It's difficult to remember a film arriving with higher expectations than The Dark Knight Rises, the conclusion to director Christopher Nolans Batman-trilogy. With the massive success of the first two, in particular the most recent The Dark Knight (2008), it is tempting to say that Nolan has raised the bar unreasonably high, even for him. And after taking in the final chapter, it is fair if one should require another viewing or two before making the final judgement on this ones place in the trilogy. Leaving that alone, there can be no argument made against the sheer entertainment value and skill behind this massive movie. Nolan has embraced more of the comic book element in this, and builds around every act and character with greater imagination than in the previous installments. As with its predecessor, this too features a memorable villain. Tom Hardys "Bane" is fearsome and impressive both physically and emotionally. It is a wonderful creation. Christian Bale is also allowed to shine more this time around, as his Bruce Wayne is reduced to a prisoner for a large portion of the film, both of his own and Bane's doing. In conclusion, The Dark Knight Rises is a more than satisfying ending to the greatest comic book film series ever. So there.
The thought of a new Mel Gibson movie hasn't had the same thrill over the past years, for several reasons. That's why the arrival of Get The Gringo comes as a genuine joy. As the ageing criminal being confined to a Mexican prison, Gibson is back to his charming and carreer-saving best. The film also known as How I Spent My Summer Vacation is the directorial debut of Adrian Grunberg, who comes from various assistant jobs on several of Gibsons own pictures. Gibson, who also co-wrote the script, delivers his best performance in years and there is an excitement surrounding many aspects of this film. Not only is it endlessly entertaining, it also comes off as fresh and original, despite the somewhat simple plotline. With mainly unknown supporting players, this film rests fully on the shoulders of Gibson, and thankfully he delivers in spades. Thankfully.
Now in its third season, Louie, remains one of the main reasons to still watch cable television. Slowly growing to become the jewel in FXs crown, this seasons finds Louis C.K. perhaps in a more sombre and serious mode, but that does not happen at the expense of any laughs. Quite the contrary. The show is funnier than ever, and many of its best bits happen when Louie is left on his own. Be it sunbathing in Miami or having a solo lunch in a diner. As a director, and mainly a writer, C.K. is on his way to become a truly original American voice, and one can only hope there will be many more seasons to come. Recently cast in the new Woody Allen movie, perhaps the greatest honour of any American comedy writer, Louie is definitely going places.
ESSENTIAL LISTENING THIS JULY:
Underwater is the title of the new album from American singer and songwriter Joshua Radin. He's been mentioned before on this site, and even though one would be hard pressed to speak with an element of news to this release, it still does not take away any of its simple beauty. Radin keeps it clean, making his voice the primary force of every track, and as an album there is a quiet tranquillity to this collection. Perhaps dependent on finding its audience in the right mood, but if you are, you're in for a genuine treat.
Having already mentioned The Dark Knight Rises it is fitting to also include its soundtrack this month. After having co-written the score for the previous two in the series with James Newton Howard, composer Hans Zimmer this time goes at it alone. And luckily, the album does not seem to have suffered from it. Many of the themes are recurrent from the earlier soundtracks, but seven years after the release of Batman Begins (2005), it strikes you that the tunes and harmonies of Zimmer has become major influences on every action score since its debut. The Dark Knight Rises is presented as the epic conclusion to the legend, and while taking in the music behind it all, it becomes clear that Zimmer deserves his share of the credit.
One of the best concerts so far this summer has been The Gaslight Anthem at the Norwegian Wood festival in Oslo in June. Already a favorite to this writer, there were high expectations to the release of their fourth studio album, Handwritten, which arrived last week. The quartet from New Jersey are working out from a familiar formula, but they do it with a commitment and energy that is both admirable and engaging. Remaining clear that rock music is a positive, a thought lost on too many American outfits, they blast of from start to finish, stopping by various corners of blues, ballads and anthems. Featuring one of the coolest young voices in rock today, Brian Fallon, The Gaslight Anthem are here to entertain you, romanticise you - and ultimately move you deeply.
Enjoy the second single, and titular track of the album, Handwritten, which also comes with a rather lovely video.
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