It’s been a decade since the last Batman movie that wasn’t part of an attempt to fast-track a cinematic universe, and after years of production and one pandemic-spawned delay, Matt Reeves’ The Batman is finally upon us. Has Bat-mania returned with it? The Batman is arguably our most anticipated film since Star Wars: The Phantom Menace. Every casting announcement, every interview, and even the first of Giachino’s score made us unbelievably excited. As a result, there was no way the film could live to our entirely unrealistic expectations, right? Here is Ahmed and Brett’s review of The Batman, starring Robert Pattinson.
AHMED’S TAKE
It has been two years since Bruce Wayne (Robert Pattinson) donned the cape and cowl of the Batman, striking fear into the streets when the sun goes down. Two years that have led him to not only act as a vengeful vigilante with the only cop he trusts being Lieutenant Gordon (Jeffrey Wright) but also allow Bruce Wayne to become a reclusive figure whose only real relationship outside his nocturnal activities is a distant one with his butler/mentor Alfred (Andy Serkis).
A series of murders begin, as a brilliant and unhinged serial killer calling himself the Riddler (Paul Dano) targets the elite of Gotham, with his using the crimes to send messages to the city’s resident masked hero bringing Batman into a web of conspiracy and mystery at the heart of the city. Complicating things is Selina Kyle (Zoe Kravitz), a cat burglar who is looking for her friend that’s gone missing amidst the case, as well as the mob run by Carmine Falcone (John Turtorro) and his right hand, Penguin (Colin Farrell). The deeper into Riddler’s game Batman descends, the further his mind, body, and soul are tested as he has to come to terms with who he wants to be for the city.
The Batman is this amazing mix of a psychological horror story, a pulp noir mystery, and a superhero origin story (although we’re thankfully spared having to watch the Waynes get shot again). It’s the best kind of mystery where even if you have the pieces, you’re not completely sure what the solution is until it’s revealed, reminiscent of the graphic novel The Long Halloween. Reeves manages to find that sweet spot between grimy realism and gothic style that Burton hit in his 1989 adaption of the character, but with a more modern aesthetic. The action is brutal and exciting, and the tension is palpable throughout.
It helps that the performances are so good. Pattinson plays Batman as someone who has given up on any pretense of a normal life, obsessively dedicated to his crusade and teetering on the edge, still in need of learning who he really is. It helps that not only does Pattinson have the most screen time of any live-action Batman actor in a film (not just due to its length but how much of the film he’s present for), but he spends more of it masked than he does unmasked. Kravitz has a mix of sensual allure, tough grey morality, and even vulnerability as a Selina Kyle still in her own origin story as Catwoman.
Farrell is also a standout, almost unrecognizable in prosthetics as he plays Penguin as an ambitious mobster, hungry for his shot at the big time, setting him up for big things if the rumors of a spinoff show for the character pan out. And then there’s Paul Dano as Riddler. Not only is he terrifying, essentially the Zodiac killer in a homemade green suit, but he keeps the same manic energy that has been part of past live-action depictions like Frank Gorshin or even Jim Carrey. The result is unnerving to watch as it plays out.
Where this film truly excels (besides the writing) is the gorgeous cinematography. Every shot of this movie is beautiful, and feeds into the story so well, helped by how much of it was practical effects. This Gotham is so simultaneously dirty and captivating, making it as much of a character as the people who populate it. And then there’s the score by Michael Giacchino, instantly iconic as it pulls you deeper into this world.
As far as negatives go, there are a couple that are pretty subjective. Firstly, this film’s story is dark, possibly the darkest a Batman film has ever had, and pushes the envelope because while it’s got an age rating that won’t dissuade some from taking their kids to see it, you might want to make sure your kids can handle it first. The second is its length, and while the story is paced brilliantly and never feels like it drags, it’s understandable how a nearly 3-hour long movie might not be for everyone. But again, those are more subjective flaws than true ones.
The Batman is an amazing film for the character, and Matt Reeves’ love for the comics shows through. I’ve avoided making comparisons to The Dark Knight for the whole review, mainly because that particular film has grown on the internet to become the de facto pick for most people’s favorite Batman movie. But now in the end, I feel comfortable making this statement: The Batman is better than The Dark Knight. And that’s because while Nolan’s crime epic leaned away from comic book sensibilities to try and be “realistic,” Reeves leaned more into those sensibilities, creating an epic superhero mystery. If the future of the Batman film franchise outside of the DCEU is in Reeves’ interpretation, then I cannot wait to see what he has planned next.
BRETT’S TAKE
As it turns out, for the most it absolutely does. At its core, The Batman to me is a private detective film, embodying many of the troupes that come along with such a film. While fans are used to seeing a Batman at the height of his powers, here, he is fundamentally imperfect, often sustaining a lot of damage throughout his fights often existing as more creature than a man to an extent. Despite this, our hero’s crusade must endure as he works to uncover the mystery behind the Riddler’s machinations. In the process, he will grapple with Gotham’s darkest secrets. I won’t spoil it here, but if you’re a fan of Geoff Johns’s earth one line then it will definitely add a new wrinkle to the cinematic canon of Batman.
As I’m sure you can guess, the cast is fantastic. Most importantly, Pattinson carries the film with aplomb, bringing us a Dark knight stripped down to his bare essence while still hewing to something familiar (for me I was often reminded of Batman the animated series) Zoe Kravitz, Paul Dano et al put on an acting masterclass that serves as a great reminder of what happens when you have a near perfect synergy of performance and crew.
For the most part, Matt Reeves does a stellar job here. Cowritten with Peter Craig(the writer behind the Keanu Reeves iteration of Cowboy Bebop) Reeves brings us a Batman unlike any we’ve had before in live action, Dune’s Greig Fraser serves as Cinematographer here and once again delivers a lush, vibrant color palette that to me facilitated production designer James Chinland’s Gotham City coming to life on the big screen in a whole new way that will redefine what people think of Batman’s town in much the same way Tim Burton’s had with Michael Keaton’s Batman in ’89.
Special mention must go to Michael Giacchino’s score. I’ve been following his work since JJ Abrams’ Star trek and his work is always a highlight of whatever film he works on. With The Batman, he has hit another level bringing us an operatic score that heightens the tension on screen at any given moment. While things always have a tendency to change throughout production I was glad that the snippet we heard during the initial camera tests remained in play. Batman themes have always been iconic so it’s great to see-or rather than hear- Giacchino join the pantheon of great Batman composers alongside Shelley Walker, Danny Elfman, and Hans Zimmer.
However, I’d be remiss if I didn’t bring up a few nitpicks, most notably the length and the third act. While Fraser’s work in Dune served as a boon whenever the aforementioned Dune lagged, here there were definitely times that you could feel its length. I can’t help but feel the film could’ve done with being 20 minutes shorter. That being said, I applaud WB for allowing Reeves to bring his singular vision to the screen. I doubt this will detract from many moviegoers’ enjoyment of the film.
Matt Reeves took a big swing and it paid off in a big way for the most part. With outstanding performances from Pattinson and Co, outstanding writing and directing, and a career-defining score from Michael Giacchino, Despite a couple of issues this film will no doubt please both Bat-fans and general cinema-goers alike. I can’t wait to see where Matt Reeves Batverse goes next.
