The Batman

What was once a solo project for Ben Affleck has now morphed into an entirely new adaptation of the Caped Crusader, one that stands apart from the current DC extended universe. This Batman, helmed by Let Me In and Dawn & War for the Planet of the Apes filmmaker, Matt Reeves, harkens back to the moodier, more noir-inspired takes on the character with a grungier depiction of the bat. And thankfully we get spared the sights of seeing Thomas and Martha Wayne gunned down in crime alley.

Bruce Wayne (Robert Pattinson) is now in year two of donning the cape and cowl as Batman. With organized crime and injustice still running rampant in Gotham, he’s questioning whether he’s actually making a difference. This new iteration of Batman/Bruce Wayne is much more of a recluse, spending most of his time as Batman and not really knowing how to be the Bruce Wayne, the so-called Prince of Gotham, despite the insistence from  trusty butler, Alfred (Andy Serkis). Batman may have found his purpose when the city’s politicians are ending up dead at the hands of The Riddler (Paul Dano) and clues left on their bodies marked specifically for the Batman.

Director Matt Reeves doubles down on the noir sensibilities of the character, emphasizing the detective side of the character first and foremost. This is a gritty, tech-heavy neo-noir, even down to its opening and closing narration. Batman can’t fight his way though Riddler’s deeply tangled web of death and mystery, rather he must use his smarts and his detective skills. Seeing the character gloss over a crime scene and examining the smallest, possibly minuet details is something Reeves gives a great deal of care to explore.

If Nolan took stylings and sub-genres from likes of Michael Mann and Zack Snyder from that of John Boorman, Reeves takes from David Fincher and even Sidney Lumet. There’s a dash of Serpico here, a dash of Zodiac, hints of Chinatown and plenty of Se7en, but it doesn’t ever feel derivative. 

Yes, the term “dark” is often thrown around with Batman, he is The Dark Knight, of course; but The Batman is often quite disturbing, even startling in some sequences. We do live in a post-Joker studio system, but this pushes the limits of a PG-13 more than any other tentpole blockbuster I can think of. There’s even some inspired gallows humor involving a severed limb. Parents, prepare to scar your young children! This is also the first PG-13 superhero film with an f-bomb in probably a decade.

Reeves, alongside co-writer Peter Craig (The Town), crafts a razor sharp narrative that weaves a sprawling and dense mystery, with a deeply personal character study of a tormented soul with absolute precision. Robert Pattinson is one of the very best on-screen depictions of the classic character. If there’s ever been a consistent criticism among most Batman films, it’s that the actual caped crusader tends to be one of the less interesting characters of his own films. Reeves rights that wrong as Pattinson’s haunted, anguished Batman is richly characterized with pathos and vulnerability. The strained relationship between Bruce and Alfred is deeply layered and gives way to some emotionally potent exchanges. This Alfred has the fatherly warmth, and tough love that shapes an interesting new depiction of this relationship.

This is a vision of Gotham we haven’t truly seen before. Reeves and cinematographer Greig Fraser (Dune) evoke such a distinct atmosphere, with the emotive, near-constant downpour of rain and the orangey color of fire in the sky depicting the city as the hell that it is. There’s a richness to the look and feel of the city, so much so you can practically feel the soul of Gotham bleeding through each meticulously composed frame.

So much of the thrill of The Batman comes from the exploration of Gotham, and the mystery that slowly unfurls. As Batman and Gordon work to put an end to the Riddler’s reign of terror, Reeves takes us through an exploration of the city and its many rulers. John Turturro is captivating as the villainous mob boss, Carmine Falcone, who owns half the cities cops and politicians. He works alongside Oswald Cobblepot aka The Penguin, who runs the post-industrial Iceberg Lounge, Gotham’s premiere club for criminals and politicians. Colin Farrell is quite astonishing as the classic villain, this time portrayed as more of an Al Capone figure, mixed with the look and camp of a Dick Tracy character. Farrell loses himself in the role, creating an endlessly watchable new take on the villain that doesn’t rely on the unrecognizable make-up to do the work.

Matt Reeves expertly utilities a first-rate ensemble cast without a single fluke. Peter Sarsgard is having a blast as Gotham’s drugged up District Attorney who gets in too deep with the seedy underbelly of Gotham’s organized crime. Zoe Kravitz is Selina Kyle aka Catwoman, whose character serves as much of the films heart, is sensational. The actress has sizzling chemistry with Robert Pattinson, occasionally sparking the same sexual flame as Michelle Pfeifer and Michael Keaton in Batman Returns. Jeffery Wright is a terrific Jim Gordon. His dynamic with Pattinson’s Batman is one of the films biggest strengths as the two actors have an effortless rapport with one another. Paul Dano is chilling as the Riddler, a smartly characterized version of today’s alt-right trolls, but taken to disturbing extremes.

Despite the whooping 176 minute runtime, you don’t ever really feel the length. That is until the  climax that comes almost too late in the film that feels slightly disjointed from the rest of the film and dissipates some of the tension. It’s only here where the film feels close to bursting at the seams. Thankfully, Reeves does reel things in for the closing minutes, despite a sequel-bait that feels beneath this movie.

The Batman is the best adaptation of the character since The Dark Knight. This Batman is a thrilling, sophisticated, exhaustive pop epic that also features the most tangible cinematic portrayal of Gotham City yet. It’s films like this that make you appreciate the craft of what these pop epics can be, opposed to watered down, edge-less CG smorgasbords the genre has often fallen into.