THE DARK KNIGHT RISES: so do my hackles

The first critic to post unflattering comments about director Christopher Nolan's magnum opus received death threats so I recognise I'm taking my life into my hands by stating that I did not enjoy this film and don't rate it.
A regular reader of my blog should not be too surprised by that. It's reasonably devoid of reviews of superhero blockbusters, and the reason for that is that I don't like them. They do nothing for me. I don't care about the characters, their epic battles or the endless philosophising/moralising about good, bad and the nature of man.

I found the second part of Nolan's Batman trilogy, 'The Dark Knight' to be an interminable bore which insisted on ramming its message down the throats of its audience over and over again. This third and (thankfully) final installment eases up a little on the preaching but is no less unrewarding.
It's all noise, darkness and characters speaking in ridiculously deep voices. It's like a world peopled by voice-over artists with sore throats.
But it's the nature of this world that I have the biggest issue with.
I appreciate that the viewer is required and expected to suspend their disbelief to enter the world that Nolan has created - this is after all a fantasy world not a National Geographic channel documentary - but I found it impossible to overlook the glaring omissions and inconsistencies.
The world of THE DARK KNIGHT RISES is one of broad strokes - broad and constantly in motion in the hope that we won't notice that it doesn't all hang together. There's no attention to detail. Let me give you just one example.
At one point the chief villain, Bane (Tom Hardy), traps the city's entire police force in underground tunnels by dynamiting all of the entrances, leaving him free to run amok above ground. There the police all remain until Batman (Christian Bale) turns up some considerable time later (possibly months) to free them. The film asks us to accept that in the interim the thousands of officers just wait in their concrete tomb, not attempting to escape through any of the thousands of manhole covers, or dying of hunger or even growing a beard.
Sure, fantasy worlds don't have to operate by the same laws that govern the real world but when the story's set in what approximates a modern day New York City peopled by recognisable human beings there has to be something plausible to hold it all together.
The plot's studded with holes big enough to fly Batman's helicopter through and that, for me, more than canceled out any excitement the action might have generated.  If Nolan's intention was to bamboozle my brain by overloading my eyes and ears he failed.