Before the dawn

Rating: 10/10 (25 July 2008)

Not that Burton's 1989 version wasn't as enthralling and Jack's Joker as top notch. At the time, for the period, with the competition, it worked and stood above. Times change, morals change, subjectivity and objective change. But to each it's own. Back then, however, I couldn't help but wonder about the pacing, the setups, dragged-along-for the-ride 'feeling'; the very 'set' looking production values, and the by-the-books progression of plot while watching at the first and second Batmans. And don't get me started about Reeve's Superman movies. Even the 1979 Alien was more effective. Partly, no doubt is the problem of transitioning the fantastic universe of comic heroes through an already suspended disbelief into another medium - the moving frames.
Then The Matrix arrived giving us hope to see just maybe, maybe how far the rabbit hole goes. But Reloaded and Revolutions confirms that it has chosen the wrong color pill to swallow. With the movie machines of the world turning 5-10 movies out every week for North American viewers; and every one aspires to be a directors, actors, critic, writers, where is the QC? Or who is QCing the QCers? The studios?
Until Spiderman II finds the proper mix of heart, character, plot and villain to give the superhero genre some burgeoning sprinkle of life, however idealistic and resilient still was the need for the big ending sequence.
And came Batman "Begins" in 2005, still idealistic, still adventure laced, and character arching. But it strayed back towards reality, mortality, and most of all, meaningful and careful writing. And here I was ever thrilled to find the rethought, reinvented. re"vision"ed Dark Knight. With the pulsating, pressurizing sound effects and sound track; well thought out storyline, agonizingly morality plays, and realistic horror and threats. As if the stars aligned to created a culmination of the best of the lot of predecessors (from a viewer's perspective): the languid, realistic and single-minded "Unbreakable"; the romantic, and philosophic "Blade Runner"; together with the brooding materials of the recent comics sources. Have it collide with Nolan, Bale and Ledger alike. Wam! Bang! Powwwwwww later, to become what it is - a worthy awards contender.
The casts alone resembles a modern Oscar lists. Cane underplayed even more then before; Freeman a bit underused; Roberts under control; Oldman undeniable skilled, Bale is as uncompromising as Ledger, but scripts limits the character nevertheless. While Eckhart more solid than expected, Gyllenhaal made Dawes more realized, it was the story, the sequences, that solidifies the horrific, chaotic, symmetric yet asymmetric tone of this epic. I dare not give anything away nor should you read reviews to spoil the true adventure.
Yes this is still a male-centric, megalomaniac piece. Certain emotions are missing or under developed in certain scenes, probably to keep pace, more certainly to save the clock; while others are simplified, gestured, or symbolized. Nonetheless and better for its genre, for it is no "On Golden Pond", and apples should be compared to apples.
While some critics critiques for the sake, some audience are in awe and overwhelmed. Do we know how insurmountable this movie make for all others that are still to come?