The Batman will be released nationwide on 4th March 2022 by Warner Bros. Pictures.
Synopsis
Two years of stalking the streets as the Batman (Robert Pattinson), striking fear into the hearts of criminals, has led Bruce Wayne deep into the shadows of Gotham City. With only a few trusted allies—Alfred Pennyworth (Andy Serkis), Lt. James Gordon (Jeffrey Wright)—amongst the city’s corrupt network of officials and high-profile figures, the lone vigilante has established himself as the sole embodiment of vengeance amongst his fellow citizens.
When a killer targets Gotham’s elite with a series of sadistic machinations, a trail of cryptic clues sends the World’s Greatest Detective on an investigation into the underworld, where he encounters such characters as Selina Kyle/aka Catwoman (Zoë Kravitz), Oswald Cobblepot/aka the Penguin (Colin Farrell), Carmine Falcone (John Turturro), and Edward Nashton/aka the Riddler (Paul Dano). As the evidence begins to lead closer to home and the scale of the perpetrator’s plans becomes clear, Batman must forge new relationships, unmask the culprit, and bring justice to the abuse of power and corruption that has long plagued Gotham City.
Review
There’s no escaping that 2022 is absolutely stacked with Bat-content. This year alone will see three actors playing the Dark Knight on the big screen. The much-loved Ben Affleck returns in November’s The Flash whilst the same film will see Michael Keaton return to the role after a 30 year absence.
Before either of those titans utter a single word of dialogue it’s the turn of Robert Pattinson to make his debut in the role. Under the watchful eye of War for the Planet of the Apes director Matt Reeves, Pattinson shines a light on parts of Bruce Wayne’s character which are often overlooked on the big screen.
Reeves and co-writer Peter Craig (Bad Boys For Life) have crafted a noir-esque detective story which speaks to the roots of Batman, Gotham and all its inhabitants. Their efforts to avoid re-telling Batman’s origin story result in the character’s most rewarding big screen outing to-date. Revelling in its darkness, The Batman comes closest representing the source material without directly adapting its major storylines.
Reeves’ commitment to telling a detective story is abundantly clear from the the outset. The Batman chooses to introduce and set up Paul Dano’s Riddler before Robert Pattinson ever sets foot in front of the camera. The opening scene stands in stark contrast to anything we’ve witnessed before in a Batman film. Riddler’s brutal introduction superbly communicates to the audience that all expectations should be checked at the door. It also sets in motion almost three hours of sitting on the edge of your seat.
Dano’s Riddler is worlds away from the version played by Jim Carrey in 1995’s Batman Forever. Reeves presents the character as a Jigsaw-like criminal mastermind who snares his victims in elaborate, lethal puzzles. His motivation to rid Gotham of corruption crosses over with Batman but his methods put the two at odds. Dano oozes creepy serial killer and looms large of the film’s first act. Like all good noir villains he disappears in act two where his mere presence acting as an antagoniser for Batman. In his third act return Dano explodes from the screen with an award-worthy escalation of both Riddler’s plan and his performance.
Pattinson naysayers need not be concerned. The actor, notably known for the Twilight franchise, is both a fantastic Batman and Bruce Wayne. Reeves made it clear his version of the character would be inspired by the late Kurt Kobain and those influences are clear in Pattinson’s performance. His Bruce Wayne is disconnected and uninterested, acting purely as a mask for Batman. He has no relationship with his family legacy and even his interactions with Alfred (Andy Serkis) are tense. It’s only when Riddler endangers Alfred or when he suits up at Batman, that Wayne shows any form of emotional attachment.
Pattinson cuts a powerful figure in costume designers Dave Crossman and Gyln Dillon’s Batsuit. Often seen emerging from the darkness, this is the most haunting we’ve seen the character since the days of Tim Burton. It’s also the most violent. Reeves has created a Batman who struggles to hold back and whose anger often overtakes his sense of justice. Ironically though, this is the first big screen Batman who doesn’t kill. It’s also made abundantly clear he does not tolerate guns keeping his comic book ethos fully in place.
Standing alongside Pattinson is Zoë Kravitz as Selina Kyle. She’s intricately woven in to the fabric of the film’s story as we witness Catwoman’s challenging origin. Reeve’s cleverly pulls from both Batman: Year One and The Long Halloween comics to inspire his Selina. Like much of the film, Selina feels timeless and Kravitz inhabits her with limitless energy. She represents both a physical and mental equal to Batman, sparking a dangerous relationship between them. Their journeys, both together and separately, form the emotional heart of the film.
There’s limitless potential in Reeves casting choices. Colin Farrell excels as a proto-Penguin poised to conquer the criminal underworld and John Turturro’s Carmine Falcone is the most well realised version of the character committed to film. The aforementioned Serkis presents a unique version of faithful butler Alfred Pennyworth who deserves plenty of attention in future sequels. Lastly there’s Jeffrey Wright as GCPD Lieutenant Gordon. His relationship with Batman easily rivals that of Christian Bale and Gary Oldman. Reeves story nails what is one of the most crucial relationships in the franchise.
The Batman is the perfect storm of circumstances. Reeves assembled team has a fundamental grasp on the world created by Bob Kane and Bill Finger. Many praised Christopher Nolan for a well realised Gotham City. But Reeves, producing partner Dylan Clark and Supervising Location Manager Mark Somner have created something unparalleled. This Gotham lives and breathes like it belongs in the pages of a comic book. Its dark corners and sprawling cityscape are all encompassing and never feel like a CGI creation. That practical sensibility crossover over in to most aspects of the film’s production.
There are a number of big set pieces, particularly in the third act. Whilst there are undoubtedly visual effects laden shots, The Batman never feels anything other than wholly real. Practical stunts, gadgets and sets evoke a sense of classic Hollywood filmmaking and the grounded combat only adds to that authenticity. What visual effects there are seamlessly integrate with practical footage.
The production is rounded out by a career-best performance by composer Michael Giacchino. His character themes are incredibly well defined and instantly iconic. His score shifts from classic orchestral elements to more grandiose, ear-thumping instrumentation in the film’s ambitious set pieces. Giacchino joins an elite club of only three composers to work on both Spider-Man and Batman alongside Hans Zimmer and Danny Elfman. This score alone earns Giacchino a place alongside both of those names as film score royalty.
Verdict
With The Batman Matt Reeves has created the definitive live-action Dark Knight. The World’s Greatest Detective may have met his match in Paul Dano’s Riddler but everything in The Batman adds up Bruce Wayne’s most bombastic big-screen outing to-date.
⭐⭐⭐⭐⭐
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