I’d like to imagine that most of the patrons who left the movie theater at 2:45 in the morning were thinking the same thing I was. And that is: what’s next?

It’s hard to talk about The Dark Knight, and the merits therein, without spoiling it. But with The Joker likely a retired character for at least a few movies, where is Christopher Nolan going to take Batman next? There is a whole slew of villians to choose from, but many of them will be difficult to shoehorn into this new, darker Gotham. So, what next?

The Dark Knight leaves Batman in a precarious place; having discovered his purpose to Gotham, and to the world, he realizes that he will never be anything but a vigilante - and sometimes, vigilantes aren’t quite appreciated for what they do.

It’s interesting that both Hellboy II and The Dark Knight deal with the idea of a superhero as a freak. In this postmodern society, it’s really the only way we can understand them; it’s hard to look at a man in a big rubber costume, or a tough-talking demon with sawed-off horns, and not imagine how lonely it must be to live that life. In The Dark Knight, the Joker asks Lieutenant Gordon if he’s bothered by being so alone. But before film’s end, the people of Gotham prove that he is not: even the most unlikely people have good in their hearts.

The Joker is a fantastic villian because he is, self-admittedly, an agent of chaos. Like a dog chasing a car, he wouldn’t know what to do if he caught it. His purpose is to upset the status quo, embodied in his mind by the word “plan.” He doesn’t have a plan. He just wants to watch the world burn.

Harvey Dent, on the other hand, is a perfect hero. And he’s too good for Gotham. The white knight, he stands out brilliantly against a background of darks and greys, making him the perfect target for The Joker. His transformation into Two-Face is no secret, but it is interesting to watch him fall.

Inbetween the two stands the Batman. Both a freak and a hero, he is a fitting nemesis to The Joker, since he is able to match him in chaos. While the police are all about regulations and good common sense, Batman uses the same sorts of stunts, trickery, and showmanship that make the Joker so insidious.

As these three men engage in a complex and deadly dance, characters like Rachel, Alfred, Gordon, and the people of Gotham all have a part to play. Maggie Gyllenhaal makes Rachel compelling and real, while Michael Caine’s Alfred is as charming and stoic as ever. Little needs to be said, of course, about Gary Oldman’s performance as Gordon. He’s as good as ever.

Heath Ledger steals the show. No matter the circumstances of his life and death, I think he would have garnered some kind of Oscar nod. Now that he is passed, an honorary Oscar is almost a certainty. And seeing the Joker in action should instantly put to rest all rumors of the role pushing him into a depression; behind that face paint is a man who’s having the time of his life.

For Christian Bale, of course,there’s not much to do. Bruce Wayne is but a minor player in the film, with most screen time going to his monotone alter-ego. In one memorable scene, Bale gets to play Bruce as an innocent bystander, just to prove that he still can. Bruce has not been lost entirely.

The Dark Knight holds interest from beginning to end, and it holds itself together with the sort of cohesion that few comic book movies can muster. The ultimate message is befitting of a complicated figure like Batman: sometimes, people deserve better than the truth. Sometimes they deserve to have their faith rewarded.

Suitable for both Batman fanatics and casual viewers, The Dark Knight is an important and touching film. It’s almost hard to believe that such a creature could exist within an established, moneymaking franchise. But it does. Batman Begins was just an appetizer for this one.

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