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The Dark Knight Rises: eight years after The Joker’s antics Batman faces his latest, and toughest opponent – Bane. The tone straddles the story-driven Batman Begins, and the action/spectacle of The Dark Knight. Rises also functions surprisingly well as both a stand-alone movie, and trilogy wrap up: epitomised by Scarecrow, who appears, but isn’t dwelled on. The action set pieces are great (especially the Police Vs Goons fight!!) and when it’s matched with such slick visuals and the booming post-Inception soundtrack – it’s an unbeatable force. Of the three new characters, JGL does the most impressing, although it’s mostly because of the other two’s costumes: masking a performer like Hardy, reducing him to just eyes is nothing short of a travesty, and Hathaway amounts to little more than her catsuit, merely serving as a story catalyst. All other performances are rock-solid across the board – particularly Caine, who I’ve rarely enjoyed, but was surprisingly emotive in this. The biggest pain in my ass was the unresolved voice issues with Batman in costume, hospitalised Gordon being too gravelly to fully understand, as well as Bane whose voice is both hard to tune in to and so ridiculous that it wouldn’t be out-of-place in a South Park episode. I also felt that the duality between Bane and B Wayne was interesting, but even as someone who has never read the comics – it could probably have been explored further. What’s impressed me most about the trilogy is the dedication to keeping everything grounded and realistic – even with the list of ‘superhero’-style of characters, there’s always an explanation and it always feels plausible. I’ll take my hat off to Nolan, who has made yet another smart, sophisticated film out of ‘superheroes’ / comic book material – while keeping it accessible and enjoyable to all audiences.

Score: 7.5/10

MEOW!!!

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Killer Joe: a young redneck with bad debts finds out that his mother has a $50,000 life insurance policy, so he contacts the world’s dodgiest cop – Killer Joe. While this is pitched as a thriller, it’s more like a deep-south trailer-trash crime-caper, which was a nice surprise. More surprising, is the absolutely wicked streak of very, very black humour that holds the movie together, providing an unexpectedly high number of laughs. Better still is the perfectly selected cast, all of whom portray brilliant – memorable – characters, but it’d be wrong not to single out Juno Temple (for her no-holds barred performance) and McConaughey, for his portrayal of a scary, twisted, stickler-for-manners-and-the-rules dirty cop – he’s unbelievably good. A few scenes (the dinner date in particular) feel overlong and lifted directly from a play – because this is based on a play, doh! There’s tons of nudity, a jarring/uneasy synth soundtrack and a totally subversive ending that you couldn’t begin to predict. Not unlike The Killer Inside Me, this is a difficult one to recommend: it’s unbelievably dark and uncomfortable to watch in large parts yet it works so well as a piece of entertainment, with some great laughs: above all else, this is a stunning performance piece from all actor involved… including Emile Hirsch!!! (And Gina Gershon, and Thomas Haden Church…)

Score: 7.5/10