Is BvS darker than TDK?

I will not say darker but definitely bleaker. Though they are both equally dark, TDK is allowed to breath whereas BvS just continuously hammers you with dreary darkness so much that it's nearly suffocating.

Yes. Very much so.

Does it matter? The question is, is the darkness in BvS executed well? The answer is usually no.

I actually thought this said 'Is BvS better than TDK?' which is a no-brainer right over there

Ehhhh....Tough to say since TDK is more like a crime film than BVS, but even then, TDK is still more fun to watch. BVS honestly wasn't meant to be dark, so my vote goes to that.

I finally—finally!—got around to seeing Batman v Superman just last night after a year of hearing it was the worst thing ever made. And… Well, um, how do I put this?

I was blown away. In a good way. This is a remarkably good movie.

I’m more than a little surprised by that assessment myself. I was completely prepared to write it off as a moody, dark mess, brooding in sophomoric existentialism—à la its predecessor, the gloomy, humorless Man of Steel. Now, to be sure, I told weireraptor that this movie couldn’t be as relentlessly bad as the critics made it out to be, and I believe I was right in that judgment—but I wasn’t expecting it to be good.

First things first—the bad. The last twenty minutes or so are the kind of relentless and, in fact, rather dull fights and explosions we’ve grown to expect of superhero movies; the entire Doomsday subplot is rather superfluous, especially when we could have spent more time in character examination. As much as I adore Gal Gadot, giving her a tiny role, scarcely more than a cameo, in a movie entitled Batman v Superman hardly does justice to either of the titular heroes or to her delightful Wonder Woman. Ditto is the utterly unnecessary Justice League build-up; I can’t stand shared universes, and here is a prime example of why. Connected, here, is the fact that the great Batman v Superman fight, to which the whole movie has been building up, is dropped surprisingly and unfortunately quickly. Even here, wallowing in the clichés of superherodom, director Zack Snyder delivers some brilliant imagery—Superman’s sacrifice and its effects are marvellously shot (the juxtaposition between the funerals is stirring and simply magnificent)—but I would have preferred if the great “big bad” were never added.

And now on to the good. This is film-as-opera, closely recalling, of all things, Francis Ford Coppola’s Bram Stoker’s Dracula (by which one sequence in particular—Bruce Wayne’s vision of the bat emerging from his mother’s tomb—is inspired, acknowledging its debt). This is a picture of many climaxes, of classical music, of showing the human inside the apparently larger-than-life character—of leitmotifs from Greek or even Biblical tragedy (by way of Nietzsche), of majesty—and, in fact, of sheer reverence for the character of Superman.

That is, after all, what this film does: it dares to take superheroes seriously, and it succeeds. It doesn’t wallow in gloom, it shows what the superhero would be like in this age of political polarization and terrorism. Sometimes, of course, that is disappointing and even miserable—but sometimes it is positive, even hopeful. Such is this movie, and such is life: it acknowledges darkness but believes, at its core, in light. It does not believe, in the end, that we are all dull and damned as well as damned dull: Snyder and his writers believe in humanity. To wit, they care.

Mr. Snyder directs something here that is truly great: not a superhero movie, to be honest, but a Wagnerian opera using superhero characters, anchored by moving and captivating performances from Ben Affleck (one of the best Batmen I’ve seen), Henry Cavill, Amy Adams, and Jesse Eisenberg. There’s an early montage, inspired by Citizen Kane, that ranks as one of the most visually intriguing things I’ve ever seen in a superhero movie. There are sequences in which Synder’s camera, his imagery, is incredible—this is a personal work. This is one of the best such pictures I’ve seen in the genre—and, in fact, I’m as surprised as anyone to say that. I enjoyed nearly all of it. What an opera, and what a movie.

Depends on what you're talking about.

Saw your other post linking this. Great read.

Interesting Thread, but i would say TDK is darker not just because of Harvey Dent's descent into madness and the final confrontation between Two-Face, Gordon and Batman, but Batman's final determination at the end to take the heat for Dent's murders and become an outlaw.

Did you watch the R-rated extended cut? Because that version apparently made a lot of improvenements when compared to the original version.