There’s just something about Batman. He’s a character that draws in auteur filmmakers that are compelled to depict the caped crusader in their own unique style. As a character/concept/symbol, Batman is adaptable to several genres and moods alike. While I’m in the camp that no one will be able to craft a Batman film (or truly any cape flick) as good as Nolan did, I’m always excited to see how different directors depict the hero.
In this new iteration, Bruce/Batman (Robert Pattinson) is currently two years into his nightly vigilante habits. His presence has made low-life criminals around the city nervous, but there’s so much high-level corruption in Gotham that doesn’t fear the bat. A new criminal, The Riddler (Paul Dano), starts a killing spree where he targets those who’ve contributed to the degradation of Gotham. In order to solve the crimes and uncover a grander conspiracy, Batman to seek the help of Catwoman (Zoe Kravitz) and Gordon (Jeffrey Wright).
Matt Reeves is the latest director to tackle the Dark Knight. He does so with 100% purpose and style. He, along with cinematographer Greg Fraser, don’t let a single shot go to waste as they capture these characters in settings so moody, that you can feel the atmosphere emanating through the screen. Each shot is framed with natural light (re: low light) and feels cold. Even the ever-present red lighting that this movie will be known for, feels cold.
Batman has been been depicted in many ways, but it’s so rare that we get to see him as a detective. The Batman changes that by focusing on its clues and puzzles left behind by its villain. Take away the notion that this is a standard super action flick. Instead, Batman slowly walks through crime scenes to look for the tiny details that will lead to the end of the mystery. Yes, there are a few fights, and they’re fascinating to watch, but no one should go into this thinking they’re going to be blown away with the latest special effects.
Many casual moviegoers don’t yet know of what Robert Pattinson can bring to the screen. His performance as Batman is nuanced and feels even more human than his role as Bruce. He’s playing the character, not as the millionaire playboy, but as a tormented recluse that sleeps all day and tries to instill vengeance and fear at night. It won’t be the most welcome approach, as it doesn’t differentiate from the stoic behavior of Bats, but it’s purposeful all the same. Bruce is not yet confident in the two roles he must play for Gotham’s sake. Instead, he’s fully dedicated to his larger mission to eradicate crime. The suit seems far more comfortable in this version and allows Pattinson to show range more clearly.
The rest of the cast is stellar, with only minor missteps. Paul Dano is terrifying as the Riddler, in both his costume, but probably more so without it. It’s such an amazing take on a villain that has been treated as a joke for decades. I was sold on Zoe Kravitz as Catwoman, but she was given some really terrible lines. Her impact on the story is huge, but I would have liked to see her in character more often. Colin Farrell is completely unrecognizable as the sleazy Penguin. He isn’t yet the well-connected mob boss we see in other works, but he’s proves that he’s willing to do whatever it takes to get there. There’s something so special about Batman’s rogues on screen, that I want them to continue on and get so much more screen time.
If you haven’t heard already, The Batman is a near three hour film. And for a crime thriller with little levity, that may be too much to ask for many popcorn crowds. However, it methodically takes its time to unweave the mystery of what secrets Gotham holds and is completely worth it by the end.
Two of my favorite aspects of this film are the score and the setting. Michael Giacchino delivers a haunting score that fits so well in this long halloween week that the film takes place in. You won’t soon forget Batman’s new theme, but you’ll also feel the dread and mood of each scene with its haunting composition. Also, let’s talk about Gotham. Gotham is a full-fledged character in this film. This rainy, dark city feels like its smothering each scene on purpose. Its canopy is one of built-in corruption and rot and feels so alive. This is easily the best depiction of the city that is central to every Batman story.
The Batman is a rain-soaked moody noir, instead of a justice-filled action movie. It is a welcoming approach to the character that does enough to establish this new universe without requiring an origin story. I can’t wait to see where they take the character next. The length of the movie will hurt its replay value for most, which is understandable, but I loved watching the mystery play out. I wish every cape flick was a standalone experience like The Batman. This is truly exceptional filmmaking. A-
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