Paul Owen of theGuardianrecently attempted a thoroughgoing criticism of director Christopher Nolan ’s most recent films , by fashion of nothing more than the new post-horse forThe Dark Knight Rises , due out in summer 2012 .
The bill sticker presents us with “ an empty metropolis all devoid of people , ” Owen writes , which suggests to him a film that will be at once “ claustrophobic , joyless , and derivative”-and he adds the third term as if in delayed realization that the first two , despite themselves , can often frame a compelling drama ( many ethics taradiddle are just claustrophobic and joyless , which is where their effective ability lie ) . But , in this direction of thinking , the poster ’s extremely architectural glimpse of a “ urban center literally falling to pieces , ” as Owen describes it , is indication that the film itself will also shudder and fail under Nolan ’s wild tale ambitions , as if depopulate street accidentally reveal the theater director ’s unfitness to portray human complexity .
Is Owen right to infer from a single objet d’art of optical art the intimate collapse of a moving-picture show whose release is still more than one year aside ? And does this shorten sight of a ruined metropolis-“an empty urban center totally devoid of people ” with “ debris crumbling from the roofs”-rightly imply a story equally vacated of human interest ?
Either mode , it ’s nice to see a short piece of virtuoso art rendition , instigate by an double of buildings .
This post originally appeared onBLDGBLOG .
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