A raw 12 round boxing match, that is engaging throughout the night.
Christopher Nolan, as reported, plans to take over the DC universe to get funded for his larger than life films like Inception and Interstellar. But this plan itself is packed with an enormous amount of love for this caped crusader. And exerting that love by going through his homework through and through, you can easily see Nolan swooping in every fanboy moment on the screen. And as much as the film goes to an incredible amount of length just to punch you with that awe gasping scene, the plot moves swift, smooth and for once linearly. The plot is textbook origin tale of Bruce Wayne discovering the inner Batman in him.
Joining Nolan on script writing is David S. Goyer, a familiar face in the gothic comic world whose, as reported, lofty plot devices are grounded with signature writing style by him. And this screenplay is often considered to be a literary example for the newcomers in screenwriting, since it, despite being dipped in superhero world, treats its characters like a crime drama genre, the punches doesn’t come off empty, but in bleak honesty and in black(!)
For a film that easily runs over 3 hours- or it definitely looks like it- the editing deserves a mention for its sharpness that is elevated by a whisky cinematography and exhilarating background score. Nolan has been upfront about staging Batman as a horror rather than a beloved superhero with everything sunny in the background. And that is why the themes and storylines adapted from the comic books deals with the same messy head-spinning images. There are some gruesome special effects in here that will not be seen later in the trilogy. This visual storytelling treat is something that will later in Nolan’s filmography is going to expand and even take over the cinematic life of its own; you can see the hints here, how Nolan and Batman Begins.