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And welcome to The Dark Knight, an anarchic, malevolent fury of a movie that takes a switchblade to the face of summer conformity and carves a work of twisted beauty out of it.
Anticipation and escalation were the key words in the build up to, post-Indy, 2008’s most hyped and combustible blockbuster.
De Niro’s criminal, for one, had principles; The Joker has none.
And Mann’s film was as much about being a professional as being a cop or a criminal, meaning the characters that are most thematically similar are Gary Oldman’s hard-working lieutenant and Aaron Eckhart’s idealistic lawyer (yes, they do manage to pull off that oxymoron), who are trying to change their world without recourse to gadgets or PVC underpants.
The film introduces Selina Kyle (Anne Hathaway), and Bane (Tom Hardy).
It is thoughtful but never dull, and the OTT action and expansion — underscored in IMAX sequences which will no doubt look spectacular on the enormo-screen (Empire reviewed from a 35mm print) — are generally to its benefit, even though Nolan still appears more comfortable and engaged with interacting people than trucks and Batbikes.
Well, he’s just about the most charismatic character you’ll ever meet.