We all know Batman. We all know Chris Nolan. And we’ve all seen his Dark Knight trilogy. It kicked off in 2005 with Batman Begins, a fresh reboot of the popular character after he had languished for eight years in the great silence left by the utterly baffling 1997 production from Joel Schumacher, Batman and Robin. Begins offered viewers a new, refreshing, more realistic take on the Batman origin story, featuring characters more grounded in a conceivable and relatable reality, an emphasis on cutting-edge technology, and a steady directorial hand in drama. Drawing from the grittier, noir-inspired Year One and Long Halloween, it functioned as an ode to the modern world of its time, tackling issues of vigilantism, corruption, and self-deception, in addition to being an thrilling romp through the familiar tale of Batman’s canonical formation.
But therein lies the rub. Exactly how serious is the trilogy? Does its content justify its tone, or vice-versa? How much should the audience actually suspend its disbelief when watching it? Continue reading “Christopher Nolan’s Dark Knight Trilogy: The Problem With Dramatic Comic Book Movies”