The Real Ellsworth Toohey: Anthony Lane Reviews ‘Dark Knight Rises’

I am very happy that the movie Dark Knight Rises stayed on top of the box office rankings for three weeks in a row in spite of the terrible shooting at Aurora, Colorado. To date the worldwide sales for Dark Knight Rises is at $750 million and continuing to grow. After three weeks of running at the top it beat the opening of the Total Recall remake by more than $10 million dollars. Dark Knight Rises made $36,440 million in domestic sales during a weekend of heavy competition at a run time of 2 hours and 45 minutes, which defies logic in Hollywood terms. Dark Knight Rises is only $40 million dollars behind the domestic total of The Dark Knight–the previous Batman film in the Nolan trilogy–at its 17 day total mark, which is quite incredible considering the blanket of horror that shrouded a very good film on the opening weekend tragedy.

But Why?

The why is the reason I sat in the Regal Theater long after the movie credits ended and only silence in an empty arena looked back at me with a blank screen white and motionless. I know damn well why Dark Knight Rises is so successful and there are factions on the progressive political side that fears that reason, because they know it too and work to prevent it. The movie is fantastic not because it has any particular realism to the story line. Some might find parts of it unbelievable as the heroics might sometimes defy logic. But Dark Knight Rises is not about realism, it’s about what lives in the human heart and why. It is about what works in society and what doesn’t, and it holds up the confusing messages of our current world and takes viewers on an incredible journey into topics that baffle us in the light of day. Read my review by CLICKING HERE.

I will have to give Christopher Nolan credit; he played the ultimate Don Diego. Only people who know me well will understand what I mean by that, but Nolan pulled off a miracle that critics should have seen coming in the previous two films. I suspected it was coming, but I had no idea that he would be able to pull it off with a 2 hour and 45 minute movie without Warner Brothers cutting the film down to an even 2 hours, because the extra 45 minutes contain all the important messages that progressives have managed to suppress for many years of film making. Dark Knight Rises is the movie that Ayn Rand would have put her support behind, along with Walt Disney, and John Wayne. CLICK HERE TO SEE WHY. Nolan working within the framework of a progressive town wore the mask himself and did the impossible delivering to the world a film they needed to see.

And the world is HUNGRY for it. Once critics saw the film and realized the heavy anti-collectivist message Dark Knight Rises contained they tried to back out of their gushy support for Christopher Nolan, which up to a few weeks ago could do no wrong. But it was too late.

You see, the battle for the heart of mankind is at stake, and progressives want to posses that heart. They want control of the media in virtually every way and they do not want competition in thought, because their ideas cannot compete directly with a philosophy of freedom. If you are familiar with the great novel The Fountainhead there are a million Ellsworth Toohey’s working today as newspaper reporters, newscasters, and film critics. Dark Knight Rises directed by the critically acclaimed Christopher Nolan turned out to be a work of Howard Roark and the critics didn’t catch it till after the film hit theaters and a gush of anxiety rippled through progressive communities like an earthquake.

To see an example of what I’m talking about here are a couple of reviews from Anthony Lane of The New Yorker. The New Yorker is a progressive publication in the extreme. They were progressive well before there was ever a Huffington Post, a Daily Show, and Bill Maher. They were progressive when George Soros was still making his fortune as a capitalist on Wall Street. I have read The New Yorker for years as a way to hone my writing skills, because they often publish very good short stories and I enjoy their articles. They’d never publish anything I’d write because my politics is way too conservative for them, but I do appreciate good literature even if it’s progressive. But it cannot be ignored that they are attempting to paint Dark Knight Rises as unsophisticated tripe that should be ignored by popular culture. Below are two links from The New Yorker so you can see for yourself what is being said by them and how. Read these reviews intently. The gap between what the general public wants and what the progressive desires for mankind is absolutely clear by looking at the words of the reviewers who have come out against Dark Knight Rises.

It is in such pretentiousness that many Victorian well wishers hold much sway. For the leeching progressive who desires human weakness, ever-growing government, and perpetual debt they fully endorse films and other art that supports their cause. They do not want characters like Batman to inspire an entire generation of young people toward the cause of inner strength and valor. Valor to the progressive is the Holy Water of political exorcism. Hollywood fears these types of progressive critics because they are perceived to be the intellectual elite and don’t want the intellectual elite to alienate Hollywood from cocktail conversation.

But it’s OK Hollywood to turn the progressive opinion loose. The numbers from Dark Knight Rises should solve the question once and for all. Dark Knight Rises will make well over a billion dollars for Hollywood, much, much more than Slumdog Millionaire. Making the kind of movies that make people like Anthony Lane happy will not make Hollywood money. But making movies like Dark Knight Rises will. And it takes more than dressing up a guy in a bat suit to pull it off. The movie has to have the correct message that audiences respond to, and Dark Knight Rises has it, and they put it up on the screen without apology.

To understand the intention of The New Yorker’s Anthony Lane all one needs to do is read Ayn Rand’s The Fountainhead. Ellsworth Toohey is a character in the microcosm of that classic novel that many of today’s critics and newspaper journalists play similar roles. In media circles, the New Yorker is considered to be the top rung of social thought, and out of all the journalists who wish to become great novelists, or work for a big news organization, they read the opinions of The New Yorker, where writers like Anthony Lane help shape the parameters of society in the exact same say that Ellsworth Toohey did against Howard Roark in The Fountainhead, written in 1943. So the tricks are not new, but if left unchecked will play out perpetually forever and to great destructive effect.

In The Fountainhead, Toohey was furious that Howard Roark was able to build the type of architectural designs that authenticated Roark’s individual existence. So Toohey used his influence at the newspaper he worked at to shape social thought away from Roark’s designs even though the public enjoyed the originality, and strength of them. Toohey being the gatekeeper of what was “cool” in society or “uncool” attempted with all his effort to bring Roark to his knees in complete destruction for the sole reason that Roark functioned outside of the influence of Toohey. For an example, below is a short line from Toohey from The Fountainhead. Then compare what Anthony Lane says about Dark Knight Rises in the linked New Yorker movie reviews above with the Toohey quote in mind. If you know the Rand work, you will understand immediately. If you are still being exposed to this work, then it might take a moment of thought to behold.

• Don’t set out to raze all shrines—you’ll frighten men. Enshrine mediocrity—and the shrines are razed.
o Ellsworth Toohey, p. 636 of The Fountainhead

Now, The New Yorker quote from the July 30th 2012 film review.

• Be honest. How badly would you not want Bruce—or Batman—to show up at one of your parties? He has no small talk (and Bale, as an actor, has charisma but no charm), although ask him about fear, anger, and other large abstract nouns, especially as they relate to him, and he’ll keep you in the corner all night. He doesn’t eat or drink, besides toying with a flute of champagne. Basic human tasks are beyond his reach; direct Batman to the bathroom, and it would take him twenty minuets of hydraulic shunting simply to unzip. On the rare occasions when Bruce, fresh from his helicopter or his Lamborghini, enters a reception with a girl or two on his arm, he looks deeply uncomfortable, and Nolan, as if sharing that unease, tends to hurry him through the moment. The point—and, after three installments, it seems a fatal one—is that the two halves of our hero form not a beguiling contrast but a dreary, perfect match. Both as Wayne and as super-Wayne he seems indifferent, as the films themselves are, to the activities of little people and to the claims of the everyday, preferring to semi-purse his lips, as if preparing to whistle for an errant dog, and stare pensively into the distance. Caped or uncaped, the guy is a bore. He should have kids; that would pull him out of himself. Or else he should hang out with Iron Man and get wasted. He should have fun.
o Anthony Lane from The “esteemed” New Yorker.

If you understand the media network and how it works from the top where Anthony Lane writes from to the bottom, where the local 22-year-old journalism major is trying hard to impress editors at large publications so they can advance their careers by mimicking the type behavior exhibited in The New Yorker, you can begin to understand why I did not want to leave the theater at the end of Dark Knight Rises, because the way the system is set up, such movies hardly ever get made to the epic scale shown in the latest Batman film.

Yes, there is a war for the heart of man, and too many writers trained in colleges and film schools have been taught to bend their will to the Anthony Lanes of the world. The writing pool in Hollywood has been watered down with progressive tripe, in spite of the hunger for American audiences to witness the exceptional. So Hollywood has turned to comic books, not destroyed by progressivism for new material to put on the big screen, because comic books have not been destroyed by the Ellsworth Toohey’s of literature. The American public wants exceptionalism. Children want more than mediocrity, and much of their anger as young people approaching adulthood is the realization that the world they live in is mediocre, shaped in large by people like Anthony Lane. Because when an example of exceptionalism shows itself, progressives attempt to crush them before they have a chance to encourage others to also rise above mediocrity.

I appreciate exactly how difficult it was to bring a movie like Dark Knight Rises to the big screen, and it is now obvious that like Nolan’s film Inception, the concept of delivering Dark Knight Rises was a dream within a dream within a dream. The motive was well-kept and hidden from people like Anthony Lane behind the performance of Heath Ledger in The Dark Knight to set up this well conceived comic book masterpiece that arrived intact to millions of fans in a unique exposé of valor, honor, and inner strength exemplifying the plight of the individual against a parasitic attack by collectivists.

In this case, fans are voting with their wallets. But the progressive wishes for the vote to never take place, which is why more films like Dark Knight Rises does not see the light of day off a film executives desk. The process for which such restrictions occur were written by the former screen writer Ayn Rand in her masterpiece The Fountainhead. For me, to see Dark Knight Rises was equivalent to reading about Howard Roark’s construction of the Wayland Building. The journey is very similar and to see it happen is an act of wonder that I won’t soon forget.

Toohey in the novel The Fountainhead embraced socialism as a political philosophy because he was a weakling in his youth. He knew he could never be exceptional, so as he grew into an adult he used his natural manipulative abilities to bring down the world around him with aspirations of collectivism in an attempt to eliminate his own anxiety about a world that would always outpace him—as he would always be condemned to a life of mediocrity. Without knowing Anthony Lane personally, his views of the world are without doubt very close to the fictional views of Ellsworth Toohey and for the same reasons. They fear that stories like Dark Knight Rises might push society to reach for exceptionalism and are a direct threat to their meager, boring lives.

However, as the evidence at Comic Con testifies to, most people do aspire to become more than mediocre. The fan geeks and other Comic Con nerds are at least in their minds attempting to behold the heroics of exceptionalism even if their bodies cannot rise to meet the cause. It is in the act of embracing the idea of a superhero where magic actually happens, and this is to the peril of collectivism. No child at 5 years old yearns to the toy aisle at Target to search for the newest toy that will allow them to pretend they are at a New York dinner party impressing people like the snooty Anthony Lane. Instead kids look for fast cars in their Hot Wheels, action figures from The Dark Knight, and Star Wars light sabers because in such play is the attempt to be more than social yielding wants for us. Hidden deep in the mind of Anthony Lane is a concession that fantasy should be abandoned in favor of realism which falls under the spell of political control where magazines like The New Yorker set the standard of quality. But the box office results do not lie. Nobody waits in line to read The New Yorker and nobody would scammer to the theater 3 to 4 times to see the same movie like they are doing with Dark Knight Rises, if the movie was about collectivism. It is exceptionalism that audiences want and in the case of Dark Knight Rises, Director Christopher Nolan found a way to work around the system to give everybody but the progressive what they wanted. Warner Brothers get a smash hit that will help carry their studio through the rest of the year without worry. And the fans received a film that will fill their imaginations with a yearning for greatness, even if the closest they ever get is in a darkened movie theater.

The truth is in the box office take, because in spite of the progressives who wish to shape society with gentle nudges, the fans have put their money where their mouth is. This is devastating news to all the Ellsworth Toohey’s who are quite stunned at the box office take in spite of all their efforts. So it brings me great pleasure to see Dark Knight Rises continuing its path to a billion dollars. Because film studios must take note of what not just American audiences want, but the entire world. The world wants Batman, and they want their heroes uncorrupted, unafraid, and larger than life. And these days, the modern heroes’ ride the musical wave of Hans Zimmer as it is his music that most plays from my iPod hour by hour week by week on a quest for valor and hope of what can come from fearlessness.

Behold—the superman! What every young person should strive to emulate without apology!

To place in perspective just how important those box office numbers are for Dark Knight Rises consider that popular summer film geared exclusively toward older women, Magic Mike featuring male strippers was released on June 29th and to date has only made $110,894 million total, and has not been released to international markets. Magic Mike would be considered a progressive film as it plays to the feminist movement. The movie did very well the first couple of weekends as all the “liberated” women flocked to the theaters to see a movie that gave them revenge on men for all the “sexist” films they’ve watched over the years like American Pie and the Hangover. Opening that same weekend was Ted directed by the makers of the cartoon Family Guy which to date has made $203,414 million with a production budget of only $50 million, both movies could be considered a financial success, but not even in the same category as a film like Dark Knight Rises.

In the same arena however would be the latest Spiderman which is not considered a success and insiders are disappointed. Opening right before the 4th of July it had the benefit of a holiday week with a rare Tuesday midnight opening, then a following weekend to make a ton of money, but for the month of July it only made $250,640 with a production budget of $230 million, not exactly a runaway success. The only film that looks to beat Dark Knight Rises in the year of 2012 is The Avengers which opened in early May and to date has a worldwide box office take of $1.6 billion dollars after three months of release. Dark Knight Rises is already halfway at that point, and it still hasn’t opened in China or Italy. But what those last mentioned films have in common as opposed to the more progressive films like Ted and Magic Mike is that they are superhero movies—movies about individuals doing big and glorious things. Critics like those who write for The New Yorker and other so-called prominent publications seem to dislike money, so to them all the movies are on equal footing. But in a world where fans of movies vote with the price of a ticket, the differences are extremely clear. In the end, the ones left standing in the corner talking to themselves won’t be Batman at the dinner party but the pretentious socialite that wants to talk about feelings and how to save the poor which global socialism created. Everyone else will be at the movies watching Batman kick the crap out of the kind of people who write for The New Yorker.


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Rich Hoffman!/overmanwarrior

Review of ‘Dark Knight Rises’: A movie of great entertainment–and importance.

I wanted to calm myself down before giving a review of Dark Knight Rises, the latest in the highly acclaimed Batman trilogy by Christopher Nolan, because as a movie it does nearly everything correctly as a motion picture experience, and I found it absolutely stunning. Dark Knight Rises would be a great film even if you watched it on an iPod, because it’s about as close to a perfect movie that can be made. However, knowing that this film was going to be a spectacle that deserved the biggest screen with the best sound system I could find, I watched the film from my favorite movie theater in the Cincinnati area—the Regal Theaters in Deerfield Township near Mason.

There are very good movie regional movie theaters, the Showcase Cinemas in Springdale come to mind followed closely by the AMC Theaters at Newport on the Levee. For a theater to be great it needs to place its movies on a pedestal to be watched in a temple of honor. The hallways taking the viewer to their movie need to help pave the way to a mythic experience, because that’s really what people expect from the price of an expensive movie ticket. I’m not a fan of the Rave Theaters simply because they are typically dirty from large amounts of teenage traffic, particularly at the one in West Chester. The floors are sticky, the seats feel used, and the events leading up to the movie are cheesy and low-class. I’d compare the experience to a drive-in movie only it’s inside instead of outside. They were built to be majestic, but they are just not cared for, they take the moviegoer for granted, which is a big mistake. The Regal in Deerfield Township is everything that a movie theater should be. They are clean; they have nice big theaters with very good screens. They have wonderful seats, large isles, wonderful pre-movie entertainment and large hallways leading up to the individual theaters. The theater itself sits on a large hill and has colossal columns outside the ticket windows to provide a majestic appearance. I’d liken it to a great temple designed for storytelling.

When Dark Knight Rises finished I sat till the final credits scrolled across the screen feeling that I had maybe witnessed the best movie I had seen in twenty years. It was a true masterpiece. The last time I enjoyed a movie as much as Dark Knight Rises was Jurassic Park in 1993 where I came away from that movie pleasantly surprised and deeply satisfied. There have been a lot of movies since then, many of them good to very good. But none of them have had the visual impact, and story line punch that Dark Knight Rises had. Being a fan of Christopher Nolan’s last film, Inception I expected this latest Batman film to be good. I also expected it to be good because of the previous two Batman films, The Dark Knight, and Batman Begins were very good, but Dark Knight Rises goes to the extra trouble of being simply fantastic.

It was more of a visual novel paying homage to such classics as Tail of Two Cities. But during the entire film I kept thinking that it was more of an action packed rendition of Atlas Shrugged.  If it can be forgotten that Dark Knight Rises is based on a comic book character, the theatrics are very heady stuff. It’s a deeply intelligent film. It’s filmed with a philosophy that does not wish upon a star of blind hope, but is grounded in a gritty reality that hits the core of virtually every human being alive—the desire to be more than we are to serve a purpose that matches our imaginations.

I have read comic books all my life. But I didn’t follow the story of Batman very closely. I personally leaned more toward the character of Zorro over the years being more of a western oriented story which I prefer over the technical expertise of Batman—Don Diego and Bruce Wayne are essentially the same type of character. Zorro made the sign of the ‘Z’ whereas Batman had the Bat Signal. Both are wealthy men who work their bodies and minds into improvement to perform superhuman feats. Bruce Wayne and Don Diego are Nietzsche’s overman, they are Ayn Rand’s “men of the mind.” They are human like anyone else, but achieve a level of mental and physical prowess that exceeds what most human beings attempt, and they use their personal wealth to mask their social intentions of mankind’s preservation. But under Christopher Nolan’s direction, Bruce Wayne takes the next evolutionary step into a deeply compelling character.

The mentor of Bruce Wayne from Batman Begins is Ra’s al Ghul who is an international criminal mastermind intent on restoring perfect environmental balance to the world by destroying most of humanity. Ra’s al Ghul is at the head of an international terrorist organization called the League of Shadows which was the intended destination of Bruce Wayne in the first film. This is a very contemporary theme as there are many real life characters that have Ra’s al Ghul’s world view that the environment must be preserved at the expense of mankind. Actually this is the debate of our age and has led entire nations into communism, socialism, dictatorships and is in direct conflict with capitalism, which Bruce Wayne represents as a billionaire.

In Dark Knight Rises Batman’s ultimate nemesis is Bane, who comes out of the League of Shadows as an ‘evolved’ man himself, not afraid of anything, and presenting compelling problems. He presents to Gotham City an option of communism, while using it as a distraction to actually purge the world of human overpopulation. Bane immediately reminded me of Stalin in the former Soviet Union except with a theatrical overtone. Bane is the most effective villain since Darth Vader from the Star Wars films. Banes synthesized voice was striking and as a character. He won me over in his very first scene where he confidently put himself on death’s door in a plot as maniacal as the ultimate villains from any ten James Bond films. Bane was a wonderfully evil character. There is absolutely no mistake about it. He is the opposite of Bruce Wayne in every category except that both men were trained by the League of Shadows.

In the Star Wars films it is the conflict between the Sith and the Jedi that drives the constant yearning to always know more about those movies that has made them so enduring. There is a truth in Star Wars as movies and books that hold the essential arguments of our age about spirituality, heroics, sacrifice, and political structure. The Sith are evil as it might be typically portrayed and the Jedi are the good. But at times the Jedi are too sacrificial, and they allow evil to emerge because they are not aggressive enough to stop it. And the Sith have appeal because they are all about aggression to achieve their intentions at any cost. In these Batman films it is the League of Shadows which actually hits much more closely to reality than any work of fiction being produced today. Listening to the merits of the League of Shadows it is easy to draw modern comparisons to al Qaeda and the current Occupy Movement being driven by political anarchists, socialists, Marxists, communists and the environmental movement.

Bane’s character was fleshed out well before there was a current ‘Occupy Movement” on Wall Street. The call for these modern parallels comes from literature that has been pouring out of Europe for a long time, most recently The Coming Insurrection by The Invisible Committee. So Dark Knight Rises cannot be said to reflect those modern movements that has started to emerge in Greece and Spain with violence. Many countries in Europe are currently collapsing under the weight of socialism financially, which is driven by underground political groups reading The Coming Insurrection. Christopher Nolan definitely has his finger on the world’s pulse as he and his brother came up with a plot that is hauntingly timely considering much of the script to this latest Batman installment was written way back in 2004 and 2005. The creators of Dark Knight Rises observed the conditions of our modern world and saw that comic books had predicted much of our current trouble back in the 50’s, 60’s, 70’s, and 80’s so they brushed them off into the incredibly relevant motion picture adaption that take the next theatrical step.

Cat Woman played by Anne Hathaway was excessively gripping. Anne was caught herself last year as a ‘Wall Street Occupier’ disguised in the crowd before being caught on film. Cat Woman was openly a socialist at the beginning of Dark Knight Rises. She is built up as a character that the audience will most likely identify with. She like many young people have been taught that society owes them something and if they don’t get it legitimately, then they’ll take it. Cat Woman has some really terrific scenes with Batman, the ultimate capitalist about the nature of money and the social role of the rich. Bruce Wayne as Batman finds her compelling and doesn’t lecture her on her social errors which was a wise choice. Instead, Cat Woman learns like the rest of the audience what the horrors of her idealism can, and will lead to. Playing a kind of biblical Judas, she trades Batman over to Bane only to witness through Batman’s demise how Gotham City is destroyed by removing the only man who can protect it.

The question of why only one man can stop Bane is the general premise of the novel Atlas Shrugged, and it is explored in Dark Knight Rises epically. The personal quest of Bruce Wayne realizing that nobody but him can save Gotham from the mobs that have been collected under idealism is potent stuff in this film. There are some deep and meaningful insights that Bruce Wayne had to endure and overcome that are the themes to most of the articles I write here at Overmanwarrior’s Wisdom, and I was eating it up like popcorn. Specifically, the point in the film where Bruce Wayne is crippled, and barely kept alive—tortured into watching the violent demise of Gotham City from a hellish pit. It is in this pit that the classic mythic motif of death and resurrection takes place. Wayne faces down the ghost of his former mentor Ra’s al Ghul and discovers that Bane learned to be such a monstrous provoker of evil from this very same place, and the only way to beat Bane is to survive the way he did, to become even stronger than he was before. Batman discovers that his weakness was his success, and that he has been failing because he does not fear death. There is a part of Bruce Wayne who wants it all to end, who wants the pain to go away, and it is in that trait that is holding him back from defeating Bane.

It is in a love of life that we ultimately live and fight for each moment. Without that love, life takes on a darker meaning, and this is what poisons much of the world. Batman didn’t know it, but Bane was fighting from a position of love and therefore had more passion. It was in that passion that Bane had so much strength, and it is what Bruce lacked. At the beginning of the film, this is why Bruce Wayne is a broken man hiding as a recluse in exile. He has a broken heart, and his body and mind reflected it. To heel, he had to want to live. This is the heart of Dark Knight Rises.

As usual, Hans Zimmer conducted a masterpiece of film music. He is the next best thing to hit Hollywood films since John Williams. I enjoy all his soundtracks, and Dark Knight Rises was simply fantastic. The use of percussion was so pulsating throughout the film that my adrenaline often wanted to ram my head through a wall in excitement. Some of the combat scenes were simply epic in large part due to Hans Zimmer’s music. There were many moments that reminded me of Braveheart, and it was Hans Zimmer’s music that sold the scenes wonderfully.

Dark Knight Rises is filmmaking at its very, very best. Such a movie only comes along every so often, and will resonate in our culture for many years, and for good reason. I personally read many comparative religion books, political commentaries, economic theories, legal jargon, and world history. But I have always found a truth in comic book stores and national conventions that evades most social insiders.

There is a very good reason that young people flock to video games, movies, and comic books in greater numbers than they ever have before. They often don’t know the reason, but they are simply searching for a truth that they require to advance their lives. Many of them will not discover it. They will listen when someone tells them to ‘grow up’ get a job, and serve society. But the truth they are looking for is the one that Bruce Wayne was forced to discover in Dark Knight Rises. It’s a love of life that everyone must find. And before anyone can save anybody, they must first save themselves.

I was the last one out of the crowded theater at the Regal. My family had left me sitting right in the center of the large theater. I was happier at the conclusion of the film than I had been in a long time because when I am asked why I write all this work online for free, it is to cover many of the themes that were shown in Dark Knight Rises. I felt I had just watched a book that I had wanted to read for many years, and had been trying to get people to see by putting the information out for free just so people could discover their own love of life and not find themselves crushed by the Banes of the world.

I had so much positive energy flowing through me that I was reluctant to stand up because I might leap over the rail and bounce around the empty theater like an electron in a particle separator. I had to sit still to calm myself down. The projectionist looked down from his booth wondering if I was OK and seeing that I was left me alone. I sat in the theater for five full minutes in complete silence. No usher came in to clean since we had seen the last show of the evening. It was 11 PM. I have been hungry for Dark Knight Rises for such a very long time. I am glad that a director like Christopher Nolan had been given a chance, and the substantial budget to put on the big screen a spectacle that had all the heart of an independent film, with the epic scale that only a well-funded studio picture could provide. I know all too well how incredibly difficult it is to assemble anything close to what Nolan made for Warner Brothers and ultimately the world. But he did it, and I thank God that he did.

Dark Knight Rises is simply the best movie currently out. It is the best film I’ve seen in 20 years and that says a lot. There are many films that are very good, but Dark Knight Rises is on a level of its own. If you have not seen it do not waste another minute. While it’s true that we are all busy in life with projects of our own, work that must be done, families to raise, and social events to engage in, everyone should see this movie. Believe me—there isn’t a film that more accurately frames the problems of our day better than Dark Knight Rises. It is not a simple comic book adaptation. It is an epic myth that takes on virtually every major contemporary problem with a boldness that is unprecedented. It is the very best that Hollywood has produced and is a wonderful export of American ideas that can be shared with a world in deep need of the message. It is more than a movie; it is a life-sustaining essence that is deeply meaningful if the layers of entertainment are peeled away so that we can swim in a much-needed truth. If I had a ranking system of one star through five—one being the worst, five being the best—I’d give Dark Knight Rises TEN STARS (**********)

See Dark Knight Rises once—then see it again, and again, and again, and again, and again until they finally pull the film from theaters. I can say this; I will go out and buy an entirely new television and sound system so that when Dark Knight Rises is released to video, I can watch it on Blue Ray at least once a week using the latest technology and I will turn that sucker up all the way! I like the movie that much! But it will never be as good as the first experience in the Regal. That is why when the lights came up and everyone left the theater I was still sitting, because I did not want to leave that seat, or the theater. I wanted the magic to continue on forever, because I’m not sure I’ll ever in my lifetime see another movie as good as Dark Knight Rises.


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Rich Hoffman!/overmanwarrior