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| | Holy Subtext! | | | | Have you ever found yourself watching a comic book hero film wondering, "am I eight years old, what on earth am I doing? There are people running around in their underpants with lasers coming out of their eyes, and I'm taking it seriously!"
Well, Christopher Nolan's latest Batman outing shows us why that's OK.
Nolan's The Dark Knight is layered like the proverbial onion, with its concurrently running concepts vying for attention in a heady brimming yarn.
There is, of course, the Hollywood veneer with all its high-paced action and swooping visuals, but this is cleverly interwoven with a discussion on American domestic policy, terrorism, moral ambiguity, psychosis and nihilism.
The only thing is, much of this discussion goes on with a man wearing a suit with two pointy ears sticking out from the top of his head, and I'd be lying if I said it wasn't a tad distracting, but Nolan, and his sidekick cinematographer, Wally Pfister expertly create a sense of reality to the comic-book crusade.
Much has been made of the two leading performances, so I'll not go into them, save to say the star Christian Bale is better than expected, while Ledger's posthumous praise is deserved, and no more.
Gary Oldman however plays a significant part as the film's straight man, and the weight of his presence allows the fantastic characters to appear more convincing.
Much of the film's central concept revolves around the idea of moral ambiguity, and Americas current ethical dilemmas.
How important does a prisoner's information have to be before we're justified torturing him to get it?
Is America an international hero or a twisted vigilante? Was the Patriot Act a necessary evil?
Nolan answers some and leaves others in their moral greyness.
The Dark Knight is an expert job, and a high class blockbuster. It may run on a little too long, but is none-the-less a comic book film you won't find yourself embarrassed to be watching.
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And Finally... Sir Trev Bids Farewell
