One of the lovelier tricks a movie can pull is to make us miss somebody and then be grateful for even one fresh glimpse of them. It works on two levels. We are delighted to see or meet a memorable character in narrative context but also to find a familiar actor still alive and thrashing, on the screen, at least.(5)
No one has ever wanted to be thought of as “cerebral” as much as the director of Memento and Inception. The Batman films that he's made have been less gimmicky in their convolutions—no dreams within dreams or backwards storytelling—attempting instead something on the scale of a Victor Hugo novel or Wagner opera. But along with that comes all the bombast and shallowness of a Hugo or a Wagner, with their addictions to backstory and exposition, tinny melodrama, and characters whose sole purpose is to advance a stalled plot.
Critical reception on The Dark Knight Rises have begun to trickle in, amid conspiracy theories, wild claims, and reviews by people who haven't seen it.