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Christopher Nolan's Batman films have both surprised & disappointed me. On one-hand, Nolan has strived to ground the mythos into as realistic and relatable setting as possible. Given the suspension of disbelief needed for most of these comic book adaptations, the change was risky and admirable. However, along the way, specifically with the second film 'The Dark Knight', Nolan's realistic setting is at odds with increasingly implausible and fantastical happenings. This sense of imbalance carries over to the bloated & meandering final film.

'Rises' spends the greater part of its nearly three-hour runtime in escalation, introducing plot lines & characters that serve too embellish a sense of importance & complexity too the proceedings. The main issue with the film is that the majority of the multiple plot lines are poorly executed and unnecessary. For example, while the character played by Anne Hathaway adds a touch of much needed sarcasm & sensuality to the overtly serious proceedings, her motivations & actions are never explained.

On the other hand, the characters of Bane & John Blake were well-etched and save the film from outright mediocrity. Bane is equal parts fascinating & menacing, with a convincingly crafted back story that forms the emotional core of the film. Whereas the Joker is the titular villain in the Batman mythos, he is ultimately an absurd character that lacked development & conviction in the previous film. While I never viewed Joker as a legitimate threat in the previous film, Bane's actions are well-plotted & he challenges Batman accordingly. However, both characters actions are ultimately unrealistic, resulting in a film that is neither crime drama nor superhero fantasy.

John Blake is the only other character in the film that is well-etched. Unlike Lt. Gordon, Lucius Fox, & Alfred, Blake rises above being mere plot device & garners genuine emotion through a well-developed back story, realistic staging, & strong motivations/actions. As it stands, I found Gordon-Levitt's Blake a far more convincing & interesting character than anything Nolan has written for Bruce Wayne since the end of the first film.

Thus lies the main problem with 'Rises', Bruce Wayne & his Batman alter-ego come off as emotionally stilted & reactionary rather than mature & intelligent. This is most likely based on the poor narrative in the previous film, where I had trouble buying into Wayne's relationships & Batman's fall from grace. The character has simply failed to develop since the first film.

It's not helping that the films script & technical aspects are also poorly manipulated. While Nolan's script for Begins was generally competent, it's still hard to digest moments of thought-provoking dialog intermixed with sophomoric dramatization, & cheesy one-liners.

While a few scenes stood out in this film, particularly in the beginning sequence & Bane's prison, the cinematography on display lacked any sort of flourish, reveling in gritty skylines & explosions over any sort of interesting composition. The action sequences are admirable, if not poorly shot. Sound editing & mixing are first-rate. The score by Hans Zimmer is abysmal.

Overall, The Dark Knight Rises is a film that falters due to a weak foundation. 'Rises' ambition & scope are grand, however, it's setting and characters lack development and conviction, ultimately rendering much of the proceedings hollow & self-important. As summer entertainment, Dark Knight rises is the best of the bunch, a gem amongst a sea of nameless sequels, testosterone driven action films, regressive family fare, & tasteless comedies. As a film, however, 'Rises' has no reason to exist, it stands tall amongst such relevant masterworks as 'Avatar' & 'The Matrix'.

Stay for the taut & thrilling opening sequence that introduces Bane's character, than fast-forward through the rest.

Saat Khoon Maaf is a daringly different film that falters under the weight of its own ambition. Bhardawaj has taken great care in crafting the aesthetics; every frame is splendid, from staging to cinematography and costume/sound design. From the panoramic vistas of Pondicherry, Kashmir, and Moscow, to the hushed, dark tones used for the grittier portions of the tale, the film is dripping with ambiance and style. In Bhardawaj style, this is a dark, brooding work in lieu of other genre favorites such as Sympathy for Lady Vengeance & Kill Bill. Though not as hyper-stylized as those films, 7 Khoon Maaf has a far more engaging, drawn out plot that is involving and emotionally fulfilling, yet ultimately disappointing due to a few of the stories being half-baked. At times, it seems that Susanna's (Priyanka Chopra) faults with each husband she eventually murders is of her own vocation, stemming from rushing into one affair after another. For the majority of the film, however, the outcome of these relationships is rightfully on the masquerading male, each with a fatal flaw that is hidden until the knot is tied. The ultimate problem with the narrative is not with the flaws, but the majority of her husbands are not fully developed, for the most part their personalities and actions seem archetypal and single-minded. To Bhardawaj's credit, the majority of the supporting characters are three-dimensional, especially Susanna's adopted son Arun & her servants. Moreover, Susanna's emotional plight resonates and the conclusion is affecting and satisfying. Priyanka Chopra owns every frame of the film. Susanna's character is one that is rarely seen in Hindi cinema, her ability to display the complexity and various shades of Susanna across a period of sixty-years cements her position as an actress of great depth. While this is by far her best role, this is not Bhardawaj's most accomplished film. As daring and innovative as the theme and treatment of the film are, the lack of depth afforded to Susanna's husbands ultimately affects the films narrative and emotional quotient. Even so, the screenplay is engaging, the film looks decadent, and Ms. Chopra's brilliant performance is worth a watch and a few accolades.

Alice In Wonderland is quite ordinary, lacking the whimsicality of Carrol's books, and the zaniness of Disney's original 1951 production. Much like last week's Prince Of Persia, in place of an enchanting story, we get a soulless retread of the original, with an overabundance of CGI and little heart. Burton's Wonderland is more akin to an amusement park ride, jaunting from one green screen to the next, setting up one conflict after another. Skipping characterization in favor of nostalgia, Disney takes the blockbuster route, assuming that vague flashbacks and lazy alterations of the original work serve as a plot. The acting is toned down all-around, with Carrol's characters losing their carefree madness in favor of innocence. Depp's Hatter disappoints the most. He comes off as weak and sullen, when he should be as his name suggests, mad. The 'futterwacken' scene is an abomination. Bonhan-Carter fares the best, but her character comes off as foolish rather than conniving. Alice is a disappointment, suffering amnesia throughout the film to avert from her lack of characterization. We never get to spend too much time with Carroll's memorable side-characters, as Alice is reduced to simply being a tool that propagates our nostalgia, not interests our curiosity. On a positive note, The Cheshire Cat and Caterpillar were very well done. Overall, in interpreting this work to a new-generation, Burton has emphasized visual splendor, but lacks the storytelling prowess and imagination of Carrol's books. I don't blame Burton, as I am sure Disney had a hand in dumbing-down this film. Taking steps to make it appealing to the widest-audience possible, throwing creativity out for safety of profits, and advancement of 3D-gimmicktry. Much unlike the 1951 film.