The animated adaptation of Frank Miller's epic classic Batman tale concludes in "The Dark Knight Returns: Part 2". Whatever made part one great makes this one just as enjoyable. The producers continue their policy of adapting 100% the critically acclaimed graphic novel while expanding on story elements that could not have been expanded upon due to a lack of space in the original 4 issues worth of comics.

Spurred on by Batman's actions in the first part, The Joker uses a clever ruse to return to crime and senseless murder. As Batman attempts to bring the increasingly chaotic city under control, numerous forces are out to get him. The Joker wants to bait him into the ultimate showdown, the Cops under a new commissioner want to arrest him, the United States Government wants to end him. All the while, a war is brewing that would tear the country apart. Driven to the brink, Batman does the unthinkable and the government brings in a red and blue secret weapon who is faster than a speeding bullet.

Easily the most powerful conclusion and the finest animated production from Warner Premiere, the whole thing looks superb. Animation is of the highest quality, rivaling that of big budget anime movies. Fight scenes are in full motion, bristling with a kinetic sense of energy and without a single short cut. All of it set to a unique score by composer Christopher Drake which combines blockbuster orchestral tunes with a futuristic noir inspired synthesizer sounds. Again, the main complaint is more with the art than the animation. Frank Miller's art is faithfully replicated but in certain scenes, the quality of the art takes a nose dive. One such scene involves superman taking on a naval fleet; the way the ships are drawn look pathetically cheap compared to the rest of the movie.

And the final fight between Superman and Batman has some laughable dips in quality too.

Telling a story in a new medium would warrant some tweaks. For example, Fans would remember that the comic featured walls of text to give exposition and explanation. In animation, the story is expanded enough so that said exposition is not necessary. Events flow naturally into each other and scenes that were slightly confusing to the casual reader makes perfect sense: scenes like Joker's final moments, the war with the Russians, why Gotham is suddenly snowing when it was a heat wave in the first movie etc. Just one of the examples of how this movie expands and improves on the original. The only thing lacking is that Frank Miller littered his narrative with characters' inner monologues. These give us an insight into the thoughts and personality of the characters; these are also, sadly, missing. And with it goes that insight that audience could have been given.

The voice cast are just as top notch as the previous installment. Michael Emerson's Joker is oozing with a certain homoerotic creepiness, quipping in a psychotic slur. Just listen to his dialogue during his climatic hand to hand showdown with Batman, it is almost traumatising. On the downside, Peter Weller seems to gave grown a little bored of the role as Batman. His deep baritone becomes almost monotone and his inflection is.....all wrong. Just listen to that half hearted "I Am the Law" speech he gives to the ex-mutant gang. Yes the script is the same as the book, but the delivery is below expectations.

Yet with its strict adherence to the source material, this animated movie also carries over the flaws of the source material. A good number of going-ons require some suspension of disbelief. Like how does Joker get his hands on lip stick that can mind control people? How does someone make near sentient robot dolls that spew poison gas and flies and has the strength of Superman? Oh well.....

It can be said that Dark Knight Returns, when both parts are viewed as one whole movie, is a true animated epic worthy of some awards. Perhaps the slight dip in some animation quality was due to the fact that they were producing Part 2 concurrently with the "Superman Unbound" animated feature. Nevertheless, this is a solid animated feature with good production values. DC and Warner Premiere keeps topping themselves, and the next animated feature will be hard pressed to keep this level of quality. The Dark Knight Returns duology is a must watch for any comic book fan.

The latest in a fairly long line of animated adaptations or interpretations of the Batman mythos to be brought to the screen; The Dark Knight Returns was based on the four-part 1986 graphic novel brought to life by the now legendary Frank Miller. The very man whose formidable talent brought forth such renowned works as; Sin City and Watchmen to name but two, he seemingly had no involvement in any advisory or technical capacity. And if this full-length version, (it was originally released in two chapters on two individual DVD releases) is anything to go by, he needn't have done so as it remains irrevocably faithful to its source material.

It focuses on how Bruce Wayne (voiced by; Peter Weller best known for his iconic role in 1980's sci-fi action hit; Robocop) who has long since retired after the untimely demise of Jason Todd; the second Robin feels compelled to return to a life of vigilantism. Gotham it seems is an even grimmer, meaner metropolis that has become more of a breeding ground for crime and is descending into inevitable anarchy. Arguably and some might claim irrefutably the most gritty and uncompromising depiction of the Dark Knight, it doesn't make it any less riveting and complex, all be it implausible.

Adroitly selecting the criminally unhinged Harvey "Two-Face" Dent (Wade Williams) as the early antagonist who partially instigates the millionaire son of Gotham to don the cape and cowl once more; his dual nature is an ideal adage to the themes of the first half of the movie which explore duality. There's Bruce Wayne's double identity as the aged industrialist and the avenging Batman, with the divisiveness of public opinion over whether he is a positive force for change in Gotham or a self-imposed, meddling vigilante menace that is part of the problem rather than the solution. They're handled adeptly via vox pops with Gothamites which are broadcast on local news stations. Derivative it may be but it still has the desired effect. There are also the dual sides of the official and unofficial iconic symbols of justice; a 70-year-old Commissioner James Gordon (David Selby) who is on the verge of retiring with old friend and ally, Bruce entering again into the battlefield streets of their once beloved city. One's on his way out as the other one is finding himself drawn right back in. Their scenes together are relatively sparse but they hit the right note of bitter-sweet poignancy which compliments its darker more brooding tone.

Dent aside; the genuine and more prominent threat in the first half is the brutal and ominous gang which is practically an army of degenerate hoodlums calling themselves; The Mutants. Led by the imposing, towering presence of the maniacal Mutant Leader who as a figurehead personifies their carnal savagery concisely. Not since Bane; have we seen a nemesis that is potentially a match for Batman, but then at 55 years of age, he is irretrievably past his prime. But this is Bruce Wayne and although his physical frame has become more beleaguered with age, his mettle hasn't. Peter Weller with the subtlety of his nuanced vocal performance oozes a quiet resolute firmness that barely seems to waver.

Returning momentarily to the themes of duality, there's the welcome if tried and tested adage of a new Robin; this time gave the then more fresh spin of being a high-spirited (are they anything else?) teenage girl named Carrie Kelly and voiced with likable spunky idealism by Ariel Winter. However, given Bruce Wayne's previous reluctance and the impetus behind his retirement, one wonders if his readiness to accept young Miss Kelly to be his latest sidekick is a means to push forward the plot. It feels like expedience is a rationale for forgoing some semblance of plausibility. All the same, her addition makes for a wonderful story arc.

Commencing with the second half, and with his presence being teasingly hinted at within the first; there is the inexorable inclusion of the once campy referred to; Clown Prince of Crime; The Joker whose vocals are brought to life by Michael Emerson of TV's; Lost and Person of Interest fame. His presence undeniably runs the risk of feeling contrived but this was Frank Miller's story we are talking about here and his figurative resurrection from a comatose state is beautifully realized. That first moment you hear his first few syllables which herald the beginning of the second act; you can't help but feel goosebumps. His personal story of his being incarcerated in a mental facility for an undisclosed period of time in a dormant state and his reemergence are masterfully executed. The incorporation of his therapist; the naively idealistic Dr. Bartholomew Wolper (an ever-reliable Michael McKean) also adds something to the overarching narrative. My one reservation with Emerson's portrayal is while he vocally has a chilling resonance; the iconic laugh just lacks the high-pitched maniacal oomph that Mark Hamill definitively rendered. Nevertheless; his return although brief, its impact is no less bad for it and serves to shine a light on the jaded nature of Bruce Wayne's former idealism.

Entering into the fray; having the torch being passed to her by her successor James Gordon, is new Commissioner Ellen Yindel (Maria Cannais-Barrera) who represents a bold new generation of Gotham law enforcement. Steadfast in her convictions in regard to the law; she has a contradictory code of ethics to her predecessor who she never the less has underlining respect for him as he does for her. It would be easy to portray her as a partial villain of the piece, and while undoubtedly a thorn in Batman's side; her motives are anything if not pure.

Finally, there is the final stage of the film, in which while the arc of the story plays out in parallel with the previous ongoing action; the slightly uneven and shaky relationship between Clarke Kent/Superman comes inevitably to ahead. Once a symbol of hope, he has become something of the antithesis of everything he is supposed to stand for as he has essentially become a weapon of the United States government, answering to; President Ronald Reagan (remember that the graphic novel was published back in 1986). Truth, Justice, and the American way have become glorified buzzwords to enshroud politically dubious intentions. The ultimate battle of two ideologies; that are diametrically opposed adds another layer to the depth and complexity of the overall narrative.

The Dark Knight Returns, however, as I have hitherto affirmed is not a perfect movie, as neither was the graphic novel. With the superhero/comic-book genre a healthy amount of suspension of disbelief is required, although this in my personal view asks a tad too much in terms of Bruce Wayne's waning virility; while there could have been an in-depth struggle with his reconciling in enlisting a new youthful sidekick with the brutal death of Jason Todd. All in all, this is fundamentally an absorbing and richly composite tale that although not officially canon; would make for supplementary addition to the Batman saga. Its vocal performances are for the most part exemplary and its animation inspired, as it strikingly captures the dark, brooding aesthetic of Gotham City. In short; it's required viewing for any Batman aficionado.

This combination of the first and second parts to "The Dark Knight Returns" is not only an excellent adaptation of the acclaimed graphic novel, but an excellent animated movie full of emotion and energy. Considering I am already a big fan of the graphic novel, I wasn't expecting much out of this movie. The novel was great on it's own and didn't require a animated counterpart. But with great voice acting and excellent storytelling this movie serves as one of DC's best animated movies.