Welcome to the latest edition of 24 Frames. Sahara Shrestha and Andrew Jamieson will be guiding you through the exciting, confusing and often brilliant world of 'film'. Expect news, trailers and plenty of opinion.

The latest edition is brought to you by Andrew Jamieson, who can be found on twitter over at @theghostwriterc.

The 'Dark Knight Rises' Edition

Last month Ben Affleck was confirmed as the new Batman. The news was greeted with some vitriolic responses amongst the internet community and the passion amongst supposed fans was astonishing to see. The fact that such attention was placed on the news was not the fault of Ben Affleck or the fault of the production team behind the movie. Casting criticism prior to the release of a movie is a flawed paradigm as success is ultimately dependant on the choices made by the creative team behind the project. The furore made me remember the similar responses Anne Hathaway attracted when she was cast in the final part of The Dark Knight Rises (2012). It also made me want to revisit the controversial conclusion to a phenomenon that began in 2001 with Christopher Nolan's first foray into a cinematic and graphic novel legend Batman Begins.

The final part of Nolan's trilogy was released in 2012 and was the follow up to the highly successful The Dark Knight (2008). A movie that redefined what a summer event movie could be, it was a darkly operatic picture framed by an iconic performance from the late Heath Ledger as the Joker. Following this the director then shot Inception (2010), a movie that again showed that a summer movie could have as many facets to its narrative and structure as a classic novella or play from decades before. It was 2012 when Nolan brought his telling of the Batman myth to a close. I use the word myth here as it is clear that the reason people gravitated toward these characters is because they inspire and entertain people as much as Homer's Iliad did so long before.

The movie itself is a masterpiece. The main criticisms of the story were primarily due to the director's sensibility. Despite what anybody says about him, he is a director who works within the confides of cinema and fictional nous. By this I mean that he works primarily in a storytelling universe and the genesis of his composition comes from that of the scriptwriter rather than a more component based architecture of structural security. His writing emerges from the key themes and conclusions of his characters and then the scope of the picture, in this movie this composition is operatic. While of course this is a key difference between this movie and Momento (1999), The Prestige (2006) and Inception, it is also a feature of the fact that Nolan has an appreciation of this method of storytelling at play throughout his entire 'Dark Knight' trilogy.

The director himself says in his production notes for his previous movie "People always talk about melodrama as a pejorative." Nolan does not. He likes to portray this movie as overtly dramatic and rooted in the extravagantly theatrical conception of his story, no more so was this more true than in his final Batman movie. It is also safe to suggest that any forensic dissection of William Shakespeare's Macbeth or Romeo and Juliet would probably illustrate some lapses in supposed credibility or plot concession, but does this affect their gravitas as works of great fiction? No because the story is what remains prevalent and it is also dignified by its characters.

Christopher Nolan always saw his final movie as the conclusion to the story of his main protagonist: Bruce Wayne, which is what he provided. What he also did was to create a cinematic world in which computer generated effects were used to enhance real environments, his Gotham City feels real because of the fact he and cinematographer Wally Pfister shoot expansive IMAX shots that are primarily based in real urban cityscapes. He seems to visualise Gotham as Michael Mann visualises Los Angeles, this is made all the more awe inspiring by the fact that Gotham does not exist! Nolan also manages to give the audience emotion and introspection in a movie whose scope widens as much as the IMAX frame does.

The new casting choices in the movie were superb - my favourite of which was Anne Hathaway. She offers guile, beauty and emotion to a character who could have become a parody of what had come before.

There is a moment in the movie when she tells the Batman that he should walk away from Gotham, as the camera focuses on her you see the slight undertow of tears swelling in her eyes; then the tears vanish and she speeds away on the Bat pod. That subtle moment is beautiful and her performance in this movie is even better than her performance as Fantine in Les Miserables (2012). It is also ironic that in her character's apartment is a copy of the Kate Mosse novella 'Labyrinth' which is a about the search for the Holy Grail a search that also envelopes Selina Kyle's arc through the story. Both Selina and Bruce Wayne have given up on life and have become emotionally monolithic in their lack of hope and progression, this to me is a universal truth of our own lives at times and I personally love the subjective ideal that our past should not decide a better future which is what The Dark Knight Rises is primarily about.

While there is more I could write here about the score, the cinematographer the ensemble cast and the beauty of the source material. The expansive scope of a comic movie that is definitively beautiful, dramatic and arresting but I won't, I just ask that you take trip to Christopher Nolan's opera.