“The Dark Knight Rises” had some high expectations to live up to, even in a film culture like ours that tries to make every movie into an event. After the popular and critical success that was “The Dark Knight” (2008), which has since become legendary for its thematic weight and for Heath Ledger’s ultimately tragic portrayal of the Joker, fans have eager awaited the final chapter in Christopher Nolan’s Batman trilogy. And while this film is more of an heir to “Batman Begins” (2005) than to “The Dark Knight,” “The Dark Knight Rises” is a both an ambitious epic and a cathartic ending to what will undoubtedly be remembered not only as one of the best superhero film series, but as one of the best movie trilogies ever made.

“The Dark Knight Rises” picks up eight years after the events of “The Dark Knight.” Gotham is enjoying an unprecedented reprieve from crime due to the passing of the Dent Act, which has eliminated organized crime and allowed the elite of the city to prosper. This Gotham hasn’t seen the Batman in years, and eccentric billionaire Bruce Wayne (Christian Bale) has shut himself up in Wayne Manor. However, an encounter with a mysterious and talented thief (Anne Hathaway) will bring Wayne and the Batman back just as Third World criminal mastermind Bane (Tom Hardy) begins making plans for Gotham City.

This Batman film, unlike the previous one, is not as much of a crime drama. This film feels more like a straight Batman story, like an extended arc in a comic book series, and as such, it has a lot going on. About an hour in, The Dark Knight Rises takes on the characteristics of a siege film, and begins to juggle several plots at once. This is where the movie hits a few logical snags and gives you a few scenes where the only explanation for how some things happen is simply, “because, you know, Batman,” but the film hits the thematic notes so well that it coheres together despite these minor hiccups.

This is a movie that is definitely trying to say something (as viewers should now expect from Christopher Nolan), and it does so excellently. And in between its populist rage and trying to find the balance between freedom and control, Nolan is also trying to bring a sense of closure to the series. TDKR takes threads from the first films and weaves them into the storyline. There is a definite feeling of finality, a sense that pervades the events of the film that tells the audience that, yes, this is it; Nolan intends to walk away from Gotham and Batman forever.

The character who really drives this home is Alfred, reprised by Michael Caine, whose relatively few scenes carry some awful weight and really turn the knife in the viewer’s ribs. The only thing missing is a nod to the character of the Joker, or at least some reference to the other events of “The Dark Knight,” but this omission is understandable, if unfortunate. However, there are numerous references to the previous films tying the trilogy together, from pictures of former cast members on nightstands in Wayne Manor, to fantastic appearances by Cillian Murphy and Liam Neeson, and it give the film a sense of history not easily acquired by other franchises.

In addition to the familiar faces, the new additions to the cast also make a wonderful impression on the film. Tom Hardy as Bane is brutal and brilliant in a different way than previous villains, and Joseph Gordon-Levitt brings a slowly fading faith in law and order than works well with the themes at play. Marion Cotillard is ok as a prospective confidante and love interest for Bruce Wayne, but Anne Hathaway become the first female character in the trilogy who can hold her own and out-act some of the heavy hitters in the cast. As Selina Kyle (or Catwoman, sort of), she is tough and just as intelligent as any of the male cast members. Probably smarter, actually, as she can objectively view the madness of Gotham and is conflicted about who she should align herself with.

While aimed for a wider public, comic book fans should also glad that Nolan has included several winks and nods to famous Batman stories, pulling references to characters, events, and even specific comic book panels from such great graphic novels as “Knightfall,” “The Dark Knight Returns,” and “No Man’s Land.” And while “The Dark Knight Rises” is a superb standalone film that fans and audiences should be proud of, it functions best as a bookend to the trilogy, bringing the story not only of Batman, but also of Gotham, to an emotional and satisfying close.