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Here we go. Strap in for Christopher Nolan’s reboot of the movies that got fanboys to issue death threats to critics who didn’t like them. This is serious business for a lot of folks, and they’re very serious movies. Why so serious, you ask? Batman Begins explains the genesis of Christian Bale’s reconstruction of Bruce Wayne. The film was released in 2005 and plays off public fear of biological warfare and weapons of mass destruction. Remember those?
The Dark Knight
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Christopher Nolan’s strained seriousness continues with The Dark Knight, which will come to be known as a major turning point in the relationship between the box office and superhero franchises. The film gives up the pseudo-sociology of its predecessor in favor of one fear to conquer them all: chaos. Batman must save Gotham from the nihilism of Heath Ledger’s Joker, who is presented with so much fury and skillful panache that it is distracting. Whether he’s walking on screen to intimidate some henchmen or to blow up a boat, his virtuosity overwhelms the picture.
The Dark Knight Rises
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All good things must come to an end, right? This one just takes three hours and six endings. The Joker’s ghost hovers over this final chapter, in which Bane attempts to destroy Gotham once and for all. Christopher Nolan’s social consciousness also reaches new, strange heights as he tries to address the Occupy movement and economic inequality. Ultimately, the movie presents a bizarre rightist argument after two hours of exposition, but it will certainly tickle your inner Pittsburgher with some noticeable impressions of the city where it was filmed. It’s loud, it’s big, and it’s Batman.
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AB Films continues its semesterly tradition along the lines of this week’s Batman theme. Be sure to bring identification (other than your Carnegie Mellon ID) proving that you are 18 or older, and enjoy this departure from Dollar Movie’s usual content.