Alexander Curran (AgentLexi2132)

''I can't help what I do! I can't help it, I can't... ''


When the police in a German city are unable to catch a child-murderer, other criminals join in the manhunt.

Peter Lorre: Hans Beckert

''I... I can't help myself! I have no control over this, this evil thing inside of me, the fire, the voices, the torment!''

In the world of film, there is certain subject matter that is just too taboo to be explored by mainstream filmmakers. Even now, with Hollywood's shameless predilection for blood, sex, and drugs, some topics are still just too incredulous to address. Movies that contain serious portrayals of homosexual romance, scenes of rape, or strong anti-governmental themes are certainly unusual in Hollywood; but the biggest way to guarantee a permanent shun from most film studios is to make a film regarding child murder. Better yet, why not make the child murderer a sympathetic character whom has no memory of his killing?

This is exactly what Fritz Lang did in his phenomenal 1931 feature, M. M was truly ahead of its time, and not simply because of its early use of synchronized sound or the use of voice-over narration which was a groundbreaking new technique at that time. What amazed me most about M was that it featured a character whom when introduced, is utterly despicable. The audience quickly learns of his unforgivable crimes, and although none of the murders are actually shown, they are talked about in grim detail, with the camera often focusing; unbearably on the reactions of the distraught parents as they speak of their children's demise. As the film progresses, however, our perceptions begin to change, and we start to take pity on this man, all the while coming to the realization that the vigilant mob who wants to beat this man to death is no better than the murderer himself. After all, is mercilessly pummeling a defenseless man to death somehow more civil than killing a child? To some, the answer may be yes; but to me, murder cannot be divided into degrees of acceptability like that; it is wrong, no matter who does it or who it is done to, just as the concepts of freedom are extreme resolutes; one cannot be half free or half dead, only one or the other.

''Just you wait, it won't be long. The man in black will soon be here. With his cleaver's blade so true. He'll make mincemeat out of YOU!''

But it goes much deeper than that. Aside from just feeling sympathy for the murderer simply because an entire town wants his head on a stick, you can't help but be affected by his genuinely sorrowful personality. After all, he honestly cannot control what he is doing, and he is just as horrified learning about his crimes, as the parents of the children he kills; perhaps even more so, since the shock of discovering that you are the one responsible for such evil is enough to want to die. His speech at the end, is not only heartfelt and pitiful, but it's thought-provoking as well. A speech comprising of substance rather than length, it provides a great deal of insight into the relatively simple mindset most people have regarding issues like these.

Another fascinating quality about M was its constant, almost overwhelming references to angry mobs and vigilante forms of justice. Even before the final chase segment, there are many scenes wherein a dominant force bullies an innocent person or group of people with little or no justification. The scene that sticks out most in my mind is one where a man is beaten down by some nearby pedestrians, simply because he asked a child if she knew the time. The main purpose behind this particular scene is obvious: it serves as a harrowingly realistic portrayal of the dangerous type of hysteria that can infect a highly emotional group of people. But the more I think about it, the more I realize that these types of scenes were probably meant to be sly referendums to the recent existence of the Nazi party in Germany, at the time. Lang seems to be commenting not only on the steadily growing support of the party, but also his disdain for their violent and often extreme dictatorial methods of government and international relations.
Obviously, Lang succeeds in hitting a nerve central to the heart of Germany, unsurprisingly the Nazis banned the movie in July 1934.
Other reasons crediting to the ban was matters of nationality; the main actor Peter Lorre was Jewish and fled Germany in fear of Nazi persecution shortly after the movie's release. Fritz Lang, who was half Jewish, fled two years later.
Contrary to popular rumour, Fritz Lang did not change the title from The Murderers are Among Us to M due to fear of persecution, by the Nazis. He actually changed the title during filming, influenced by the scene where one of the criminals writes the letter on his hand. Lang thought M was a more interesting, more mysterious title.

M is a movie that not only forces you to think, but to feel as well. Peter Lorre's portrayal of the murderous antagonist (or is he indeed, the protagonist?) is both frightening and heart-rending, and Fritz Lang's script and direction are both exceptional in execution, it's no wonder Lang has claimed that M was his favourite film of all those he had directed, presumably for it's controversial nature and success in causing timeless debate.M's cinematography marvelous, not only helping to tell its story in a fluid, stylish manner, but also causing the film to have an ominous, unsettling vibe.
Fritz Lang's M retains its ability to shock almost 70 years after its conception. Some of the images are unforgettable, the sounds echoes of brilliance, and Lorre gives the performance of his career. Do not be allowed to be swayed or put off by the use of subtitles because you will miss out, this film, this story, is a first rate character study and one of the most profoundly disturbing psycho thrillers ever created.

''This won't bring back our children. We, too, should keep a closer watch on our children.''

''I am not an elephant! I am not an animal! I am a human being! I am a man!''

A Victorian surgeon rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous facade, there is revealed a person of intelligence and sensitivity.

Anthony Hopkins: Frederick Treves

''My life is full because I know I am loved.''

If one was to turn on David Lynch's The Elephant Man midway through, without knowing what it was, one might be startled at the appearance of the main character. One might even be tempted to make fun of the character. But if one was to watch the film from the beginning, sympathy with John Merrick (John Hurt), The Elephant Man, would be strong enough to deny that the former situation was ever a possibility. Lynch does not allow his audience to glimpse Merrick albeit mask, until his appearance has been built up substantially. When we the audience are at our zenith of anticipation, we see him: no dramatic music, no slow motion; a simple cut and he's there. There he is. And it's not made out to be a spectacular introduction.

This is the beauty of Lynch's direction. We are led through our morbid curiosity at the same rate the characters in the film are. We develop alongside them. More specifically, we develop alongside Frederick Treeves, played with an astounding sublimity of emotion by Anthony Hopkins. Next to Treeves we pity Merrick, respect him, pity him again, and then ask ourselves with him, 'is he just a spectacle to me? Am I a bad person?'...
Lynch certainly doesn't let us bypass this question easily. Are we bad people for being intrigued or are we good people for pitying? Certainly there is a mix of intrigue and pity with every character who first meets John, and we are not excluded. However, as with almost every character who truly comes to know John and confer with him, we learn to respect him as a human being and not as a spectacle. Nonetheless, this issue never finds close in the film, nor do I feel it ever can be closed in actual life. Hopkin's Treeves is never fully sated in how he feels about this dilemma, and so, neither can we be.

''People are frightened by what they don't understand.''

Technically, The Elephant Man is a beautifully shot piece. In crisp black and white, the film recalls the cinematic technique of American cinema circa the 1930s. The scenes dissolve into one another; there is no brisk editing. The lighting is kept low-key during dark scenes, balanced during daytime scenes-this is standard film-making of the era. The one digression from this form are the distinctly Lynchian surrealities-pseudo-dream-sequences of commendably original imagery that break up the film and serve as distinct mood-setters for the audience. These are, for the most part, fairly intimidating side-notes. We as an audience are caught off-guard because in these tangents we are not identifying with Treeves, we are put instead into Merrick's shoes. It is unsettling.

But Lynch has never been a director to flinch at unsettling prospects. We must watch Merrick beaten, abused, harassed, humiliated, and tormented. We may feel a surge of happiness when he finally stands up for himself, but by that point we still have to cope with what we've already, what he's already, experienced. I suppose that is the greatest and most devastating aspect of the film-empathy. Every moment is heartbreaking. Yet no matter how hard it gets, and how much better it then turns, there is always the threat of another jab. And those jabs only get more and more painful.

The Elephant Man is a perfect film. It is sorrowful but it doesn't apologize for what it is. It is a film about where our empathy stems from, a film that asks you to feel sorry for it's victim but rebukes you for your blind pity. It asks you to respect Merrick, not cry for him, alas you cry anyway. The Elephant Man is a film that treks you through despair and asks for your hope in the end. It asks you to hate humanity but to love the humane. It asks you to look at a man who appears sad and know that inside, he's righteous, he has a soul.

''Never. Oh, never. Nothing will die. The stream flows, the wind blows, the cloud fleets, the heart beats. Nothing will die.''

''Today is history...''

Oskar Schindler uses Jews to start a factory in Poland during the war. He witnesses the horrors endured by the Jews, and starts to save them.

Liam Neeson: Oskar Schindler

Ben Kingsley: Itzhak Stern

Ralph Fiennes: Amon Goeth

''...The list is life...''

Thomas Keneally's bestselling book was made into a movie adaptation of awesome historical resonance and emotional valour. Oskar Schindler was a Catholic war profiteer during World War II. Initially prospering because he was a member of the Nazi party and a charismatic businessman. Although ultimately Schindler later saved the lives of more than 1,000 Polish Jews by giving them jobs in his factory, which turned out crockery for the German army. Schindler lost his wealth, but gained salvation for many lives and the descendants that would spring from those lives.

List was made mostly in Poland; incorporating authentic locations with cinematographic wonder. The look of Schindler's List, primarily in grainy black and white, reminds us that we truly are watching a dark period of history. Despite the movie's considerable length, it is never slow or dull. It is hard to believe that Hollywood, which so often churns out mindless drivel aimed at making money, could produce something so important and powerful as this film. Schindler's List is a cruel and honest depiction of the 2nd world war and does not shy away from showing us the ugly genocide, cruelness and humanities inhumanity to man. A true story about a man who had morals, had a heart and above all the will to act and make a stand against bullies, against corruption, and men with no sense of decency.

Schindler's List is blossoming with beautiful symbolism, who could forget the little girl in a red dress, with John Williams score proudly blaring with proceedings, she is the one constant in an abundantly chaotic hellish place. The Ghetto is being massacred, yet here we have this child, this poor girl scared, frightened, alone. This sums up the plight of the whole Jewish race, persecuted for simply being whom you are, and for believing in your own beliefs, for being born the way you are.

Liam Neeson as Schindler is simply a beautiful character. You see so much in his eyes alone, so much compassion in every gesture, that it moves you emotionally on every level. His heart shines through, if one man making a difference is to ever be shown in an example, Oskar Schindler would be among them. Oskar Schindler was a Sudeten German industrialist, a wealthy womanizer whom wasn't afraid to throw his money around in the pursuit of making friends in high social circles. Always bearing his Nazi Party badge proudly, Schindler would often frequent nightclubs, extravagantly showering high-ranked Nazi officers and their girlfriends with champagne,caviar and luxuries. With impeccable connections in the black-market, there was little that he couldn't get his hands on, and he was a good person to know back in the day. Buying friends was something that Schindler could do well, and he would often use these newfound alliances to aid his own business ventures. When thousands of the Polish Jew population were relegated to the Krakow Ghetto in 1941, Schindler saw an opportunity for further success, enlisting desperate Jewish investors and employing Jewish workers (who were substantially cheaper to employ) to open an enamelware factory. His connections in high places ensured lucrative army contracts, and Schindler need only have watched as his personal fortune grew, despite doing little to run the company beyond offering it a charismatic front.

It is clear from the beginning that Oskar Schindler does not harbour any racial prejudices. When Schindler requests the services of Itzhak Stern (Sir Ben Kingsley), a clever, humanitarian Jewish accountant, Stern truthfully declares that, "By law I have to tell you, sir, I'm a Jew.", "Well, I'm a German, so there we are," replies Schindler indifferently, before getting straight to business. It is not race that he is concerned with, it is himself and, of course, his money. Stern does not enjoy running Schindler's business, and he initially acquires little satisfaction from it. When Schindler attempts to convey his genuine gratitude for his profitable services with a glass of whiskey, Stern absentmindedly refuses to drink it, and an embittered Schindler drinks it himself before ordering Stern to leave. The relationship between Oskar and Itshak is another beautiful aspect to List that really shines through the darkness, watch how a reluctant, skeptical Itzhak remains distrustful of this German Oskar, and later how a deep bond of friendship is forged, a love forms between the two men. One free of hatred and misconception, one full of mutual respect, and an example of godliness in human beings. The masterpiece is the creation of the list itself, the piece of paper which became more than a simple scrap of information. Itzhak Stern and Oskar Schindler both truly come to the realization and importance of human life. As Itzhak states, ''This list... is an absolute good. The list is life. All around its margins lies the gulf.'', as he says this, you begin to feel the gravity and raw divine levity of their actions. These men are the glowing beacons in this dark time. These are good men fighting for the lives of others, for something more than just themselves.

When Amon Goeth (Ralph Fiennes) comes into the story, a Hauptsturmfuhrer of the SS, the hopeless plight of the Jews grows darker. In a harrowing extended sequence, largely based on the testimonies of many Holocaust survivors, the Jewish populace are mercilessly "liquidated" from the Krakow Ghetto, many simply shot on the spot for no reason. "Today is history," proclaims Goeth beforehand. "Today will be remembered. Years from now the young will ask with wonder about this day. Today is history and you are part of it?. For six centuries there has been a Jewish Krakow. By this evening those six centuries will be a rumor. They never happened. Today is history." Ironically Amon is right, but not in the sense that he or his SS soldiers believe, this is history yes, but this is humanity at it's darkest point, at the extreme end of the thread, this is the harrowing point of no return. Ralph Fiennes as Amon fascinated me, because here we have a man whom has no moral restraint, he is a symbol of German arrogance, and he revels in all the killing his job entails. Amon also has no manners, he is introduced to us, while his colleague explains the segments of the Ghetto, his reply being a selfish quip about the car top being down. His remarks on the ''villa'' he is to live in looking like a ''house'', all selfish pompous remarks on a man not fussed about what is actually going on around him. His disdain is followed when he chooses a maid he likes, Helen Hirsch(Wonderfully played by Embeth Davidtz), not because of her experience but because of her looks. Spielberg tops off this introduction with showing us Amon, giving a cold order to his lieutenant to execute a Jewish civil engineer, for simply telling them the foundation of a building is suffering subsidence. ''We are not going to have arguments with these people...'' he states. This is the extent of his sadistic chaotic nature. In this camp he is God...or indeed to the Jews the devil, the executioner, the bloody reaper of souls. First day after the completion of the camp, Amon christens it by having a snipering session of reluctant workers, while his girlfriend moans at him. The final rendering, him in the bathroom, doing his business, his girlfriend asking him to make coffee, while he replies...''Make it yourself.'' So one may conclude Amon is an ignorant, sadistic slob whom is prone to acts of violence in a seemingly random guise of untrained thought. Amon Goeth, in retrospect, is the complete opposite reflection of Schindler, an evil real villain whom is brought to life by the genius of Ralph Fiennes acting abilities, in one of his finest roles and his career defining moment. Fiennes performance is simply the embodiment and representation of evil.

So what is evil? The apparent reveling in killing for no logical reason many cry, much like a boy crushing ants in a garden. Amon enjoys killing, he enjoys his job, he's eradicating in his mind vermin, the Jewish population are no longer classed as human beings in the ideology of National Socialism. Yet in taking this action the National Socialists as a whole, have ultimately lost their own humanity by abandoning compassion, morality, and logical reasoning. Upon saying this, Oskar shows us not all Nazis were evil, not all were harboring racist views, yet many were simply too weak to make a stand against many. The fear of being persecuted themselves, as Jewish sympathizers, a stone to great to move. A perfect example of the differences between Oskar and Amon, two members of the National Socialist Party, is the power of undeniable, unrelenting Mercy. The battle for good and evil is the same as the black and white used in this story. We see this in one of a variation of best scenes in the film, involving Schindler's story, concerning the Emperor pardoning a man instead of killing him, as he tells it to Amon, you can see for a second and in the behaviour of Amon that follows, that what Oskar tells him is sinking in,if what for just a moment...yet it does not take a corrupt being such as Amon long to slip back into his old ways. ''We're good Amon...'', Oskar warmly says, ''I pardon you!'', Amon childishly dismisses at first. Another clever montage, Spielberg shows us three possibilities involving love, a Jewish wedding taking place at the Camp, Helen Hirsch being beaten and harrassed by Amon in the cellar of the villa, and Oskar among friends watching a lady singer performing. It cleverly shows the differences in attitudes and morals once again. The Jewish wedding is full of joy,love, hope, a kiss. Oskar shown to be a wonderful lover of parties, women, romance,a kiss. Whereas Amon loves to brutalize and often hurt anything he does not understand, ''No, I don't think so. You Jewish bitch, you nearly talked me into it, didn't you?''...For the whole scene she says not a single word. Which is just as well, because any answer is a wrong answer, for someone like Amon. This is a true depiction of love for a true Nazi, unfeeling violence and inhuman sadism. He is lacking the necessary emotions that define a human being's soul.

Director Steven Spielberg, long known as a blockbuster filmmaker, with adventure classics as Jaws, E.T. The Extra Terrestrial and Raiders of the Lost Ark to his name, Schindler's List was and remains Steven Spielberg's most mature, most timeless, most historically important directorial effort. Working with a screenplay that Steven Zaillian adapted from Thomas Keneally's Booker Prize-winning Schindler's Ark, Spielberg treats the subject matter with the respect it deserves and indeed requires. Wisely choosing to depict the events as realistically as possible, Spielberg allows the images to speak for themselves. Flawless acting, stunning cinematography and a haunting John Williams score excel this film above all others of the 1990s. This is the powerful story of the difference that just one man can make, and it is a story that deserves to be seen by all. We can only feel grateful and in awe that it was Steven Spielberg who chose to be at the helm.

Steven Spielberg has crafted a masterpiece. A masterpiece which shows life in concentration camps even Auschwitz, it shows political thinking and hatred for Jews at the time not just by Nazis but by most of Europe, it shows one man standing against this corruption in a time where it was dangerous to do so. Oskar at the conclusion of events begins to see the value of human life rather than the glorifications of making money, we watch him receive the ring from the people, the friends he saves, and then we see the realization that materialistic wealth is meaningless compared to the value of human life. To live in a time consumed by fear and hatred, coldness and malice, then to see it overcome by hope is inspiring to witness, Schindler's List should be watched by all...for to forget ones past is to endanger our future and thus begin that vicious circle of repeating our mistakes as human beings. The last scenes show the Jewish workers in Schindler's factory in commune on the Sabbath, cleverly Spielberg shows two candles burning in colour to show the Jewish people have their faith and beliefs as hope, it also shows they have a future. As the Nazi soldiers listen to the Jews praying, even they are, I imagine, in awe of a religion far older and mysterious than they can perceive. They neither understand it or respect it, and this Spielberg successfully shows the catalyst of the Nazis, that being one of jealousy and ignorance.

Later, the survivors, and relatives of survivors, and the Actors whom played them in Schindler's List are shown at Schindler's grave at the emotional climax. In colour, they are all shown placing an individual stone there, in his memory, and every stone representing a life he saved. Spielberg finishes his defining masterpiece with an effortless touch...a rose being placed in the center by Liam Neeson, the man whose own humanity and soul were saved by his selfless, courageous actions and deeds, the man who saves one life does indeed save the World entire. Schindler's List was nominated for 12 Academy Awards and won seven including Best Picture and Best Director for Steven Spielberg. Liam Neeson and Ralph Fiennes were nominated for Best Actor and Best Supporting Actor. It deserved every honour afforded to it's message, historical accounts and it's wonderful, powerful storytelling.

Obviously Schindler's List is about the horrors of the Holocaust, but it's also a story of friendship, one of hope, and a story of lives and experiences. Steven Spielberg's best film to date, Schindler's List is his best work.

''It's Hebrew, it's from the Talmud. It says,-Whoever saves one life, saves the world entire-''

''You just couldn't let me go could you? This is what happens when an unstoppable force meets an immovable object. You truly are incorruptible aren't you? You won't kill me out of some misplaced sense of self-righteousness, and I won't kill you, because you're just too much fun. I think you and I are destined to do this forever.''

Batman and James Gordon join forces with Gotham's new District Attorney, Harvey Dent, to take on a psychotic bank robber known as The Joker, whilst other forces plot against them, and Joker's crimes grow more and more deadly.

Christian Bale: Bruce Wayne / Batman

Heath Ledger: The Joker

When we think back to truly worthy sequels, sequels which surpass even their original predecessors, many of us would proclaim such masterpieces as Aliens, Godfather II, Empire Strikes Back, Terminator 2...So with the coming of 2008 yet another sequel will be honoured enough to take it's place among these glorified masterpieces. Undoubtedly, English Director Christopher Nolan begins to resemble the mythical King Midas, in the sense that every film project he breathes life into results in a deep, puzzling masterpiece of depth and serenity. Memento, Insomnia, The Prestige have all mesmerized and set alight mindful debate among critics and fans alike, and for me been hailed as 5 star masterpieces which breach the synapses. 2005 sees the release of Batman Begins, under the helm is none other than English Director Nolan and Warner Bros. The batman franchise, after Joel Schumacher's Batman Forever and Batman & Robin had been taking it's last dying breaths after turning into a colourful farce of nipples and cartoony villainy. Only a miracle could of repaired the damage done, and if any man can provide miracles Christopher Nolan surely can. Batman Begins not only gave new life to a dying franchise, it redefined comic book/Graphic Novel adaptations in terms of realism, acting, and adrenaline pumping cinematography. This was a whole new re-imagining for Bruce Wayne becoming the Batman, and quite frankly even more believable than Tim Burton's efforts in 1989.

So 2008 sees the The Dark Knight, from Warner Brothers and once again the directorial genius of Nolan. David S. Goyer and Christopher Nolan collaborated on the story of this film. The script itself was written by Nolan and his brother Jonathan. funnily enough after watching The Dark Knight, Goyer stated "I can't believe my name is on a movie this good". This time the hype, the anticipation, and the attention has increased a hundred fold since it's predecessor. New cast additions include Maggie Gyllenhaal, Aaron Eckhart and the late Heath Ledger, while old veterans return such as Gary Oldman, Morgan Freeman, Micheal Caine and the Dark Knight himself Christian Bale. Obviously the tragic death of Heath Ledger after the completion of the movie warranted alot more attention for viewers due to the complexity of seeing his last performance. However, The Dark Knight is testament to Ledger's legacy, his swan song, his immortal role among many chameleonic characters in his resume. His roles in Brokeback Mountain, Candy, showed his adult raw talent for tackling sensitive controversial material, while A Knight's Tale, The Patriot and 10 things I hate about you showed he could entertain and be charming. So with The Dark Knight we witness his best film to date, his guaranteed Academy Award grabbing carnation of the maniacal nemesis of batman, The Joker. Let it just be said Heath truly is immersed 100% into the confines of the character, he makes us believe and sometimes agree with his views on society and people. Joker never seized to make me laugh in appreciation despite what could be considered sick antics, I considered genius. Who else could do a pen trick with someone's head? Dress as a nurse with a silencer in hand and his clownish face glistening? Hide in a body-bag to infiltrate a mob boss's joint? Who else could immortalize Batman's most famous nemesis Joker? Without a doubt Heath Ledger bar none.

''Sometimes, truth isn't good enough, sometimes people deserve more. Sometimes people deserve to have their faith rewarded.''

To prepare for his iconic role as The Joker, Heath Ledger hid away in a motel room for about six weeks. During this extended stay of seclusion, Ledger delved deep into the psychology of the character. He devoted himself to developing The Joker's every detail, namely the voice and that sadistic-sounding laugh. Ledger's interpretation of The Joker's appearance was primarily based upon, of the chaotic, disheveled look of punk rocker Sid Vicious combined with the psychotic mannerisms of Malcolm McDowell's character, Alex De Large, from A Clockwork Orange. Ultimately for his efforts, The Dark Knight was the first comic book movie to ever win an Oscar for an achievement in acting, specifically to Heath Ledger (posthumously) for Best Supporting Actor. Heath Ledger posthumously won a total of 32 Best Supporting Actor awards for his work on this film, including the Oscar, Golden Globe, BAFTA, SAG and Critic's Choice award.

Christopher Nolan beautifully captures Gotham City (filmed on location at Chicago). Whereas Batman Begins was styled after the iconic piece from Ridley Scott's rainy, dirty Blade Runner, the sequel The Dark Knight mirrors the feel and look of Micheal Mann's Heat giving us a true homage to masters of cinema and film, and we see Nolan has been inspired by the best, rein-visioning his own unique directing and styling to give us a fresh and powerful Gotham City. Indeed, a similar scene in Michael Mann's crime saga, Heat, inspired this film's introductory bank robbery sequence. As a matter of fact, William Fichtner, who had a notable appearance in this scene, was also in Heat.

''I am an agent of chaos. And you know the thing about chaos? It's fair...''

The Dark Knight runs at nearly 3 hours, yet never ceases to lose any momentum. It doesn't waste a scene or moment of it's run-time; every event is utilized and necessary to a meaningful complex plot. Nolan tells a story worth telling and like his other film projects, nothing is ever as it seems, he is in a way the new master of suspense, a shadow of Hitchcock proportions. Action-sequences are mind blowingly frantic, old-school, eye-grabbing stunts and in their chaotic intensity we see that they serve purpose to the plot, yet even more interestingly, are not played for pure entertainment-value alone. Audiences are meant to watch, petrified, simply hoping that the outcome will go the hero's way and another show stealing performance from it's villain. Attention is never lost because we are immersed in a breathtaking, almost completely-unpredictable story, that makes us think and more importantly gains our emotional liability. We come to care for the characters, because they are believable, developed, and personified. Interestingly, this film and its predecessor have one-word themes which are driving forces in the stories and explanations for villains: Batman Begins centers around Fear(Scarecrow/ Ra's Al Ghul), while the focus of The Dark Knight is Chaos(The Joker/Two Face).

''Sometimes, truth isn't good enough, sometimes people deserve more. Sometimes people deserve to have their faith rewarded.''

Maggie Gyllenhaal results in being a more mature Rachel Dawes than Katie Holmes. Morgan Freeman again provides his authoritative presence to the role of Wayne-Enterprise CEO Lucius Fox, and under anyone else's portrayal, the part would be less than memorable. Legendary Gary Oldman underplays his world-wearied lawman with such honest finesse and plausibility, you never feel for a second any of it is artificial. The irreplaceable Michael Caine makes a gentle, reassuring, foster parent presence for Bruce Wayne yet again as faithful Alfred, and the story would surely diminish without his strong presence and interlacing moments of humourous quips and anecdotal advice for the masked hero. Aaron Eckhart whom plays Harvey Dent, really excels in being ''The White Knight'' politician of Gotham City whom is likable, and charismatic. The attraction between Gyllenhaal and Eckhart is believable, whereas the love triangle which forms between the complexities of Harvey, Rachel and Bruce are greatly helped by amazing chemistry between them. Dent's dual personality comes into effect very well, as we the audience scratch beyond that exterior, we see a dark side to Dent. A dark side the Joker inevitably wants to exploit for his own agendas.

Brilliant scores by James Newton Howard and Hans Zimmer. In fact the scores could be two new characters in the film in the sense of depth and emotion they stitch together with the powerful resonance in the scenes. The chase where Batman first uses his Bat-pod bike is nerve tinglingly delivered thanks to the effective use of musical genius and poignant sound. The movies climax and final scenes elevate The Dark Knight's soul into the heavens, creating a moving, emotional, turbulent, deep message of honour, sacrifice and themes of the greater good. Batman isn't the hero we deserve, he's whatever we need him to be...He's strong, he can take it...and as we hear deep words like this, the tones in the score give the words even more power. A power they deserve.

Overall The Dark Knight rightly received 8 Academy Award nominations, more than any other film based on a comic book, comic strip, or graphic novel. First film based on a comic book, comic strip, or graphic novel to win an Academy Award for acting (Best Supporting Actor). The Dark Knight was everything I expected it to be and even more so in places, it's certainly the dark masterpiece I predicted, but I do get the feeling that it's been overly hyped for the wrong reasons. See it not just for Heath's performance which is defining and immortalized, but also see it because Dark Knight is the greatest comic book/graphic novel to movie ever. DC comics & Warner Bros. must be singing and praising Nolan a hundred fold. Dark Knight really does have the last laugh. An astonishing achievement that really does succeed in redefining sequels and graphic novel comic book adaptations.

''Because he's the hero Gotham deserves, but not the one it needs right now. So we'll hunt him, because he can take it. Because he's not our hero. He's a silent guardian, a watchful protector. A dark knight.''