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Christopher Nolan brings yet another adrenaline-filled, comic-inspired movie to the big screen.
We see all sorts of familiar faces this time around, but the audience is introduced to a few
new characters as well.
When crisis threatens Gotham City, Bruce Wayne jumps back into the Batmobile to fight crime.
Batman is joined on his quest by an eager orphaned cop (Joseph Gordon-Levitt), a seductive
cat burglar (Anne Hathaway), and a violent masked villain (Tom Hardy).
This film served as great entertainment with its colorful cast and numerous plot twists. Nolan
used actors that had either appeared in previous Batmanfilms or in his blockbuster
hit Inception, and all of them shone in their respective roles: Tom Hardy was almost
unrecognizable in his Bane costume, while Joseph Gordon-Levitt and Marion Cotillard were
both excellentand obviously comfortable with Nolans directing style and the films dramatic
The one actor that gave this reviewer pause was Anne Hathaway as Selina Kyle. She has
historically been typecast as the girl next door, so it was a shock to watch her steal and fight
her way through the City of Gotham. After a few scenes, however, we were convinced that the
casting decisions was a good one, as Hathaway portrayed the darker Catwoman role brilliantly.
True to Nolans style, at 164 minutes, this film is fairly long. There were a few times when the
movie felt a bit drawn out, but the gorgeous action scenes and impressive dialogue really held
the audiences attention and kept them on the edge of their seats. However, the timeline was
a bit unclear at times. For a number of scenes, it was hard to tell whether it had been days or
months or years that had passed since the last time a given character had been on screen.
Despite the films minor shortcomings, The Dark Knight Rises is exciting, creative, and dark
and well worth a few hours of your time

A Royal Announcement: This is a must-see movie.
More people are frightened of speaking in public than dying. Thats the statistic I heard on the
radio last week. How would you feel if, that was you, but you lived with a stammer. But
you had to speak not only in public, but to a whole nation, who were relying on you to do
it? Thats the dramatic finale of The Kings Speech after an unwilling Prince Albert of England
has had no choice but to become King George VI after his elder brother abdicates to marry.

Although the film is about overcoming fear and, to an extent, disability, it works on many other
levels too. Its about the formation of friendship between two very different men (the King and
his speech therapist) despite - but in some ways because of their different social status. It
explores this difference too how what we perceive as status and privilige leaves the future
King lonely and isolated and needing a friend he cant ask for, while the screenplay cleverly
uses the two mens children and wives to demonstrate their underlying similarities.

Carrying this complex range of themes are the lead actors. Colin Firth gives a fantastic and
often very funny performance, commanding total attention. Geoffrey Rush, as his therapist,
seems to have a lesser role, but his performance is just as carefully judged as he is there as
contrast. His character is mostly quietly self-assured, compared to Firths edgy, nervous, high-
tension characterization.

The film comes to an emotional and dramatic conclusion as the King is called on to make the
most important speech of his life as World War 2 breaks out, and his therapist is there to lead
him through it like a conductor with an orchestra.
Complete with an excellent supporting cast, subtle special effects recreating wartime London
and a musical score that enhances scenes with just the right tone, you really should see this
Mad Men an ironic look at the Sixties
The popularity of Mad Men is not hard to fathom. Nor is the almost hysterical reaction of
critics, who have almost to a man hailed this story of 1960s Madison Avenue advertising
executives as the best American series since The Sopranos.
To begin with, it is visually stunning, with its faithful recreation of early-sixties fashions
when all men wore hats and suits and the women dressed to please the men. The cast is
composed of firm-jawed men and hourglass-shaped women, almost universally easy on
the eye. The dialogue is snappy and witty and cleverly reveals the hidden depths of pain
beneath the characters' elegant veneer. This is an era at once recent and remote from our
own, and the show does a wonderful job of drawing us into its world.
Then there is the guilty pleasure we experience at watching these people who are so
blissfully oblivious to our modern hang-ups, whether it is the way they smoke and drink
incessantly, with never a thought for the hazards of liver disease or passive smoking, or
their unrepentantly Neanderthal views on race and sex.
It is these opportunities for dramatic irony inherent in such a setting that the show seizes
with both hands. A couple of examples will suffice. In the first the main charcters drive out
into the country for a picnic, at the end of which they leave their rubbish to litter the
beautiful spot without a second thought. In the second, the small daughter of perfect
mother Betty Draper rushes to her mother swathed in polythene to announce that she is
playing spacemen. Without blinking her mother, rather than fainting on the spot at the
prospect of her precious child suffocating, calmly tells her that she'll catch it if her
mother's dresses have been crumpled.
Although some of the more carping critics have slated the show's stately pace and
incredible plot devices, it remains true that few TV shows offer the variety of pleasures of
Mad Men and I am sure it will long be remembered as a classic piece of TV.