The Batman - Review

 

Yes, it’s another “Batman” film. Another dark and gritty take on the caped crusader, the world’s greatest detective, donned in a full leather batsuit and with a grim, grizzled voice. Yet, for as many other live action films starring Bruce Wayne and his alter ego, something about Matt Reeves’s (“Cloverfield,” “War for the Planet of the Apes”) interpretation feels just so different, so refreshing, and so hopeful.

Robert Pattinson (“Twilight,” “The Lighthouse”) manages to overcome every single mean tweet, snide comment, and backhanded reference to Twilight that’s been made after his casting was announced. He is so perfectly in tune with Reeves’s version of Batman. It’s a symbiotic relationship between the two, and it's clear that without Pattinson, the film would be fundamentally different and not nearly as good. There’s a blurred line between his Bruce and his Batman because there’s a blurred line there for Bruce as well. While some may call the role a more “emo” interpretation of the character, it's a fundamentally different and exciting take on the character, focusing more on a younger, inexperienced Batman rather than a hulking mass of multi-million dollar muscle in an expensive leather suit.

Likewise, the film’s supporting cast is also top notch. Jeffery Wright (“Angels in America,” “Westworld”) is instantly the best Jim Gordon we’ve seen on the big screen. His dialogue with Batman, the back and forth between the two, their chemistry, and his own mini-arc throughout the story are all wonderfully refreshing and so entertaining. Zoë Kravitz (“Big Little Lies,” “High Fidelity (2020)”) also delivers an incredible performance, losing herself in the cattiness (pun fully intended) of Catwoman without ever letting it turn sour or into self parody. Paul Dano (“Little Miss Sunshine,” “There Will Be Blood”) meanwhile is carefully deployed by Reeves to make his Riddler as terrifying and intriguing as possible. It’s not a role over exaggerated by marketing, but those who go in expecting him to be in two-thirds of the film will likely be disappointed but also thoroughly shocked all the same.

The rest of the supporting cast might not have as much screen time as the former, but they take advantage of what they’re given to make the biggest impressions possible. John Turturro (“Do the Right Thing,” “The Big Lebowski”), Peter Sarsgaard (“Jackie,” “Dopesick”), and Andy Serkis (“Black Panther,” “The Lord of the Rings: Return of the King”) all play their cards calmly and simply, maintaining a great grounded nature to their characters. Meanwhile, Colin Farrell’s (“In Bruges,” “Alexander”) Penguin is as delightfully over the top as you’d expect, but not without his own restraint and grounded nature either.

Realism is a great thing to discuss next, because while the film is gritty and grim and dark and “realistic”, it's not in the immediate first way you’d think. This is not the real world, “Gotham is basically just Chicago”, hyper real sheen of the Nolan films. Rather, Reeves doesn’t go for realism necessarily; rather, the better word for it is believability.

Every drip of rain, art deco interior, shadowy alleyway, and seedy bridge underside helps to build this version of Gotham to life in a way that Gotham hasn’t felt since the Burton films. But its still the best of both worlds: it's the believable realism of the Nolan films without their bland sheen combined with the exaggerated nature of the Burton ones without their backlot set look.

Michael Giacchino (“Up,” “Inside Out”) has been teasing audiences with his score over the past few weeks, doling out individual tracks every few days, but there’s simply nothing like listening to it in the moment. This new theme for the caped crusader is instantly iconic and memorable, and the delicate way Giacchino plays with music throughout the film is just awe-inspiring.

Likewise, the way the film is shot is just truly something else. Not only is the heavy use of colors like reds and blacks so fun to watch, but cinematographer Greig Fraser (“Zero Dark Thirty,” “The Mandalorian”) shoots the film with such care for every shot. Moments of dark alleyways and Batman simply walking into crime scenes carry such intense weight. It’s hard to describe it any more than just being “well shot” but it's that kind of film that ends up being a playground for your eyes.

It’s a playground for your mind as well, because Reeves and his co-writer Peter Craig (“The Town,” “Bad Boys for Life”) have crafted a story that feels as refreshing and good as the best Batman excursions, in film or not. It’s a younger Bruce and therefore a younger Batman. He isn’t as well equipped, mentally or technologically, to handle a lot of what's thrown his way. He gets hit, knocked down, stumbles, gets things wrong. It’s thrilling to watch because it feels like for the first time (possibly ever) a film understands the duality of Batman, what he represents for the citizens and for the criminals and what he can represent for himself.

Is it the most original story? Not at all, the David Fincher/”Se7en”/”Zodiac” allusions are clear from the start, but it doesn’t have to be. Rather, as long as the film’s internal logic is secure and it keeps the central theme in focus then it all works. It also helps that the film seems to focus on elements of Batman that, while some have been explored before, haven’t been explored like this in a film before. It’s boldly about police corruption and power, privilege for those who want to help and want to hurt. It’s even a story about the world’s greatest detective that actually lets him be a detective. Groundbreaking stuff.

Even the runtime, a behemoth of just four minutes shy of three hours, isn’t a struggle. Sure, it means actually planning when to watch the film is a bit of a struggle, but when you’re actually watching it, it flies by. Every moment is well paced, every discovery, action sequence, it all flies by with such an expert pace that it becomes almost comforting.

Speaking of comforting, despite the allusions to “Zodiac” and “Se7en” and other serial killer films, there’s an odd kind of comfort to it all. Is it dark, grim, gritty? Absolutely, but it's dark without being depressing. It doesn’t sacrifice stakes or intensity for this either. There are plenty of moments that will make audiences jump or catch their breath as they exhale, but it never feels like a slog. Arguably, this is yet another thing it has in common with those Fincher films; the balance of entertainment, intrigue, and fear.

Without seeing it for yourself, it's really hard to properly communicate just how excellent Reeves’s “The Batman” is. Think back to when “Blade Runner 2049,” “The LEGO Movie,” or “Mad Max Fury Road” were released. Remember how people were shouting from the rooftops how good those were and most likely reacted with, “Okay, but how good are they actually?” Add this into that category, because it's impossible to talk about just how good it is on every single level without spoiling things.

Every decade or so it feels like a new movie comes out that changes the superhero genre. But even for the best, it's hard to break through to the other side, to become something more than just “a fun, exciting” time and to move into something truly game changing. “The Batman”, is one of those films, easily classifiable next to the greats like “The Dark Knight” and “Spider-Man 2”, possibly even squeaking out the former as the best Batman film. But that specific distinction is something only time will tell.

What matters right now is that this is a masterpiece of a film. A vision and story with such a specific vision, specific things to say, and such a specific execution that it becomes a kind of miracle. It’s thrillingly acted, expertly shot, with music that will become legendary and a story that will be remembered as one of Batman’s best in any medium. Quite simply put, it is an astonishing drama that never loses a sense of fun which will be talked about for years. 5/5