prevalent, delineation is a bit unforgiving, and viewers whose contrast setting is already cranked up will wonder why the film’s shadows resemble an oil spill — but not so deep that it proves to be much of a distraction. And while those who sawRises multiple times in theaters will be more likely to note the slight loss of shadow detail in dark shots, the vast majority of filmfans will simply be too awestruck by the rest of the picture to notice or care. Otherwise, detail is nothing short of extraordinary. Edges are sharp and natural (with only a hint of intermittent ringing) and fine textures are well resolved and revealing (particularly during the film’s IMAX sequences). There also aren’t any significant instances of macroblocking, banding, aliasing, errant noise or any other distracting anomaly. In the end, the overwhelming majority of viewers will award the presentation a perfect 5.0 while the most stringent videophiles and film purists will hover around a 4.0. Me? I would have liked a deeper peek into the shadows but it didn’t spoil much of anything as far as I’m concerned. I’ll split the difference and go with a 4.5.
The real showpiece of The Dark Knight Rises Blu-ray, though, is its sternum-splitting, rib-cracking, ground-pounding DTS-HD Master Audio 5.1 surround track. While it obviously isn’t as thunderous or jaw-dropping as its IMAX counterpart, it still boasts remarkable power, prowess and presence. LFE output is downright ferocious, throwing its full weight behind every devastating explosion, firing cannon, throaty Tumbler engine, booming Bat thruster, collapsing tunnel, crashing truck and musclebound madman. The opening hijack scene is worth the cost of admission alone. The rear speakers join the fight early and often too, immersing the listener in the chaos erupting across Gotham. Pinpoint directionality delivers time and time again, cross-channel pans are exceptionally transparent, and Hans Zimmer’s score is as enveloping and invigorating as it should be. Dialogue is clear, neatly grounded in the hustle and bustle of the city, and masterfully prioritized, even if the last few lines of dialogue are nearly overwhelmed by the ever-crescendoing music. There’s also an argument to be made that Bane’s voice occasionally hovers above the rest of the soundscape — particularly during the opening hijack sequence, when his voice is piped into the front speakers to ensure it isn’t drowned out by the roar of the plane that’s being dismantled around him — but it’s an intentional decision that traces back to the film’s original sound design, not the technical quality of the studio’s lossless mix. Simply put, The Dark Knight Rises‘ DTS-HD MA track doesn’t disappoint in the slightest.
- Second Screen Experience(Disc 1, HD): Download the Dark Knight Rises FX app to your mobile phone or tablet, sync it with your Blu-ray player via your network, select the launch button in the app and enjoy exclusive content while watching the film.
- Production(Disc 2, HD, 68 minutes): Christopher Nolan and key members of his cast and crew dissect crucial sequences, unveil the process behind Nolan’s largely practical effects, and dig into the production in twelve excellent Focus Point-esque featurettes. Featurettes include “The Prologue: High-Altitude Hijacking,” “Return to the Batcave,” “Beneath Gotham,” “The Bat,” “Batman vs. Bane,” “Armory Accepted,” “Gameday Destruction,” “Demolishing a City Street,” “The Pit,” “The Chant,” “The War on Wall Street” and “Race to the Reactor.”
- Characters(Disc 2, HD, 28 minutes): Three more featurettes round out the production overview — “The Journey of Bruce Wayne,” “Gotham’s Reckoning” and “A Girl’s Gotta Eat” — which delve into the characters of Bruce Wayne, Bane and Selina Kyle. A commentary or more sprawling production documentary would have been a terrific addition to it all, but Nolan and company have covered their bases and delivered an extensive glimpse into Nolan’s craft, the development of the film and the INTRICACIES of the third and final entry in theDark Knight
- Reflections(Disc 2, HD, 15 minutes): Finally, “Shadows & Light in Large Format” touches on Wally Pfister’s cinematography and lighting, Nolan’s location shoots, traditional vs. IMAX photography, and the film’s production design, while “The End of a Legend” finds the filmmakers bidding farewell to the Dark Knight
- The Batmobile(Disc 2, HD, 58 minutes): “THERE’S SOMETHING INCREDIBLY PRIMAL ABOUT THE RELATIONSHIP BETWEEN MAN AND MACHINE. IT’S EXTRAORDINARILY POWERFUL.” Nolan, Batmobile craftsman and engineers, and a host of other comic book and film industry familiar faces discuss the history of the Batmobile, its evolution as Batman’s most iconic tool, and its various small and big screen incarnations. It’s a fantastic documentary, even if it doesn’t focus exclusively on Dark Knight Rises.
- Trailer Archive(HD, 9 minutes): Four theatrical trailers round out the package.