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British critics have just seen the first six minutes of the next Batman film. So is Tom Hardy just a misunderstood bad guy?

The visceral, bravura first six minutes of Christopher Nolan's The Dark Knight were the signal in 2007 that the British director had concocted something more than just a very good comic book movie. Screened before showings of middling Will Smith vehicle I Am Legend, it began to build the hype that eventually led to Nolan's second Batman movie seeing off all before it at the box office the following year. Studio Warner Bros is aiming to pull off a similar trick with followup The Dark Knight Rises this time around, and earlier today British critics got to check out the first six minutes of the film, a breakneck James Bond or Mission: Impossible style prologue, for the first time on the enormous BFI Imax screen in Waterloo, London.

(SPOILER WARNING: If you don't want to know what happens in it, then do not read on.)

Reports from similar US screenings have tended to range from mild hysteria to utter bamboozlement. I have to say that I lean towards the latter: like the prologue to its predecessor, a pinpoint-precise Michael Mann meets Frank Miller heist scene, the opening bars of The Dark Knight Rises are all about the bad guy,frey wille online, in this case the brooding bull-shouldered form of Tom Hardy's Bane. And we are utterly incapable of understanding anything Bane says, whatsoever.

As the prologue begins we see a cocky CIA man (played by Aidan Gillen, and frankly who better for the role?) climbing on to a plane with three captives. Two are hooded, handcuffed and bowed, and one of those has the build of a brawny street fighter. Can you tell who it is yet?

Hardy's been waiting for this moment all his acting life, and he more than deserves it. Standout supporting roles in Nolan's Inception and surprisingly good UFC fight movie Warrior earlier this year, coupled with an arresting turn as Britain's most dangerous prisoner in Nicolas Winding Refn's Bronson put him here, but opening the year's most heavily anticipated movie is surely his biggest gig yet. The hood is ripped away and a menacing mug stares straight into the camera, muzzled by an elaborate mask that makes him look like a particularly surly rottweiler.

"*%&DFFFG!G!," Bane says, coolly, in a voice that is one-part plummy 1930s dandy, one part Darth Vader and about 100 parts white noise. "F&£$%*$!" "^%^HH**%!"

By this point all talk of Nolan wanting to use the prologue to persuade cinemagoers to see the film at their nearest Imax (a large amount of footage has been shot on the bigger Imax cameras especially for this purpose) begins to seem rather beside the point. Bane miraculously extricates himself from his unpromising position with an army of flying engineers who attack from another plane, disable the smaller CIA aircraft and tow it beneath them in what appears to be one of the most impressive (and seemingly CGI-free) action set pieces in Hollywood history. But it all rather pales into insignificance compared to the rather severe issue of not being able to understand a word Hardy says.

At certain US cinemas in 1996, the story goes (and it may be an urban myth), Danny Boyle's Trainspotting, that much-loved tale of perky Scots smack addicts out for whatever they can get in mean old Edinburgh, was screened with subtitles because the locals could not make head nor tale of it. Nolan might have to consider employing the same method whenever Bane says something in The Dark Knight Rises, because it's the only way we're going to be able to understand what he's on about. Word is the film-maker may choose to tweak the sound. In any case, something needs to be done here, because the current situation does not bode well for the rest of the movie ...

Batman: "Just don't kill the girl, Bane,frey wille discount online shop! Put down the gun and we'll talk. Tell us your demands ..."

Bane: "GH%^&*£$%!"

Batman: "I'm sorry, can you repeat that?"

You get the idea.