Couldn't agree more. I understood every word he uttered, but that voice just sounded ridiculous to the point of being unpleasant to listen to. I just couldn't take the guy seriously at all. Every time I think of the character, I'm reminded of this:
I don't expect everyone to sound like a Greek god or a siren, but, as stated above, when it gets to the point where it's so ridiculous as to be unnerving, it kills the immersion for me.
You're on an absolute tear
in this post. We need a salute smiley, but this will have to do until then
To piggyback onto what you're saying, this was a central issue for the entire film. I recall a poster saying that the words spoken by Gordon at the end of TDK sounded like they were randomly picked out of a hat, and solely to sound (melo)dramatic and epic. My feelings about the writing in this film is akin to this, in that it seems like Nolan and Co. had a bunch of interesting ideas, locales, and set-pieces(the prison, Bane's plan, the cops in the sewer, Talia's existence and relevance), but didn't put too much thought into how it all came together to form a cohesive narrative.
You can have all of the fascinating situations you can shake a stick at, but if your plot is incoherent, it simply won't work. Every transition and resolution was a little too neatly wrapped up in a bowtie for my tastes, right down to that abysmal ending.
Yet another huge, glaring mistake that tends to get trivialized by apologists. The antagonist in the Bourne Legacy died in similarly anticlimactic fashion...I'm praying to the movie gods that this sort of shock-death doesn't become the norm. IMO, it reeks of a half-baked attempt to throw off the audience, and I hold to a firm belief that such decisions should only be made if they naturally flow well with the plot.
One of the common excuses I hear for this is that it's "realistic" or "unexpected". It's also realistic and unexpected for people to sometimes not talk in complete sentences or walk in a straight line, but you don't see things like that in movies(unless it's among the central themes, anyway) because it's poor writing
. Time to put this realism argument to bed; realism for the sake of realism is never a good idea. It should only ever be employed if it serves the plot, and in this case, it just didn't.
A grand villain deserves a fitting and appropriate demise, whether that be by death, incapacitation, or incarceration. These silly, sudden demises I've been seeing lately seem like little more than petty shock value, not unlike the torture-porn we've seen a lot of lately in horror films.
Very solid post throughout, Spiderdevil.