L'ascension du chevalier noir

Nolan essaie trop de nous surprendre avec des rebondissements qui se veulent imprévisibles mais semblent au final plutôt superflus. Ce faisant, il s'embourbe dans plusieurs invraisemblances et de nombreuses ellipses illogiques, tout en multipliant inutilement les personnages secondaires.

Christopher Nolan clôt avec panache et force son aventure avec le Chevalier noir, livrant le meilleur des trois longs métrages - qui est aussi, jusqu'ici, l'un des meilleurs films de l'année.

Les spectateurs en auront sans conteste pour leur argent, mais Christopher Nolan s'éparpille un peu dans ce dernier volet d'une trilogie consacrée à l'homme chauve-souris.

It has moments that are captivating and special, but also lines of dialogue impossible to swallow, plot developments that meander, and a commitment to real-world political overtones that don't quite line up with the story.

The Dark Knight Rises is the weakest film in The Dark Knight Trilogy, but given the standard established by the previous two movies that's practically a compliment.

Hans Zimmer creates a haunting and methodical score that swells underneath the film. The special effects are beyond impressive, both the usage of practical and CGI. And yes, seeing this in IMAX is one-hundred percent worth it.

As a result, The Dark Knight Rises feels like an organic, natural end to an incredible series, and easily maintains the level of excellence we've come to expect from not only the series, but from Nolan himself.

A truly grand finale raises Christopher Nolan's Batman trilogy to the peak of big-screen comic book adaptations.

The Dark Knight Rises is a fitting conclusion to an artful trilogy, culminating with satisfying dazzle, despite some notable flaws.

The final chapter in the Dark Knight saga allows Bale to move deeply into Bruce/Batman's troubled soul. Bale, up to every challenge in a tough role, gives a hypnotic, haunting performance.

Much of the complexity has been directly written into the franchise's overarching, seemingly blunt story of good versus evil. It's an old, familiar tale that Mr. Nolan, in between juggling the cool bat toys, demure kisses, hard punches and loud bangs, has layered with open and barely veiled references to terrorism, the surveillance state and vengeance as a moral imperative.

L'auteur accomplit cette mission sans effort et c'est cette fluidité magistrale qui élève son dernier épisode au-dessus de ses prédécesseurs : il est question ici de raconter la fin d'un mythe, peut-être le seul inébranlable mythe américain depuis l'effondrement des deux tours.