Movie Review: The Batman

The Batman

Director: Matt Reeves

Starring: Robert Pattinson, Zoë Kravitz, Jeffrey Wright, Colin Farrell, Paul Dano, John Turturro, Andy Serkis, Peter Sarsgaard,

Rating: PG-13

Runtime: 176 minutes

Spoilers Follow:

Batman is the world’s greatest detective but in modern times it’s easy to forget that, even if you’re a fan.  This aspect of the character is rarely emphasized in adaptations outside of comics (barring a few rare gems like the 1990s animated series), especially in film.  Yes, the cinematic Batmen are often shown doing basic forensic work but none of the live-action movies have focused heavily on the character’s crime-solving the way that many of the best comics do.  The latest reboot changes all that.  Directed and co-written by Matt Reeves, The Batman is an engrossing modern noir film that foregrounds a great detective story that challenges the especially tortured version of the Dark Knight played by Robert Pattinson to reexamine what his war on crime should stand for.

The film begins two years into that war.  Bruce Wayne has established his alter ego as a fearsome creature of the night, with criminals running scared at the mere sight of the Bat-signal in the sky, even if Batman doesn’t wind up targeting them specifically.  Despite this, Bruce fears that he is not having an effect or possibly even having a bad one, noting in Travis Bickle-esque narration for his journals that crime and corruption in Gotham City seem to have gotten even worse.  This is emphasized when the Riddler (reimagined as a Zodiac-inspired serial killer played by Paul Dano) begins killing members of the city government.  In the ensuing investigation, Batman works with allies Lieutenant Jim Gordon (Jeffrey Wright) and a not-yet Catwoman Selina Kyle (Zoë Kravitz) to uncover a sinister conspiracy that includes shocking secrets about the Wayne family and redefines Gotham’s future.

Although similar to Christopher Nolan’s acclaimed Dark Knight Trilogy in that it presents a relatively grounded version of the Batman mythos, without any references to superpowers or other corners of the DC universe, the new film is still fresh and unique.  Reeves and company have created the most comics accurate live-action Gotham that is also the perfect setting for what is simply a great mystery thriller.  As should always be the case, Gotham recalls the crime-ridden New York City of decades past but also has its own haunting atmosphere thanks to grungy production design from James Chinlund and gorgeous cinematography from Greig Fraser which work together to make the city more… well… Gothic than it has been since Tim Burton’s time with the franchise.  The film is drenched in influence from and references to great vigilante, noir, and manhunt movies from throughout cinematic history, including classics like Chinatown and more recent entries including the work of David Fincher, especially Se7en and Zodiac.  Reeves’ and Peter Craig’s screenplay constructs a mystery worthy of these famed ancestors while also diving deeply into the specificities of the Batman characters and mythology in nuanced and compelling ways.  The writing and William Hoy and Tyler Nelson’s editing ensure that the plot, emotional development, and themes complement each other and twists in the mystery are consistently informed by growth in the characters and vice versa, and the result is a story that remains absolutely engrossing through every minute of the film’s nearly three-hour runtime.

Pattinson creates a unique and compelling new depiction of the Caped Crusader, taking some of the best aspects from his predecessors and combining them with his own fresh characteristics.  His Bruce is even more of an oddball than Michael Keaton’s was, a total creature of the night that winces at sunlight (recalling Pattinson’s role as a vampire in the Twilight movies) and petulantly scoffing when Alfred (Andy Serkis) insists he do the most minimal tasks to keep the Wayne family company running.  The playboy façade persona is completely absent, with Bruce only appearing in suit and tie in public once to attend a memorial for one of Riddler’s victims in the hopes of finding clues, and he looks like he wants to jump out of his skin the whole time.   There’s a real sense that he’s only comfortable as Batman and Pattinson do a great job of showing this through hunched, antsy posture.  As Batman he is striking to watch, full of barely contained rage but also a sharp investigator and not above sharing a dry joke with Gordon or Selina.  He also shows a tenderness and genuinely altruistic side that’s missing from some of the other live-action portrayals.  It’s a masterful performance informed by an excellently designed character arc in which Bruce transforms from a weapon of righteous vengeance into a truly inspiring superhero.  Pattinson should definitely be in consideration come next awards season.

Kravitz’s Selina is the most fully developed character among the supporting cast and is a great foil to Pattinson’s Caped Crusader.  The attraction between the two is instant and undeniable but the film also highlights how their vastly different life experiences put them at odds in crucial ways.  Selina is more down to Earth and arguably a much more relatable character and she’s not afraid to call Bats out when he displays narrow and entitled views, especially in regards to how economic problems contribute to crime.  Her character arc draws directly from a popular comic book storyline and between this and Kravitz’s witty, nuanced performance and excellent chemistry with Pattinson, Selina emerges as a stand-out element of the film.  Riddler’s role is also closely tied to the themes of wealth and class and as he leads Batman down the rabbit hole of Gotham’s corruption the hero is shaken by what he learns of the Wayne family’s role in it all.  This brings up similar ideas to ones from Todd Phillips and Joaquin Phoenix’s Joker movie but The Batman’s execution of those ideas is far beyond that mess of a film.  Dano’s performance is decidedly unusual but creates the right effect given how Riddler is portrayed.  Rather than a cold-blooded killer, he’s a hammy weirdo, though still frightening in key moments and fans will likely be pleased with how closely his motivations are ultimately tied to those in the comic book canon.  With Riddler spending much of the film manipulating events from the shadows, other villains are also given significant roles.  Colin Farrell, unrecognizable in some truly amazing makeup and prosthetics, plays Oswald “Oz” Cobblepot/the Penguin as a mid-level gangster who longs for power and a more fearsome reputation.  His performance and accent are the right kind of cartoonish and the character winds up delivering some of the film’s strongest comedic lines and stealing several scenes.  Viewers will be all in for Oz’s upcoming HBO Max spin-off show.  John Turturro is understated and unnerving as Carmine Falcone, Gotham’s leading crime lord, who rivals Riddler as the film’s most frightening figure.  Wright and Serkis round out the main cast as the two halves of Bruce’s limited support system.  Batman and Gordon have an easygoing buddy cop dynamic and Wright is a great source of warmth and dry humor throughout.  Alfred’s role is smaller than one might expect but all his scenes are crucial as he tries desperately to have Bruce keep whatever humanity he has left and Serkis and Pattinson do masterful work together depicting the strained, confused emotions of their dynamic.

The Batman is simply a triumph in almost every regard.  It’s hugely entertaining as a superhero adventure, with excellently choreographed fight scenes and an intense car chase as highlights of its spectacle, while also proving completely satisfying intellectually and emotionally as an engaging mystery and moving character drama.