No matter what you make of Christopher Nolan's The Dark Knight Trilogy (the general reaction may have been overwhelmingly positive, but over time some vocal groups have risen up and are quick to raise its flaws), no one would ever say it wasn't necessary for the franchise. Batman And Robin looked to have all but ended the worlds finest superhero's presence in the movie world, but when an up-and-coming indie director took the reins the garish misfire was soon forgotten.
It's now got to the point where Joel Schumacher's toy advert is regarded as a camp alternative to Adam Wests eternally mocked version. The thing is, even though Nolan's trilogy is incredibly removed from the high gothic nature of Burtons films and the neon camp of Schumacher's, his films still share some oddly specific elements with what came before.
As the much maligned film hits its 20th birthday, it's worth revisiting just how much Christopher Nolan's trilogy ender owed to Joel Schumacher's sequel. Is this obsessive nitpicking? Of course it is. But does that make it any less fun? Not at all.