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Crime, Drama, Thriller, Action
IMDB rating:
Christopher Nolan


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Christian Bale as Batman
Heath Ledger as Jack Napier
Aaron Eckhart as Two-Face
Michael Caine as Alfred Pennyworth
Maggie Gyllenhaal as Rachel Dawes
Gary Oldman as Commissioner James Gordon
Morgan Freeman as Lucius Fox
Monique Gabriela Curnen as Detective Anna Ramirez
Ron Dean as Det. Michael Wuertz
Cillian Murphy as Scarecrow
Chin Han as Lau
Nestor Carbonell as Mayor Anthony Garcia
Eric Roberts as Salvatore Maroni
Ritchie Coster as The Chechen
The Dark Knight Storyline: Set within a year after the events of Batman Begins, Batman, Lieutenant James Gordon, and new district attorney Harvey Dent successfully begin to round up the criminals that plague Gotham City until a mysterious and sadistic criminal mastermind known only as the Joker appears in Gotham, creating a new wave of chaos. Batman's struggle against the Joker becomes deeply personal, forcing him to "confront everything he believes" and improve his technology to stop him. A love triangle develops between Bruce Wayne, Dent and Rachel Dawes.
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A bit of criticism to counter the praise ...
Admittedly, Christopher Nolan has been incredibly successful at what I would consider a doomed endeavor. After all, what sane director would try to fashion a realistic, rational universe from a sophomoric fantasy about a self-indulgent playboy with a costume fetish and a penchant for stylized bedlam? Still, I find the Batman premise more palatable when overshadowed by the fun spectacle of carnival freaks, kitschy art, and psychedelically rendered pulp lore. Without such accoutrements, the story largely relies on the poignant characterization of caricatures—a difficult task, to be sure. At times, Nolan tries to circumvent the problem by turning The Dark Knight into a didactic meditation on terrorism or a vehicle for its catch phrase, "You either die a hero, or live long enough to see yourself become the villain." However, terrorism loses its contemporary salience when exploited for plot and entertainment purposes, and Nolan seems reluctant to subject his protagonist to the implications of a dubious aphorism or to explore adequately the transformation of his less fortunate foil, Harvey Dent. Because each character serves as a mouthpiece for Nolan's ideas rather than a living manifestation of his themes, even a cast of capable actors cannot save some of the more unconvincing scenes. In the film's best moments, the camera lingers over a face or a cityscape and allows the image to transcend the script. Sadly, such moments are few and far between. Nolan reminds us that the Batman legend will always fail as social commentary because it focuses on allegorical, larger-than-life individuals while relegating the masses to cowering factions of homogenized corruption, selfishness, or ineptitude. Such a perspective underestimates humanity, which is lost in the frenetic whirl of action sequences on screen.
It's Difficult NOT To Enjoy This Movie
From the very beginning this movie has your attention grabbed and doesn't let go until the final credits begin to roll. One of my favorite films. Even if you are not a fan of Batman or superhero movies in general, this is a movie unlike any superhero movie. With varying levels of depth, emotion, suspense, action, and amazing special effects this film stands above the rest within and without of its genre. Christopher Nolan's cinematic genius takes hold in this second installment of his Batman series. Christian Bale performs a compelling and adrenaline-pumping Batman fights opposite Heath Ledger's chilling take on The Joker. The Dark Knight hails as one of the greatest Batman films to ever grace the silver screen.
Takes itself way too seriously
Indulge me for a second here. Imagine that you're a studio executive, and someone is pitching the movie to you. And here's what he says: "All right. My movie's based on old comic books and is set in a fictional city. In it, there's going to be a rich guy who goes around fighting crime while dressed like a bat because his parents died. And then there's going to be this other guy who, for no given reason, dresses up like a clown, acts creepy, and goes around killing people. The bat dressing person is going to go around trying to defeat him by beating people up with his bare hands. Meanwhile, there's this other guy who's a perfectly nice lawyer, but then his face gets burned, so he decides to kill people based on this random coin that he has." It sounds kind of funny and interesting to you, but just as you're accepting it, the person suddenly coughs under his breath, "Oh yeah. And I'm going to take it seriously like it was Shakespeare and make it so depressing that it actively hurts the audience."

I'm not sure if that's exactly how the meeting proposing this movie went, but it seems to be a reasonable guess. Let's face it. The whole story of this movie is patently ridiculous. It could not be more unrealistic if there were space aliens involved. And yet, it's still treated here as if we should be taking it as a serious parable of modern life, and that it should be used as a way to push really depressing messages across. How does a guy who beats people up while in a bat suit teach us about what kind of justice is realistic and effective? What does a weirdo in a clown suit teach us about the nature of evil? Why would anyone be proud that they kept campiness out of this despite the fact that it is a campy movie? Give me the days of Adam West. At least his show made me happy rather than depressed.
Just bad
It is inconceivable that this movie is anywhere near the Top 250. It is 2.5 hours of a coarse voice, explosions, cheap one liners, and terrible plot.

Batman Begins, I thought was brilliant. It had genuine pathos, its characters were very believable and had depth to them. The acting was phenomenal.

But this piece of crap, is completely the opposite. I have seen spaghetti westerns and children's cartoons with better acting then The Dark Knight. With the exception of the Joker, by Ledger, who was decent.

There is no screenplay. There are explosions. I think Michael Bay actually produced and directed this.

There is a random side plot to Hong Kong that had no purpose or place in the story. The cell phone tracking technology is the dumbest and most far fetched thing I have ever seen in a film.

The only reason this movie gets any recognition or praise is because of Ledger's death. That plus the Batman and Joker fanboys that flood IMDb to give this crap a 10. They like how 'cool' Joker was, and sided with him, and they feel bad for Ledger. A + B = in top 10 of IMDb.

This movie is completely forgettable and deserves no awards and none of your time. It DOES deserve to be an example of a horrendously written, poorly shot, poorly lit, pathetic excuse of a movie.
The DUMB Knight
I'm writing my review for this movie so late after running out of patience over all these years of people over-appreciating/over-rating it.

All Nolan movies are tricked into looking like masterpiece, on 1st viewing they appear classic to many people however on 2nd/3rd viewing you notice the crappiness/dumbassery of it, its like a clever trick done by magician which looks stunning but Meh! when you know how its done to manipulate viewers and doesn't survive multiple viewing. The difference between a tricky movies like this vs. Classic movies is that they survive multiple viewing over the years and you keep on noticing small /subtle nuances director/actor did and you appreciate it.

Defying Physics purposefully, batman survives fall several stories to the ground multiple times however dogs can chew through his Armour.

Joker burning up a huge pile of cash, wonder who pays for all his stuff/plans/gang members salary..what is the logic..wait DC fans will say that Joker is crazy genius..oh i get it. Heath Ledger's Joker act is more melodrama, acting like psychotic crazy person rambling lines on a drug induced high is not acting.

Way too long movie, 20 min could have easily been edited out.

Ridiculous heavy Bat-suits, LOL action sequences, stupid plot lines, huge plot-holes, Nothing happens out of logic in this movie. Wanted to rant more but i see lot of people already did a good job of it in IMDb section, just sort review listed by Hated it and you see piece by piece explanation of all the crappiness this movie has by others...good to see few good movie goers still around who do not fall for movies which act pseudo intellectual.
The best Batman film yet.
One couldn't help be sceptical of the hype surrounding The Dark Knight before having seen it, scepticism was certainly weighing on my mind as i walked into the cinema. I couldn't help thinking 'is this going to be as amazing as expected, or is the hype just an inevitable reaction to the death of Heath Ledger?' I can safely say to anyone still having not seen The Dark Knight; the hype would've been just as massive even if Ledger hadn't tragically overdosed during filming, The film is mind-blowingly amazing! The action sequences, The dialogue, the editing, the lighting, the costume, the score, the cinematography, The Ledger, The Bale, The Eckhart, The Freeman, The every-single-tiny-bit of cinema... is brilliant.

There's not the slightest whiff of the child-friendly-cinema that tore Tim Burton's vision apart all those (not many) years ago. Eckhart's Dent/Two-Face, blows Tommy Lee Jones out of the metaphorical water, the only shame is that his performance will be overshadowed by Ledger's even better one, and indeed his tragic demise.

Every insane laugh from Ledger's lips echoes with excellence, Jack Nicholson should be very very very proud. However, Ledger's delivery, commitment, presence and dress-wearing-ability far surpass the realms of merely paying homage to Nicholson's Joker. Nolan and Ledger really show Burton and Nicholson just how darkly immense the joker can be.

Not to forget Bale, who brings his portrayal of Batman (and the barking voice it brings) to the next level, the depth and inner conflict create an excellent empathy effect on the audience and also create ridiculously good viewing.

I could go on all day, going into every actors success, about how immense The Dark Knight is... but i think you probably get the message by now.

As undoubtedly one of the most difficult films to bring to the public, a film so swamped with hype, tragedy, death and scandal; The Dark Knight could easily have been written off with the tragic death of Heath Ledger, we should thank God that it wasn't.
Very disappointed
The film was very disappointing. Firstly Heath Ledger, wow didn't see that coming. He was terrific. From A knights tale to the dark knight...... not the same actor surely. The tongue flicks and glaring at the camera were very real indeed. I am going to compare this to the 1989 film because in recent times that is the best comparison we can make. The 89 film was entertaining, this wasn't. It was too dark, too dreary and left me feeling a bit depressed which just isn't the aim of comics. Christian Bale's voice as Batman was ridiculous, I didn't have any empathy with his character at all, didn't feel for him.... just nothing. Thought that I wouldn't want to live in Gotham as it was so dreary and felt that Commissioner Gordon was just too earnest. Chris Nolan gave us the excellent Memento and I think another good film in Insomnia. Though I appreciate the lack of CGI (very refreshing) and the last half an hour of the film, i fidgeted throughout and by the end felt I could have left early. Last year the Bourne Ultimatum rattled along and I came out of the cinema entertained. This was just depressing. Can't understand why this is considered to be the third best film of all time on IMDb...... astounding.
Operation Enduring Freedom
"Work in the shadows. A lot of what needs to be done here will have to be done quietly, without any discussion, using any means at our disposal to achieve our objective." – Dick Cheney

"The more powerful the class, the more it claims not to exist, and its power is employed above all to enforce this claim." - Guy Debord

Chris Nolan's "Dark Knight" stars Christian Bale as Bruce Wayne, a millionaire weapons contractor who moonlights as Batman, a powerful superhero who beats up terrorists. Politically, some critics believe the film to be advocating the suspension of democracy in a time of terror. Others see it as endorsing scepticism of a leader's claims to free reign during a "state of emergency" (which is often the leader's own creation).

The truth is, the film presents the usual two-party, false binary present year after election year. Batman and politician Harvey Dent (Aaron Eckhart) represent the opposite poles of so-called democratic politics. Batman, operating outside the law to protect the defenceless people of Gotham City, represents your typical Bush/Cheney/Nixon cryptofascist, rationalising what he does (torture, law breaking etc) for the "good of the homeland". Kipling called this the "white man's burden"; men rationalise their evil as a noble and necessary burden which must be righteously carried so as to spare others the load. Dent, meanwhile, along with one Rachel Dawes (Maggie Gyllenhaal), are idealistic, by-the-books types. Both learn to be "pragmatic" and collaborate with vigilantes (Batman), if only to take down bad guys. Batman, Dent thinks, has become a necessity.

The film really tips its ideological hand during its Greek-tragedy final hour. Dawes, the most liberal of all the "good guys", dies at the hands of a terrorist called Joker (Heath Ledger), whilst the pragmatist Dent, scarred in war, abandons his ideals and embraces the Joker's ethos of chaos. In other words, we must accept the cold embrace of Batman if we want to be secure. Dent's law abiding idealism doesn't work. It's two faced and is merely a mask for chaos and disorder.

The Joker, with his Al-Qaeda like video recordings, his constant attacks on "women and children" and his advocacy of terrorism and chaos, is a figure who stands propagandistically for "America's enemies". IE- America's enemies are not an oppressed and exploited, diverse and divided group trying with futility to resist in various ways, but rather, they are a fundamentally irrational, monstrous, chaotic and lawless cult of death. Thus, the Joker offers only the wild, amoral, killing life beyond the protective (and expansionist) borders of "democracy" (aka corporatist imperialism).

The moral is as old, and as conservative, as Hobbes. The film says we can live in a wild, murderous wasteland OR a lawless, authoritarian police state. It doesn't matter which of these options the film presents as more appealing or fun, all that matters is that no other options present themselves. This false binary, rife with straw-men, is the complete opposite to something like "Hellboy 2", where our superheroes retire once they realise that the government for which they've been working ultimately opposes the difference and diversity they represent. Compared to "Dark Knight", this is genuinely radical.

Late in the film, Joker places a massive bet on the assumption that most people are as viciously indifferent to other human beings as he is. The Batman's counter-bet is that people are devoted to morals, order and authority. Batman wins, an act which serves not to celebrate Gothan's morality, but to legitimise the Dark Knight.

The bad guys themselves are an assortment of freaks and ethnic minorities while the good guys are, with the exception of slave boy Morgan Freeman, uptight bourgeois white Americans. The most virtuous of them is the "Great White Hope", Harvey Dent. Harvey, though his crusade against crime is on the legal side, secretly loves Batman's underground campaign of terror and Guantanamo Bay styled "free reign". In fact, Gotham police relies on Batman to break legs, smash faces, interrogate and torture on their behalf. And Batman, with enormous resources at his disposal, doesn't shirk from breaking international law to abduct a Chinese target or from erecting a colossal surveillance machine which makes Bush's extensive illegal wiretapping and water-boardings look lame. This subplot of the film is particularly insidious in light of the NSA's illegal PRISM, ECHELON and MUSCULAR surveillance programmes, ostensibly to "stop terrorists", but really to aid big business, spying on financial ministers, charities, leftists etc. In short, Batman is bad simply because the state can't afford to be seen being bad. What's odd is that Batman's struggle is not a collective one. The few members of the public who do try to "copycat" Batman's antics end up being butchered.

To protect Gotham, Batman and the police eventually create serial lies and myths for public consumption. It's the "noble lie" which the masses need to sustain their morale. In other words, leaders (Bush, Nixon etc) are self-righteously willing to be seen as immoral, under the understanding that you understand that what they do they do, Christ-like, for you. They protect us from Joker. Of course in the real world the nature of Joker is covered up, and Batman does nothing but enhance his own material wealth and power by way of the Joker's shocks to Gotham's system.

And so the "Knight" boils down to age old authoritarian motives: in order to have social stability you need a lie. The real hero of the film is actually the Joker, but the film's PG13 rating prevents it from dealing with this seriously. I'll take the Joker's anarchistic chaos over Batman's archaic commitment to corrupt systems of law and order any day. Not only that, Joker's psycho ramblings and burning towers of cash are infinitely more entertaining than Batman's Multi-million Dollar Extreme Warfare Batmobile.

6/10 - Popcorn fascism. Despite a strong first half, "Knight's" second half drowns in messily shot action and needless subplots. See "Die Hard 3".
fanboy cacca
A touch of reality is much-needed for those who of late have occupied themselves in tossing about bon-mots like "masterpiece" and "crime-epic". Perhaps never before have the expectations of rabid fanboys so completely bullied the critics into sheer lying. For lying it must be, since I refuse to believe that the critics did not see through this. It is just not possible. I feel that most of them simply cowed down before the staggering pre-release fanboy blitzkrieg, rather than provoke the inevitable backlash of acrimony from fans and thereby needlessly risk their careers. This is the only explanation I can conceive of as to why TDK has seemingly scored so well with the critics. I don't blame the critics, though. The blame lies in the fanboys' hysteria : their myopic refusal to see the obvious.

I feel that Chris Nolan tried really really hard to make a good film, but ultimately even he with all his skill cant do much simply because of the limitations of the genre. If viewers truly want "more realism" as they say they do, then why turn to comics in the first place ?? Its just amazing how comic-book junkies pull the wool over their own eyes and deceive themselves into thinking that what they read is deep and sophisticated, when in fact (and there cannot be two opinions on this) reading comics beyond a certain age is a sign of neurotic behaviour. And before you shove it in my face that it is ME who is taking it too seriously, let me just say that this movie was nothing but lashes of violence : grim, sadistic violence. Once again, the so-called realism is simply a pretext for the usual action-movie gang-banging, i.e. violence and special effects. And its not even just because of the genre : Batman Begins rose above those limitations, right ? One could empathize with the young Bruce Wayne, tormented by his perceived culpability in his parents' murder, and struggling with his anger and loneliness. Not so in TDK : here there is neither plot nor motivation to speak of, and not a single character with whom one can even remotely identify. The acting, apart from one notable performance, is mediocre. To be fair, the film does take certain risks which I cant imagine the likes of, say, a Sam Raimi ever taking ; it isn't a McDonaldized blockbuster to the degree that the Spiderman films and the rest of the comic-book parade are. The problem is that those risks don't pay off : instead of an even progression of events that build up to a crescendo, what you get here is one absurdity after another until you are numb and it no longer matters who is doing what.

I wonder if it is really so hard to tell the truth, even only to oneself. Apparently it is indeed SO difficult for all the fanboys to own up that the countless hours spent over the last several months, sitting up nights staring at their monitors and devouring every last bit of inconsequential trivia about TDK, have all amounted to a huge nothing. TDK is the prime example of how the advertising business works today, hyping up a product during pre-release to uncalled-for heights and ultimately forcing the gullible consumer to like the product against his better judgement. The marketing behind this film is very much THE phenomenal success story of this decade, and should serve as a de-facto case study for anyone who wants to understand just exactly how mob psychology works.

EDIT : A more appropriate rating for this film is 4/10. But I so deeply despise Warner Bros. & the people lauding this film (i.e. everyone except me) that I must give it 1/10, just to balance things.
plot is illogical, aesthetic uninspired, casting poor, acting sloppy, editing rushed, and larger themes unconvincing
The Dark Knight's extreme popularity must be due to saturation advertising, hype, the popularity of the Batman franchise, and a star-studded cast. Looked at objectively, it fails on a number of levels.

SPOILER WARNING: This comment talks extensively about the plot of the movie.

A) The script is full of illogical events. 1) Batman jumps out of a window on the 50th floor to rescue Rachel, catches her, and smashes with her onto a car in the street below, and they both walk away unscathed, despite the fact that no parachutes were deployed and no wings broke their fall. 2) The Joker somehow fills large places throughout the city with large oil canisters full of explosives, with no one seeing, including Gotham's largest hospital and two ferry boats, after advertising that these places would be targeted. 3) Midway through the movie, the white knight of justice, District Attorney Harvey Dent, does a 180 degree turn when his girlfriend is killed and becomes a psychotic killer, for no reason whatsoever. 4) Early in the movie, the Joker goes on a rampage and then makes demands and the entire city clamors not for his defeat but for all his demands to be met. 5) Dogs can bite through the bulletproof bat suit. 6) Two Rottweilers can take down and immobilize Batman. 7) The Joker can singlehandedly overpower Batman without any weapons. 8) The police act as buffoons throughout the movie: they put the Joker in a cell with other prisoners; interrogate him without handcuffs; let him out of the interrogation room when he takes the interrogator hostage; and give him a cell phone to use, which he then uses to trigger an explosion in the building that kills everyone but, miraculously, him. 9) The Joker drives alongside a police caravan and systematically picks off one police car after another with a bazooka, and the police continue driving along at the same plodding pace. 10) Batman shoots at the Joker and fights him and flips his 18-wheeler truck, but when he is about to hit the Joker with his motorcycle, he crashes it instead and puts himself at the mercy of the Joker in a fit of GI Joe morality. 11) Morgan Freeman objects to Batman's cell phone mapping technique, saying "Too much power for one man", and resigns as his assistant, despite Batman's lifelong pursuit of lawless vigilantism.

B) Aesthetically the movie is unimaginative and uninspiring. 1) Batman as a fighter is stiff. His suit is like a slab of sheet metal welded together. His movement is the opposite of the smooth, flowing martial artist one sees in classic samurai or judo movies. Batman arrives without stealth, by smashing through windows into hails of gunfire, and departs in a similarly unstealthy manner. This is the opposite of how a ninja would behave: with intelligence, grace, simplicity, and secrecy. Similarly, the Batmobile smashes through reinforced concrete walls and sits still to absorb a hail of gunfire. The Batman envisioned here -- smashing everything in his path, and indestructible -- is more like the Incredible Hulk than a bat. 2) Set design is drab. The scene in the kitchen, of the conference of mafiosi, is plain, uninspired, and unimaginative. The parking garage scene is aesthetically dull. The bat cave is quite plain -- just a long, empty room with a low, internally lit ceiling, without any gear whatsoever.

C) The casting is poor and the acting uninspired and sloppy. 1) Morgan Freeman is a dreadful choice. His acting and presence is like the feel-good music that often accompanies his scenes. Just play the music and skip him. 2) Aaron Eckhart relies too much on his good looks and smile and not enough on acting. He sounds like a motivational speaker -- that is, a liar -- trying to convince, but unconvincing. His body language in the scene on top of the building is very fake: amateur-aggressive. 3) The actor playing Commissioner Gordon is about as good as a director standing in for an actor who couldn't make it to rehearsal. He has no energy or presence on screen. I appreciate understatement in acting, but he seems to be half asleep and mumbles his way through his lines. 4) Maggie Gyllenhaal is unconvincing as the object of desire of both heroes. 5) The black mafia boss is terrible. The other mafia bosses are not much better: overacting without direction or intelligence. 6) The man who turns from a meek bank supervisor to a tough vigilante in the first scene is too self-conscious, and his transition is unbelievable. He is too recognizable as an "actor". 7) The acting by extras is very bad and poorly directed. When the Joker says "half", the chorus of laughter is like that in a high school musical. The same unanimity of action is found at the press conference. The thugs in the parking garage seem like models, not thugs.

D) The editing is too fast; transitions are largely dispensed with altogether. 1) There is no pause before the cut to the trial; dialogue from the two scenes runs together. 2) The scene at the benefit party is unconvincing: Bruce Wayne drops the models immediately, people applaud immediately, it's over. Scenes are too fast and perfunctory.

E) In its larger themes, the movie proves to be just as illogical and perplexing as in its minutest details. The end of the movie carries this message: "Sometimes the truth isn't good enough ... Sometimes people deserve to have their faith rewarded." This is used to justify the creation of a myth of Harvey Dent as "Savior Of Gotham", and to explain the need for making Batman the fall guy for all of Dent's crimes. However, the movie makes no attempt to explain why Dent, the psychopath, should be eulogized and not Batman, the hero. The writer floats a thesis about the human need for myths on a raft of unpersuasive evidence.
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