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"There are very few great third films. I think in some cases dissatisfaction with third films comes from the sheer exhaustion of the people making it." These words came straight from the mouth of director Christopher Nolan, not just recently in an interview with Entertainment Weekly but also months after completion of The Dark Knight. He was exhausted, on vacation, probably mulling over his plans to tackle Inception next, but wasn't too interested, or at least didn't want to convey interest, in yet another Batman film. This shouldn't surprise those who followed Nolan's commentary as early as when he first wrapped production on Batman Begins. Even then, Nolan noted he was simply aiming to make a film, not a franchise. That, in essence, is why Nolan has yet triumphed a third time in what has become one of the greatest cinematic trilogies of all time. History would suggest the opposite—when a franchise is planned and outlined as a trilogy beforehand, such as with Lord of the Rings and Star Wars—is when sequels are the most effective. But Nolan's artistry and careful calculation with each chapter in his Bat-verse has allowed each segment to have its own identity, while also building upon the foundation of the groundwork laid by its predecessors.

If Batman Begins is about becoming a symbol and The Dark Knight (TDK) is about the personal sacrifice necessary in being that symbol, The Dark Knight Rises (TDKR) is about living through as that symbol to the end. In TDK, Wayne lost all that would have preserved Gotham outside of the presence of the Batman figure. His personal loss of Rachel and Dent resulted in Wayne becoming a shut-in, eccentric Howard Hughes character, and Batman becoming the face of villainy throughout the city. However, despite criminal activity being seemingly expunged, a new evil approaches Gotham from another part of the world in the form of Bane.

Bane poses as the best possible villain alternative in a post-Joker world as he is the complete antithesis of the Joker. While both seek to uproot society and give Gotham "back to the people," Joker wanted pure madness and anarchy while Bane seeks personal control and tyranny through fear. Bane is, for reasons which won't be delved into thoroughly in respect to spoiling TDKRs plot, a deadlier and more unhinged second coming of the kind of threat our caped crusader faced with Ra's Al Ghul. The Joker was a loose cannon, Bane is a weapon. Each hit Bane delivers is calculated and precise, but unlike Ra's Al Ghul, he isn't hindered in his actions by any moral code. He is, without hyperbole, the perfect villain for Nolan's Batman—the realization of every evil Batman has fought, but a perfect collision of forces that prevents our hero from being prepared for anything like him.

As a result, the stakes are high here because Bane isn't simply looking to kill Batman, but destroy an entire city and uproot civilization in the process, therefore destroying the symbol of Batman and "breaking his spirit." Much like this summer's The Avengers, you truly feel the threat has consequences on a world-wide scale. This isn't to suggest the film doesn't have its strong character moments, but the film never lets you catch your breath either. For instance, the few personal scenes between Michael Caine's Alfred and Bale's Bruce Wayne becoming increasingly heart-wrenching throughout.

On that note, there are many wonderful performances in Nolan's finale (as if anyone would expect anything less), but Caine is perhaps my favorite. Watching the accumulation of everything Alfred has had to endure for a trilogy finally spilling out on screen is heartbreaking. The entire film is full of such dedicated and emotion performances.

Many other reviewers will discuss the other roles at length, but I'll dedicate a paragraph to Bale's Bruce Wayne/Batman. Our protagonist goes through a complete physical and mental transformation between the film's opening and its dynamic conclusion. As stated earlier in the review, we open with Wayne as a crippled recluse hiding from the rest of the world in solitary, but in the wake of his new nemesis, he has to overcome obstacles that challenge him like never before on an emotional and physical level.

However, all of this wouldn't be possible if it wasn't for the visionary guidance of Christopher Nolan. He lets his stories carefully and meticulously set the stage for the action. TDKR isn't necessarily action-packed, but it is an emotion wallop, and the action only picks up when all of the right cogs have been adjusted. This is why the action here is memorable and that's why Nolan continues to succeed in this genre.

So, at the end of a seven year journey, fans can rest easy knowing that Nolan's vision for his Bat-verse has been completed, and with much success. In a few years, Warner Bros. will reboot the franchise and the dark knight will rise once more. It's inevitable and WB has confirmed its intentions. The bar for such a project will be almost insurmountable but regardless of what endeavors will be made, Nolan's trilogy will remain a classic among comic book, superhero, action, and film buffs alike. Christopher Nolan balanced more and more content with each of his Batman outings, but unlike Spider-Man 3, he doesn't let the structure fall apart in the final chapter. Instead, he builds upon the already strong foundation and completes his design. Sure, there will always be threads left hanging here for movie fans to ponder over, such as the unstated fate of the Joker. However, for every one of its occasional missteps or minor shortcomings, TDKR has a dozen successes. After all, why do we fall?

Rango is not only in love with the spaghetti western, but with movies in general. There's a scene in the opening that plays tribute to Fear and Loathing in Las Vegas, a "bat scene" later that winks at Apocalypse Now, and numerous nods to Sergio Leone's westerns throughout the course of the film. Rango is a passionate movie that's passionate about movies.

This in no way suggests that Gore Verbinski's latest doesn't stand on its own two feet. To date, it's by far the most interesting and unique film I've seen in 2011. While it does play tribute to many predecessors, it doesn't let the homage make up for its lack of narrative. John Logan's script is full of character and wonderful, delectable dialog that dances off the tip of the tongue. As with "True Grit," I found myself wanting to quote the film after I saw it, displaying my movie "geekiness" for all to see and judge me by. Logan, to my surprise, also injects the film with a level of surreal that makes it more interesting compared to many of the other mainstream animated films being released today. In fact, I dare say the script and narrative is quite daring. Younger children may not only be confused by the path it takes in terms of storytelling, but also miss much of the banter and humor in the film. I haven't said this about a non-Pixar animated feature for what seems like some time now, but Rango is quite intelligent. It doesn't speak down to its audience with the obvious. Sure, there are somewhat predictable plot twists and turns (anyone who has seen a handful of the aforementioned spaghetti westerns of years past will notice similarities to Once Upon a Time in the West, The Man with No Name trilogy, etc.), but the story is presented in a very interesting manner.

Despite the fact that the film is computer generated, much of the "puppetry" in the film reminds me of the Jim Henson films of the 80s. The creatures are so full of life, so detailed, and so wonderfully molded into their roles. The animation style--thanks to the imaginations of James Ward Byrkit, David Shannon, Eugene Yelchin, and Mark McCreery--has a strong and significant impression on the film. Rango, quite frankly, looks unlike any other animated film I've seen. Additionally, the style helps to compound the surreal nature of many of the films events. John Logan's script and the visual/art style work together in perfect conjunction.

As far as direction goes, Gore Verbinski's fantastical style that dominated the look and feel of the Pirates films is here is in prime form. In fact, there's a scene that involves our lead lizard and rolly pollies that reminded me of a certain Davey Jones' Locker sequence in At World's End. The action set pieces show off all of the experience Verbinski has garnered over the course of directing the swashbuckling series. I haven't felt as exhilarated by action/adventure scenes since I last watched an Indiana Jones film. I constantly caught myself grinning like a fool during the more frantic moments of the movie.

When it comes to the voice acting, Rango is sublime. Bill Nighy, in particular, does outstanding work as Rattlesnake Jake. Ned Beatty is perfectly cast and comfortable with voicing the Mayor of 'Dirt.' Without spoiling anything, the biggest revelation for me was who lent their talents to bring a voice to the Spirit of the West.

One thing that ultimately separates Rango from the majority of films I've seen so far this year is that it's memorable. It's been a day since I've seen the film and I'm still chewing the film over in my mind. Rango is a number of things--a feast for the eyes, stimulator of interesting vocabulary, etc.—but it's primarily a fresh experience despite having an assortment of familiar themes and plot devices at its disposal. It's fun for all ages and rewards older movie buffs just as much, if not more so, as its younger viewers.

A final note: As a demystified final buff, it's become a rare occasion for me to desire to give a film an immediate second viewing after finishing the first but I instantly wanted to do so with Rango. I hope others, movie maniacs and general audiences alike, get this urge and amount of enjoyment out of the film.

Related Recommendations: A Fistful of Dollars, Once Upon a Time in the West, Tombstone, Pirates of the Caribbean: Curse of the Black Pearl, Fantastic Mr. Fox, Coraline.

I must first ask my fellow IMDb'ers to excuse my abundance of sentimentality in this review, but as a twenty-something child whom has just returned from seeing this film, many emotions are coming to the surface.

Like many whom probably rushed out to see Toy Story 3 on opening weekend, I grew up with the first two films. Toy Story came out during the perfect time in my life, while my connection with my own toys was at its most personal and passionate. The film touched me then in a way that not many animated films have since, or at least until Toy Story 2 came along in 1999 and warmed my heart once again. Now I'm 11 years older and have grown somewhat, physically and mentally, over that time.

Despite Pixar's consistency to outshine any other studio in the animation department, I still found myself doubtful as to whether or not Toy Story 3 would appeal to me now the same way the first two films did when I was younger. I clicked "Like" to "Move out of the way children I've been waiting 11 years to see Toy Story 3…" on Facebook, but I still wondered whether I would be moved. Yet once I found myself in a packed theater with some strangers and some of my best friends whom I've grown up with over the course of my childhood, I couldn't help but transport back to that same kid I was in 1995.

Toy Story 3 is movie magic at its finest. Unlike many animated sequels that come out today (I'm looking at you, Shrek), this third chapter retains all of the charm and intellect from the previous films without ever coming off as cheesy or cheap. Almost all of the characters from the previous films return and although Jim Varney sadly isn't filling Slinky Dog's shoes anymore, Blake Clark does a great job of bringing the character back in a way that would make Varney proud.

Pixar has stated before that they don't make sequels to their films unless they have a story that is on par with their predecessors and that's proved through Toy Story 3. There are moments in the film that will make you laugh, smile, cheer, and (yes) even tear up. It doesn't matter if you're young or "old;" whether you grew up with the films or are new to them; Toy Story 3 is a winner across the board.

Pixar has certainly done it again, against all odds. If the past decade has been any indication, they'll only continue to captivate us with their cinematic magic. To infinity and beyond! Related Recommendations: Toy Story 1&2, Where the Wild Things Are, Monsters Inc., UP, Wall-E