The graphic novel Batman: The Killing Joke contains one of the most controversial moments in comics history, so controversial that even writer Alan Moore has disavowed this story. For those of you who don’t know, the infamous scene features the Joker shooting Barbara Gordon in her home, paralyzing her, and then raping her before kidnapping the Commissioner.

That said, when DC animation announced that their next project would be an R-rated adaptation of this iconic book, they knew they were already taking on some heavy material that’s been the subject of endless discussion since the original comic’s release in 1988. However, as you may have heard from news reports from this year’s San Diego Comic Con, the filmmakers added another controversial element to Batgirl’s story in the first half of the movie. Given the relatively short length of the graphic novel, Bruce Timm and company developed original material for the first half so as to make the movie a full feature. And in case you haven’t heard, the big plot point they added which is now a big point of discussion among fans is a sex scene between Batman and Batgirl. Yep, I’m not joking (pun intended).

Before we get into that part though, let’s look at the movie as a whole. Let me go ahead and say that for the most part, I enjoyed it. Like the comic, it’s much more a horror story than a traditional Batman tale, and the filmmakers do a fantastic job in terms of providing a terrifying and brutal cinematic experience. The old-school animation, grim color palette and claustrophobic atmosphere give it the feel of a Wes Craven/John Carpenter era horror film, that’s just as relentless and psychological. Not even The Dark Knight Returns animated film has captured the eeriness of Gotham’s aesthetic in the way it’s done here.

Story-wise, the first half hour or so is told from Batgirl’s perspective. At this point, she and Batman have worked together for about three years, and while there’s no mention of him, it’s assumed that Dick Grayson has become Nightwing and left Gotham. As a young crime boss stirs up trouble and develops a particular fascination with Barbara, Barbara is determined to take this guy down herself and prove herself to Bruce. As this is going on though, she starts to develop feelings for her mentor, and those emotions get unleashed in an out of left field rooftop sex scene.

To give you an idea of how uncomfortable this moment was, think about how awkward it was when you first saw Peter Pan and Tinkerbell make out in Hook, and then multiply that by at least ten. And if that wasn’t enough, right after Barbara rips her shirt off the camera pans upward to a stone gargoyle looming over her, thus foreshadowing her tragic incident and suggesting that she is punished by a demonic force of evil for having sex. There’s no way around this scene: it’s several moments of excruciating awkwardness and could have easily been avoided. Whether it was Timm, screenwriter Brian Azzarello or Alan Burnett who conceived this idea, the thing they should have done before making a decision is reached out to a noted Batgirl writer like Gail Simone for an additional perspective. I don’t think they made this decision on a whim and didn’t consider its ramifications or how audiences would respond, but if you’re going to do something that radical with a longstanding character you need to consult other people who have helped form that character’s mythology.

Moving on though, and I was glad to see that neither Barbara nor the film dwells on this scene, the second half of the film is a straight adaptation of the source material. Here, the story juxtaposes between Batman going to rescue Jim Gordon from a carnival prison created by the Joker, and a look at the Clown Prince of Crime’s origin. Having started out as a failed comedian struggling to provide for his wife and unborn child, the Joker is lured into the underworld and bears the guise of the Red Hood. Here, his mission gone wrong leads to his first meeting with Batman, followed by his falling into a pit of acid and transforming into the chalked, green-haired menace we all know. Seeing this in the theater made these scenes particularly engrossing, and if you’re watching it at home I’d recommend either the DVD or Blu-Ray, as watching it on your computer or tablet limits your immersion level.

As for the voice talents, it goes without saying that it was a joy to see Kevin Conroy and Mark Hamill reprise their iconic roles as Batman and Joker, respectively. Hamill gives his best performance as this character, even better than his iconic tenure playing him in the 90s cartoon and in the Arkham video games. The way he breathes life into both the innocent husband of the past and the sadistic killer of the present is absolutely mesmerizing, making me respect the man all the more. Likewise, Tara Strong returns to the role of Batgirl flawlessly, with her subtle narrations in the opening act helping us empathize with her and get an understanding of her emotional state. Then there’s Conroy, who’s as awesome as ever, and who remains the definitive Bruce Wayne.

While not without its faults, Batman: The Killing Joke exhibits many of DC animation’s greatest strengths. From cinematic effects to voice acting to its hard-edged storytelling, this movie is a solid rendition of a quintessential Batman story, despite its controversial plot elements.