The Batman is third reboot featuring the caped crusader since his first cinematic outing in 1989. On paper, that might make you think this might be unnecessary and a retread of previous films. Thankfully, the Batman is, perhaps, the best DC film since The Dark Knight trilogy ended ten years ago. Yes, it’s even better than the much-lauded Joker. It’s refreshingly cinematic, and it strikes a great balance between being comic-book accurate and realistic.
Two years into his career as a vigilante, Bruce Wayne (Robert Pattinson) investigates a series of murders done by a cryptic figure named the Riddler (Paul Dano) who leaves clues and riddles behind addressed to the Batman. During his investigation, Batman encounters the mysterious Selina Kyle (Zoë Kravitz) who’s working at mobster Carmine Falcone’s (John Turturro) club. Along with Gordon (Jeffrey Wright), Batman discovers a conspiracy involving the highest officials in Gotham city that’s also linked to a charity fund created by Thomas Wayne two decades ago.
While The Batman is a dark movie, it’s not relentlessly brutal.
Yes, the police and the government seem to be corrupted, and yes, Batman beats down criminals with a smidgen more violence than necessary, but it makes sense within the context of the world created by director Matt Reeves. The Gotham in this film is well-realized, with clear inspiration taken from New York City but still maintaining a distinct identity. Furthermore, the film does a great job in crafting a realistic story without returning to the same well as the Nolan films.
Robert Pattinson immerses himself into the role of the Batman.
He is as good as any previous actor in the role, and at times, he makes an even better impression than the likes of Christian Bale. For the first time in a film, we see a Batman who investigates crimes instead of just punching people. Although, seeing as this is a rookie Batman, he often makes mistakes, which underline that he isn’t infallible.
Almost every actor in major supporting roles also turn in effective performances, with the possible exception of Andy Serkis as Alfred, who doesn’t get to do much to show off his acting chops. Coin Farrell has garnered much acclaim for becoming unrecognizable as the Penguin. Zoë Kravitz puts in a robust turn as Catwoman, edging slightly ahead of Anne Hathaway as the second-best Catwoman in live-action. Paul Dano is menacing for most of the film as the Riddler, but his character is written in such a way that it falls just sigh of becoming a memorable live-action Batman villain.
It would be remiss to not talk about the impressive cinematography, which makes the film feel so much visually distinct from the slightly cookie-cutter aesthetic popularized by the MCU films. There are beautiful shots, such as Riddler’s eyes glowing in the opening scene as he blends into the background, and then the multiple shots of Batman’s silhouette contrasted with the sometimes orange-hued sky. Then there’s the beautiful hallway action sequence in the dark where the only source of light is the muzzle-flash of gunfire as Batman takes down goons. The car chase that features the debut of the new Batmobile is also thrilling and well-shot, making its climax feel earned and well-deserved.
Then there’s the great soundtrack by Michael Giacchino, who also did the soundtrack for Spider-Man: No Way Home. There’s not much variation in the soundtrack, but its core theme is not only appropriate but also bordering on the edge of greatness. It certainly stands proudly beside the works of Danny Elfman and Hans Zimmer on previous Batman films.
Although this Batman isn’t as hulking or brutal as Ben Affleck’s portrayal in Batman v Superman: Dawn of Justice, this is definitely the most scariest Batman has been on the big screen.
When the Bat Signal lights up, every criminal who looks up at it is filled with fear. In the first action scene, we hear his footsteps long before he appears on the screen. When he fights, he’s effective and brutal, but he’s not quite the seamless and commanding martial artist we are used to in comics.
That being said, the Batman isn’t perfect. It’s, perhaps, the longest superhero film to date at 2 hours and 56 minutes. The story doesn’t suffer for the length, but it does lose its urgency and potency at the 2-hour mark before recovering for the climax. Also, the tease at the end with a certain classic Batman character feels a bit tacked on.
Still, the Batman makes a great case for standalone superhero films in the age of the shared universe.
Some of the praise it has received so far is slightly overblown, but this is a very competently made film with stylistic and narrative flourishes created and acted by very capable individuals. Two spin-offs, including a Gotham PD show and a Penguin show on HBO Max, have already been announced, as have been two direct sequels. Let’s hope these future installments add to the mystique and potential of this new world instead of squandering it.