The Batman Review
In many ways, 2008s The Dark Knight was both a blessing and a curse for Warner Brothers. To this day the film is subject to near universal acclaim and upon release it propelled Batman’s popularity into the stratosphere, while also becoming the first comic book movie to gross over 1 billion dollars. You can imagine that once all the champagne bottles were drunk dry and the celebrations came to an end the Warner Bros. executives were thinking, “Now what?”
Nolan’s conclusion to his bat trilogy may have been bigger in scope and monetary success, but the film’s cultural impact has dwindled ever since its release. Batman’s reputation was not aided by the woefully mishandled Batman V Superman and Warner Brothers’ attempts to mimic the marvel formula, which sadly squandered Ben Affleck’s turn under the cowl. Now with a slightly tarnished shine and twelve previous big screen outings to contend with, all with their own distinct styles and flavours, the odds were very much against director Matt Reeves and his crew. However, in truly embracing the ‘detective’ moniker, Reeves has created a noir epic, moodier and even more depraved than The Dark Knight.
Reeves plunges us right into the grungy heart of Gotham with no more needless origin stories or another rendition of the Wayne murders. Although still early in his career, this Batman is feared, showcased in a tremendous establishing sequence that highlights the power Batman has over Gotham’s criminals. It is here that Reeves also reveals his inspirations. From the dark, rain-soaked streets reminiscent of David Fincher’s Seven and Ridley Scott’s Blade Runner, it is clear the type of story Reeves is trying to deliver here. The odes to Fincher continue once Batman arrives on the scene of Riddler’s first victim, as he is tasked with solving Zodiac like puzzles that will lead him deeper into the seediness of Gotham’s soul.
What sets The Batman apart from almost every other blockbuster is its unapologetic style. Not since Logan has a comic book film committed so heavily to a distinct genre while being so successful in doing so. This is a film that takes its time to unravel its mystery, opposing standard superhero movie conventions. Every shot is meticulously planned to perfection by cinematographer Greig Fraser (who also shot last year’s Dune) as almost every frame has a purpose and is drenched under moody lighting, gorgeous sunsets or bleak grey skies. Even when shot in dark corridors or under night skies the action is visceral and handled masterfully with everything clear to see. Fraser, Reeves and his production team have crafted the most richly defined Gotham since Tim Burton’s Batman, blending that Nolan realism with a hint Burton’s sensibilities. The Gotham here is a grim, hellish city that looks so completely tangible.
Throughout his hunt for the Riddler, Batman is helped by the honourable Jim Gordan (Jeffery Wright) and cat burglar, Selina Kyle (Zoe Kravitz). Wright and Kravitz give perhaps the best on screen depictions of their given roles; with Wright acting as not only mediator between Batman and the distrusting police force, but as his more level-headed partner too. Kravitz plays Catwoman with a sense of drive and sensuality that makes her own journey and her romantic dynamic with Batman all the more alluring. Paul Dano’s Riddler has his moments, but at times goes a bit too over the top, making Riddler’s lunacy feel a bit forced. However, Reeve’s commentary on incel culture and perhaps how it can infect the most isolated in society is rather interesting, adding another layer to the films contemporary ideas.
Robert Pattinson’s take on Bruce Wayne/ Batman is unlike any other. Gone is the suave playboy Bruce Wayne of the past, for the persona of Wayne is very much an afterthought in the mind of this Batman. Pattinson is depicting a truly broken man, almost deranged in his quest for Justice and who feels uncomfortable in his own skin. Pattinson needs very few words to convey what he feels as his cold eyes do much of the talking. Pattinson has always managed to fully embody the characters he plays and his bold turn as the Dark Knight only solidifies his status as one of the best actors working today.
Composer Michael Giacchino also had no easy feat, having to follow up the likes of Danny Elfman and Hans Zimmer’s iconic scores, but he more than delivers here. Giacchino’s score, and his Batman theme in particular, is grand and truly aids in immersing us in Reeves’ world.
The story as a whole is engrossing throughout with very little baggage, even with its 3-hour runtime. While there is a third act twist that was jarring and irked me upon its happening, it is all in service for a beautifully handled conclusion that not only leads to an integral realisation for the character of Batman, but our own idea of what Batman can be. When looking at The Batman as a whole, it is quite staggering that a big Hollywood studio would commit its biggest IP to such a bold vision. Its dedication to telling a crime story of corruption and deconstructing its central figure is truly commendable. Yet, it must be said that this is not a film for everybody. Its commitment to its heavy themes, gloomy world and 3-hour runtime will put some people off. But for those that venture into this dreary world, prepare for an impeccably constructed noir thriller, that proves what blockbuster cinema can achieve under someone with the vision and passion to make it come true. We finally have a Batman film that lives up to The Dark Knight and proves Batman’s status as the king of comic book movies. After 14 years, The Dark Knight reigns triumphant once again.
Score: 9/10