The answer to those questions, respectively, are: you don't try to, he doesn't, and he almost sticks the landing.
TDKR picks up several years after the events of The Dark Knight. Commissioner Gordon (Gary Oldman) is still racked with guilt about concealing the truth about the deceased Harvey Dent (Aaron Eckhart, appearing only in photographs), the "hero Gotham needed, but not the one it deserved." The Batman has completely disappeared, and crime has reached all-time lows in the city. Bruce Wayne (Christian Bale) has become a damaged recluse, in physical pain from a leg injury and emotional pain from the death of his beloved Rachel. However, he may soon need to come out of hiding: a conspiracy is afoot, seemingly led by the masked brute Bane (Tom Hardy) and involving both enigmatic thief Selina Kyle (Anne Hathaway) and a nuclear generator courtesy of an investment in Wayne Industries by Miranda Tate (Marion Cotillard). As Gotham is threatened, Wayne re-emerges, as does the Batman, with some help from ambitious young detective John Blake (Joseph Gordon-Levitt).
Like all of Nolan's films, the film opens with a remarkable set piece: a mid-air, plane-to-plane hijacking that is truly extraordinary to behold. Despite having a near-sterling reputation as one of the biggest blockbuster directors today, Nolan is somewhat underrated when it comes to his skill as an action director. The film's action sequences are air-tight and intricately executed. Unfortunately, the plot is not as solid. Bane's scheme and the revelations around it are ambitious on a macro level; however, the minor details don't always coalesce. Even though the film runs at over two-and-a-half hours, it still feels incomplete.
This isn't to say that the film isn't hugely entertaining. The entire cast puts forth great performances. Bale mopes about but still manages to come across as charming. Gordon-Levitt shines with idealism as someone who has long looked up to Batman, but must come to learn that fighting crime isn't always so black-and-white. Oldman and Michael Caine, as Commissioner Gordon and Alfred Pennyworth, respectively, have long been the franchise's MVPs, and in this film they do some of their finest work, especially Caine. Hardy makes a foreboding villain as Bane, and, to touch on the point I made earlier, distinguishes himself as a totally different kind of villain: where the Joker was an agent of chaos, Bane is an agent of control, a man who has a very clear plan and intends to see it through come hell or high water. However, it's Hathaway who steals the movie with ease, cleverness, and sexuality that her Selina Kyle employs in her heists. Like Michelle Pfiffer before her in Batman Returns, she absolutely owns the role, playing everything close to the chest while remaining, as she describes herself, completely "adaptable."
Before I conclude this review, I want to briefly comment on the politics that many have been reading into the film. There's no doubt that Nolan does have a political message in this film, but, like his previous Batman films, I see it as neither left nor right-wing, but nonpartisan. The message here seems to be that we should be wary of who's bankrolling popular movements; for example, is the Tea Party movement an expression of how conservative America really feels about the Obama Administration, or is it a movement bankrolled and dictated by the Koch Brothers based on their interests. Similarly, who's running the Occupy movement: the American people or liberal interest groups? It is interesting food for thought, even if the film presents it a bit heavy-handedly.
The Dark Knight Rises, despite some misgivings, is still an terrifically enjoyable film. It may not hold up as well as The Dark Knight, nor will it be regarded as one of Christopher Nolan's finest films, but it is definitely an excellent entry in the superhero genre and a fine ending to the best superhero trilogy thus far. A-