The bank robbery sets the pace of ‘The Dark Knight’. From that moment until the last minute of screening, including credit titles, the film does not decay even a single moment, it does not slacken even the slightest. But its director goes much further. The photograph is bright, we do not lose a single detail of what happens. Once this sequence is finished, in which all the letters (never better) of what happens in the rest of the film are present, the light decreases until it meets darkness, in its final stretch. An amazing narrative exercise, of absolute and overwhelming coherence, with which Nolan is discovered as one of the best narrators of today's cinema.
‘The Dark Knight’ continues, as a perfect sequel it is, as told in ‘Batman Begins’ Batman has become the scourge of crime in the city of Gotham. The villains fear their presence and there are few who go out to do their misdeeds when the shadow of the bat man plans on them. But someone appears to give a possible solution: the Joker. An unscrupulous being, whose origins are totally unknown, and that proposes to the Gotham mafia the possibility of killing his only real problem: Batman.
Much is being said about ‘The Dark Knight’, a true social phenomenon that seems to be above good and evil. Calling it the best movie in History seems exaggerated, but that expression seems exaggerated, or rather inappropriate, for any movie. We talk about cinema, something that for many of us is like air or water, but that basically does not fix hunger in the world or solve our lives, although many times it makes us avoid our problems and believe in its powerful magic. 'The Dark Knight' is 100% Cinema, a powerful machinery, designed to the millimeter, capable of deploying all its weapons so that the viewer feels overwhelmed, excited, fascinated and all good adjectives that you think of.
Before its release it was said that ‘The Dark Knight’ was like ‘The Empire Strikes Back’ or ‘The Godfather 2’. And it is true, because it performs the same operation as those two sequels: it reaches the bottom of the characters presented in the original film, presenting them to new and darker dilemmas with the incursion of new characters that help the psychological drawing of the first, enriching them even more. To do this, Christopher Nolan takes a story written long ago by Davis S. Goyer (the scriptwriter of 'Batman Begins') and uses his brother, Jonathan Nolan (who already wrote him the libretto of 'The Final Trick, Prestige'), and together they build a strong and impenetrable script.
A script that serves Nolan to multiply almost all the virtues of the previous film, emphasizing above all the strong realism of the film, which leads to powerful credibility, dealing with issues such as morality and the sense of justice. ‘The Dark Knight’ is ‘Batman Begins’ increased in all aspects. Serve as an example, the spectacular action scenes, vibrant as few known in the industry, and in particular the excellent chase starring several trucks, cars and a peculiar motorcycle. Scenes of great tension, even emotional ones. As in its predecessor, emotion is the highlight of the menu, achieved thanks to a staging that reinforces the script. A sober and resounding staging, which in turn, is dressed by the presence of a cast in total state of grace.
‘The Dark Knight’ is an impressive film, the greatest ever made about superheroes. A masterpiece capable of exceeding the limits of the cinema itself, and making us feel fascination for the dark, the evil, the terrifying, and that we walk along the very fine line that separates good from evil, and see how far we would be able to question our values against the possibility of killing a fellow man in order to save ourselves.