Perhaps one of the most intellectual blockbusters to date.

Rating: 9/10 (30 July 2008)

Directed by the unyielding Christopher Nolan, Batman's latest outing is the one of the most intellectual blockbusters to date. It incorporates every element that a blockbuster needs in order for it to live up to that billing, whilst simultaneously sticking firmly to its comic book origins. Nolan has been hired to make a massive film and that's exactly what he's delivered making Batman the most successful movie franchise ever. This time around The Dark Knight follows Batman (Christian Bale) incorporating the help of Lieutenant Jim Gordon (Gary Oldman) and District Attorney Harvey Dent (Aaron Eckhart) to eradicate organized crime in Gotham for good. Unfortunately they fall prey to the criminal mastermind known as the Joker (Heath Ledger).
The Dark Knight starts like all good blockbuster should, with pace. For example the opening few scenes show an in-progress heist that echo's various crime films such as Die Hard and Heat giving The Dark Knight an immediate adult feel. These opening shots have been designed to create tension and Nolan executes them brilliantly. Additionally, and during the heist, the robbers are treacherously and meticulously executed by a counterpart - a great way to establish the malevolence of a baddie. This is because viewers will now be aware of his capabilities leading to his presence being viewed with caution and apprehension. Savvy audience members will also be aware that, despite the robbers' masks, the baddie is the Joker.
In pure blockbuster terms the film explores and delves into many of the attributes that make these films a success i.e. the compromised love interest, glamorous women, fight sequences, car chases, explosions, disposable baddies, social dilemmas, black comedy, secret organisations, expensive CGI, fast-paced editing, salient lines and ultimately the near floundering of a hero only for him to emerge stronger. Nolan has utilised these aspects and managed to combine them with various comic books motifs and his own stylish direction.
Blockbusters aside, The Dark Night is the best rendition of a comic book to date. Additionally the critics have not been wrong in their praise of the Jokers performance. It is the best Joker to date and talk of a posthumous Oscar nomination is not that far-fetched. Ledger plays the character with such conviction that he manages to command the eye of every audience member, perfectly illustrated during the fund-raising party as despite the actions of his henchmen and the panic of the guests, viewers will remain transfixed on him. It should also be noted that if his first introduction via the heist was not sufficient his second will go down in film folklore due to the entrance and the manner in which he disposes of a villain; it being both chilling and iconic. Batman's introduction is also dark, with him apprehending his helpers, exhibiting superhero strength and killing a dog - Bale fans and film buffs will also how notice how these shots hint at the chainsaw scene in American Psycho. Again this is Nolan wanting to establish a darker side of Batman. Some may also find is gravelly voice irritating, but it should really be expected and it again speaks to the roots of Batman.
Being a comic movie the film is littered with references to comic book iconography that are only really found in films of this genre. Examples of this lie in the numerous framed shots of Batman in a side-on pose as they hark back to the very first drawings of him; the fact that the Joker speaks of not killing Batman because he completes him is also the comic book approach to how Batman's villains mirror his character and his development (scarred childhood). Deft touches to the films misc-en-scene including the helium balloon shaped like a comic book speech bubble add to the films grace, as do the various methods the Joker employs to dispose of his victims i.e. a potato peeler, poisoned liquor, a tummy-bomb and a led pencil. These additions aid the film in sticking firmly with the comic mould. It's not just the Joker either as Batman utilises a sonar device that harks back to the comic book renditions of Batman being able to call upon his winged friends for help, in which a similar device is also used.
Ultimately Batman is a vigilante in a cape, he is there to fight crime and only he knows best. The Dark Night examines Bruce Wayne's psyche in deeper more conceptual way that its predecessor, here we see that vigilante abandon his code in order to defeat the villain thus shifting Batman further to the darker side. It examines the intricacies of what constitutes heroism in a thought-provoking and entertaining way, making it one of Nolan's most accomplished works. The film is dark but the shadows that are there are used to great effect because a lot of the time they complement both the story and narrative. This is brilliantly exemplified by the scene in which the Joker is interrogated, not only is it superbly directed but it had me thinking of Brando in Apocalypse Now. Cleverly the Jokers gentle submergence and re-emergence from those shadows aptly embodies the very essence of the jokers character; that of mystery. The action sequences are also very impressive, but again because of the lightening I felt little cheated, especially given that they seem to be the best from Hollywood in recent years.
Overall the film just falls shy of being a masterpiece, although it can be praised on so many levels from its cinematography to its direction and its performances, it lacks the icing on the cake. It pains me to complain at the films length and its lighting given its subject matter, but it was just too long and had a tad too much going on making the film feel a little cramped. I refuse to dwell on those issues because despite my gripes The Dark Knight is a wonderful film and an experience that should be relished.