Quote:
Originally Posted by BreakABone
I don't either.
It's only a problem if it actively pulls me out of the experience.
In this case, it pulled Angrist out of the experience, which I guess is fair.
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Quite fair. Watching the cops charge automatic rifles like they're 4th century Spartans should elicit some cringe from even the most audacious-escapiers in the audience.
[Argo semi-spoiler in this following paragraph]
It's like watching a movie such as, say, Argo, and then near the climatic attempt to flee the country, Affleck's character starts to Rambo-dance with all the gunmen and then grabs the two ambassador women, flings them across his shoulders respectively and continues to gun down Iranian gruntmen and then proceeds to 'get this thing off the ground' by kicking out the pilots and fullthrottling the jet without take-off clearance: all to the music of MJ's "Thriller".
Pretty much what Nolan did in TDKR with the culmination-debacle that capped off a 'realistic' conception of HIS Gotham. The pussification of Bane into a love-bound hound who's sole motivation wasn't entwined in Ras-Philosophy but instead a quest to seek revenge on the killer of his love's dadda.
pffffffff what was he smoking with this ending?
Did I miss something? Why the collective scape-goat of a city? Because it would hurt the Bat? Make him feel like a failure as protectorate?
Seems like such a social-bent hollywood-trope statement that destroyed the possibilities that a fairly well done TDK established (at least in terms of hero-adaption genre fair).
bad taste in mouth