The Reflection of The Dark Knight

The Dark Knight gets high opinions from the press to the reviewers, so no one can deny that it is the most outstanding film of American hero in recent years, excluding me.
TDK is surely an ambitious and meaningful cinema. Like other Batman movies, such as Batman (1989), which shows homage to Godfather, and Batman Returns (1992), which nods to Citizen Kane, TDK is filled with struggles between sinister gangs, the villain bulling around on the street, the sinister gangs kill the justice against them. It is almost a kind of early gangster film genre like The Untouchables and L.A. Confidential. The plot of the collusion between both sides of the law to cause such situation like there is no one can trust makes me recall Cop Land and Street Kings. And the plot that the Joker forces Batman to make a choice to save Harvey Dent or Bruce Wayne's girlfriend is also like the designs in Superman and Spiderman.
I think the director, Christopher Nolan, uses the formalistic subject to present the realistic style. Unlike other Batman movies in the past, especially Tim Burton's and Joel Schumacher's, the shot, the light, the set, the composition, and the music tend to low key. To me, as a crazy buff of Batman movies, dislike it at all. I fancy Tim Burton's versions, because he uses expressionist style to show the feature of Gotham city. I believe it is the best way to represent the Batman genre. After all, Nolan said that he wants to avoid his Batman to be like the way in Burton’s, because he knows no matter how he tries, he would never be better that Burton.
Besides, in TDK the shooting script seems a little negligent, because there are jump-cuts in some sequences, especially the mise en scéne of action parts; after the premiere of TDK, Nolan admitted he was not good at it.
I think the sequence of murdering the sheriff and the justice in TDK mimics the most classic parallel editing in Godfather, and the sequence of saving Harvey Dent and Batman's girlfriend by using the technique of the crossing-montage is definitely from the idea of “Griffith's last-minute rescue” in The Birth of a Nation (1915).
However, Heath Ledger's Joker lacks the Joker's archetype in comics, which is savage, bantering, elegant, perverse, dominating, sophisticated and shrewd, like Jack Nicholson’s version in Batman (1989). Moreover, in Burton's Batman, it is interesting that Batman and the Joker have a relationship which is “Jake Napier makes Bruce Wayne become Batman, and Batman turns Jake Napier into the Joker;” yet, in TDK, there is no such subtle kinship between them. It is a pity! Also, the murder by the Joker using a pen to kill in TDK, unlike the way of the murder in Batman by using a quill to kill, is not brilliant enough. And the dialogues in Batman are more classic and cleverer than in TDK.The interesting thing in it is when I see Christian Bale as Batman living between Bruce Wayne, the multimillionaire, and Batman, the dark knight, makes me review Patrick Bateman in the Slasher American Psycho (2000), who is charming, well educated and intelligent, working by day on Wall Street, but at night he descends into madness, being soulless and insane. Another interesting thing makes me curious is when Bruce Wayne asks Lucius Fox that whether the new Batman suit could protect him from dogs or not, Fox said “We talking Rottweilers or Chihuahuas? Should do fine against cats.” Is it on purpose that Nolan want to hint there will be Catwoman in his Batman part three? After all, there won't be Batman’s girlfriend in part three, because she died in the end in TDK; thus, the writers of the screenplay are going to create a new heroine. The flameless representation of Catwoman in my mind is Michelle Pfeiffer in Batman Returns, and I hope Nolan won't let Angelina Jolie play it, because she would ruin this prominent role in Batman series.