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We remember that to be moved is to be alive.

The power is in the collapse of the patriarch. For ninety minutes, Cobb has been the wall of anger and prejudice. When that wall crumbles, it is more cathartic than any explosion. It is the drama of a man realizing he has been projecting his own filial hatred onto a stranger. It proves that the most powerful dramatic scene can happen entirely inside a character’s heart. Kenneth Lonergan introduced a new kind of horror to cinema: the anti-catharsis. The pivotal flashback shows Lee Chandler (Casey Affleck) accidentally burning his house down, killing his three children. But the most powerful dramatic scene occurs later, when he runs into his ex-wife Randi (Michelle Williams) on a sidewalk. We remember that to be moved is to be alive

What makes this powerful? It is the inversion of power. Batman—the peak of physical human perfection—has finally captured his nemesis. He should be in control. But The Joker, played with terrifying levity by Heath Ledger, immediately dismantles the premise. When that wall crumbles, it is more cathartic