Stephanie Zacharek in Salon.com
"As much as I disliked "Batman Begins," finding myself not just unmoved but bored by its alleged darkness and moral complexity, I concede that it was at least a real movie, with a thought-out structure, a reasonable degree of character development and, most significant, an adherence to visual logic that was at least workmanlike. "The Dark Knight" offers the same degree of murkiness, both visually and thematically, and maybe even a little more. (The cinematographer is, once again, Nolan's frequent collaborator Wally Pfister, working largely in a dank, muted palette of grays and greens.) And Nolan -- who co-wrote the script with his brother, Jonathan, working from a story he conceived with David S. Goyer -- gives us enough multilayered subplots to at least fool us into thinking this is a work of intellectual and moral complexity. But as a piece of visual storytelling, from shot to shot, "The Dark Knight" is a mess. Characters disappear from one locale and show up inexplicably in another, thanks to the magic of editing. At one point, we learn two characters have been abducted, but Nolan doesn't bother to show us who did it or how. (Later, he explains the "who did it" with dialogue -- the lazy way.) At the end, a major character is left hanging, literally, as we are figuratively. If this is genius, give me hackery."
"Impossible is just a big word thrown around by small men who find it easier to live in the world they've been given than to explore the power they have to change it. Impossible is not a fact. It's an opinion. Impossible is not a declaration. It's a dare. Impossible is potential. Impossible is temporary. Impossible is nothing.”
~ Muhammad Ali