Non-comic book movie fans are probably asking themselves why we need yet another big-screen iteration of the Caped Crusader. If you notice, no one ever asks why we need another Shakespeare adaptation. I’m not saying Bob Kane is better than the Bard, but like the great Shakespearian characters, Batman is steeped in tragedy, violence, and theatrics. As with Shakespeare’s greatest works, Batman is a tale worth telling again and again, especially if you can find a new and interesting way to adapt and interpret it.
Matt (Dawn of the Planet of the Apes) Reeves’ film is a sort of a throwback to the thrillers of ‘90s (which makes me feel really old to say), especially the ones directed by David Fincher. There are moments here that echo both Seven and The Game, and the new Riddler, while not exactly plucked out of Fincher’s Zodiac, was obviously inspired by the real-life Zodiac Killer in many ways. Some sequences feel like they came out of a Saw movie as the Riddler’s traps have a very Jigsaw-like feel to them. Reeves is able to cherry-pick these inspirations and graft them into a tapestry that, although familiar, feel fresh when applied to the Batman mythos. (The prominent use of Nirvana’s “Something in the Way” adds to the overall ‘90s vibe.)
Sure, we have seen some of these elements in other films. What we haven’t seen is this kind of Batman. We saw how Batman trained like a Ninja, made his suit, and got all his gadgets in Christopher Nolan’s Batman Begins. Robert Pattinson’s Batman is interesting in that he is in his second year of vigilante justice. While he excels at some things (namely beating the crap out of street-level thugs), he needs a lot of work in other areas. In some scenes, when he busts out a gadget, you get the sense he is field testing it for the first time. When he narrowly escapes capture and/or death, he has a look about him that says, “Thank God, that worked” rather than, “It’s just another day at the office”.
In fact, you could probably watch this immediately after Batman Begins (or Batman ’89 for that matter) and it would feel like a true sequel to either branch of the franchise.
I think this might be the best and most satisfying character arc Batman has ever had in a motion picture. In the beginning of the film, he uses fear as his primary tool. (“They think I’m in the shadows. They’re wrong. I AM the shadows!”) Eventually, he learns that fear and vengeance are not enough to save the city. I won’t spoil his, “A-ha!” moment when he discovers the third ingredient needed to become a true hero, but I will say it’s one of the best moments in any of the Batman movies.
I also loved that the only one who really trusts what Batman is doing is Detective Gordon. The Bat Signal is brand new. Whenever there’s a murder, Batman is called to investigate the crime scene, much to the chagrin of the other cops. The way they look at him in disgust as he pores over the evidence is great. Also great: The crime scene photographer who knows what Batman is capable of, so he follows two steps behind him to take pictures of whatever Batman thought important at the time. The cops distrust him so much that when Batman makes one slip-up, they immediately declare open season on him. His escape from the police station is one of the greatest action beats in all the Batmans.
Another all-timer moment: His introduction. The “THUD… THUD… THUD…” of his boots in the shadows gave off real Robocop vibes and his beatdown of a street punk was some of the most brutal shit we’ve seen Batman ever do. Whatever reservations I had about Robert Pattinson in the Batsuit immediately disappeared. This dude IS Batman and I hope he’s the Batman for a very long time.
And, in a novel twist that further helps separate The Batman from the other screen versions of the character, he’s Batman for like 80% of the running time. While he’s close-but-not-quite-there to being the Batman we all know and love, he hasn’t a clue on how to be Bruce Wayne, and I kind of loved that. When he does show his face in public, he’s looked at as almost a twentysomething emo Howard Hughes, which is probably the last guy you’d expect to be the Batman.
Another cool thing: The villains arrive pretty much fully formed. Like the character of Batman, there are no origin stories to the bad guys. This might be the most villain-heavy film out of all the Batman flicks (if you count the cameo at the end) and each actor puts their own stamp on the role. Colin Farrell is unrecognizable as The Penguin. He chews the scenery with gusto and is as much fun to watch here as he was playing Bullseye in Daredevil. Zoe Kravitz also puts her own unique stamp on Catwoman. From her slinky catlike Kung Fu moves, to the way she nonchalantly drinks milk, she is one of the best Catwomen of all time (but we already knew that when she played the role in The LEGO Batman Movie).
As for the main villain, Paul Dano is not your father’s Riddler. There is nothing remotely Jim Carrey or Frank Gorshin about this guy. He’s a real sicko who thinks he’s “changing” things. In fact, Batman is so misunderstood by Gotham City at large in the film that Riddler actually thinks Batman is going to be the only one who understands him, much to Batman’s horror.
Oh, and not only does this flick contain what has to be the best Batmobile since the original car from the ‘60s TV show, it also has the best superhero theme (courtesy of Michael Giacchino) theme since Danny Elfman’s music for the Michael Keaton Batman movies.
Now, much has been made about the film’s three-hour running time. I’m afraid I have to chime in with the chorus and say, yes, it is too long. I can’t fault Reeves. He got the keys to the kingdom and didn’t want to relinquish them until he filled the movie to the brim with everything one could pack into a Batman flick. The third act is where the bulk of the problem lie. There’s probably one too many subplots (Catwoman’s daddy issues), an action sequence that feels like a leftover from the Nolan era (flooding Gotham), and a sequence where the Riddler’s henchmen are revealed to be nothing more than triggered incel gunmen. Did we really need an active shooter sequence in a Batman movie? Especially when you consider the same kind of real-life nut already opened fire in a theater showing The Dark Knight all those years ago? It seemed like a case of poor judgement rather than poor taste to me, but it did allow Batman to do yet another epic beatdown, so there’s that. At least it culminates in a truly memorable moment where Batman saves the day. This moment alone was probably worth all the little hiccups along the way.
Who knows with these things? These little third act issues might go away on repeated viewings. (My problems with the third act of The Dark Knight still stand every time I watch it, so it could go either way.) I already can’t wait to watch it again, so there’s that. I don’t think they’ve made a bad Batman movie yet (yes, I like Batman and Robin), and this one is one of the best.
RANKING THE BATMEN:
1. The LEGO Batman Movie
2. Batman
3. Batman Begins
4. Batman v. Superman: Dawn of Justice
5. The Dark Knight
6. The Batman
7. Batman Returns
8. The Dark Knight Rises
9. Justice League
10. Batman and Robin
11. Batman Forever
12. Batman: The 1943 Serial
13. Batman: The 1949 Serial
14. Zack Snyder’s Justice League
15. Suicide Squad
16. Batman: The Movie
17. Batman: Mask of the Phantasm
Where's the movie spinoff of the 1960's Batman series with Adam West and Burt Ward?
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