In fact it’s ironic that he is called The Joker. Although his face is carved into a frighteningly extra large smile and Ledger delights in spinning a new sinister yarn for every victim he threatens as to how he earned his scars, there are very few jokes or moments for laughter, even nervous chuckles. Instead of teasing us with lines like Nicholson’s proclamation that, “Jack is dead, my friend. You can call me Joker. And as you can see, I’m a lot happier,” merry mayhem and knife-driven chaos proves to be this bipolar Joker’s most effective antidepressant, although the benefits seem short-lived. For quickly after getting his fix, The Joker is out on the street again, cruising for another kill in an unceasing effort to take out The Batman, leaving unpredictable carnage in his wake as major characters are jeopardized and the fate of one in particular I’m still not entirely sure I understand, given the film’s tendency to offer an “ah-ha” magic trick of bringing the dead back to life and vice versa.

Although I’d rather watch Nolan’s original Batman Begins for a richer and more complete storytelling arc, despite its rather rushed conclusion (proving they may be the director’s Achilles heel as it occurs again in Knight) and Burton’s first offering is still my definitive take on the character, when it comes to staging action sequences, The Dark Knight topped every single film that has come before it in the series during four unbelievably tense action sequences specifically photographed in IMAX. Making up for an unrelentingly wandering camera that distracts our eye from cinematographer and longtime Nolan collaborator Wally Pfister’s gorgeous usage of blues and blacks in early dialogue scenes where the camera seems to be tied to a tether ball until it makes a decision to hold steady for one memorable line or moment, Nolan, Pfister and his amazing cinematic partners in crime, ramped up the action for amazing effect.

While I hesitate to reveal anything in the way of spoilers, be sure to remain in your seats during a sequence involving the transportation of Harvey Dent as Nolan employs the Batpod, motorcycles, semi trucks, helicopters, and S.W.A.T. vehicles in a bravura experience that demands to be appreciated on the big screen (although those with sensitive ears may want to pack along earplugs). In fact, it’s so good, I was still talking about it one day after the screening and it actually out-performed my previous 2008 favorite action sequence included in Spielberg’s awe-inspiring jeep chase from the latest Indiana Jones film two months ago.

So ultimately, despite the film’s flaws as well as our wish that we could go back and rework it at the screenplay stage to make the most of it for the staggering talent involved (especially the late, great Ledger), to quote Nicholson in Tim Burton’s film — in the end, Gotham City, and by association Batman, “always brings a smile to my face.”