By now it’s fairly pointless to discuss, let alone dissect, The Dark Knight Rises – the third and final installment in Christopher Nolan’s Batman trilogy – without considering it as a small cog in a larger machine. That being said, The Dark Knight Rises is as hugely successful as an individual piece of entertainment as it is an excellent capper to an already remarkable series.

The Dark Knight is, of course, largely remembered for Heath Ledger’s now almost iconic performance as the Joker, a villain whose manic, unpredictable brand of evil largely dictated where the film went on a larger level – think of it as a microcosm dictating the macrocosm. With The Dark Knight Rises, Bane (Tom Hardy) is quite different, yet a suitable choice for “Gotham’s reckoning,” as he puts it. Calculated, yet with a brute strength and power, the menace and despair Bane emulates is apparent from the moment he appears on screen.

The Dark Knight Rises begins during a time of peace in Gotham, eight years after the as-charged masked vigilante and villain, The Batman, fled Gotham following the final events of the film’s predecessor. Yet an unnoticed malice draws near, and with Batman’s absence Gotham is seemingly Bane’s for the taking. As the storm brews, and both Bruce Wayne (Christian Bale) and The Batman come out of the shadows to once more protect the ever-at risk Gotham, an all-out revolution breaks forth.

Christopher Nolan has made a conclusion here that is truly gaudy in spectacle, with the familiar, ever-present social implications that cross over to our society perhaps better here than ever before. It’s unclear what exactly the commentary is here, but the themes of the powerless rising up against the powerful can’t be ignored. While Bane is the instigator of this particular brand of anarchy, there is much involvement on both sides of the fight, from characters old and new.

Bruce Wayne’s trusted butler, advisor, and friend, Alfred (Michael Caine), is back and yet more conflicted than ever. With Bruce Wayne shrunken into the shadows, Lucius Fox (Morgan Freeman) continues to run Wayne Enterprises, this time with the help of an investor, Miranda Tate (Marion Cotillard), who is funding research in fusion energy. On the law enforcement side, Commissioner Jim Gordon (Gary Oldman), along with a hot-shot young officer, John Blake (Joseph Gordon-Levitt), continue to work to defend Gotham. While a young jewel thief, Selina Kyle (Anne Hathaway), adds herself into the mix with her untrustworthy and sporadic behavior – much to the intrigue of Bruce Wayne. Of these characters, Hathaway’s mysterious and seductive Selina Kyle, along with the terrifying Tom Hardy and the ever-capable Michael Caine particularly stand out.

Thus the pieces are set for total anarchy. As the events of the film continue to unfold, and Bane’s master-plan comes into effect, the anguish and gloom running throughout the latter half of the film is palpable. The villain here – while lacking the finesse and odd charisma of the Joker – is so capable, so seemingly in control of all of Gotham (including The Batman), survival seems like a long-shot, from both the characters and the audience’s perspective.

As always, the technical wizardry here is simply astounding. Largely shot in glorious, 70mm IMAX, the re-teaming of Nolan and Wally Pfister is a sight to behold. With these arresting visuals, the visuals are worth the price of admission on their own – not to mention Hans Zimmer’s typically triumphant score. But, thankfully, they’re simply the icing on the cake, as they take a backseat on the Nolan train, one which continues to pave the way in which we appreciate filmmaking.

While perhaps slightly more flawed than its predecessors – there are simply too many ideas and themes thrown in here – The Dark Knight Rises is certainly a satisfying conclusion; a hugely entertaining, visual wonder that is impactful on multiple levels. Less cohesive from start to finish, Christopher Nolan, along with his brother, Jonathan, put in the character work here needed to wrap things up properly. This, however, is both a help and a hindrance. But once the all-out war comes around and both sides know where they stand, you won’t have much of a care for these minor issues, because it’s as clear as ever these films are to be appreciated as a whole, and minor missteps within the large scope of this trilogy seem to have little impact.

A meandering start aside, there are still a few flaws to be found, although they really don’t matter in the grand scheme of things. The menace is very real, as it tests our hero to his breaking point. Sacrifices and tough decisions are made, and the true character of this franchise – and its director – is revealed. The terms “masterpiece” and “epic”, however cliche, may very well apply here, certainly in the grander scope of this series. To say Christopher Nolan and company have created the gold-standard of superhero franchises, one which encapsulates all the drama, action, stakes, depth, themes, emotions, characters, and wild imagination to launch this trilogy into the annals of filmmaking is certainly appropriate.

Grade: A-

Rated: PG-13 (for intense sequences of violence and action, some sensuality and language)

The Dark Knight Rises opens in theaters on July 20, 2012.