OnScreen Review: "The Batman"
Ken Jones, Chief Film Critic
We’ve got a new Batman movie, which at this point is basically like saying there is a new James Bond movie; regardless of the state of DC, the DCEU, or their attempt to keep pace with Marvel, Batman continues unabated. Robert Pattinson is the new Batman, Matt Reeves is the new director, and The Batman is their dark, gritty, grungy entry into the Batman lore.
This version of Gotham is essentially New York City that is awash in crime. Near the beginning of the film, several low-level criminal acts transpiring at night; the theft of a convenience store, a gang of hoodlums terrorizing others, etc. When they look up in the sky and see the bat signal, their attitudes change to one of apprehension and palpable fear. Their eyes dart around, they peer into the murky shadows, looking for the mere possibility of the unseen threat that may be lurking there ready to pounce on them. The Batman may be anywhere. Reeves and his crew have created a Batman that is to be feared by the criminal element he intends to clear out in his town, even adding the not-so-subtle sound of his boots jingling like spurs when he walks, evoking an old west gunslinger.
There is more that this film evokes. At least two heavy sources of inspiration for Reeves are David Fincher and the combination of Martin Scorsese and Paul Schrader; specifically, movies like Se7en, Zodiac, and Taxi Driver. Robert Pattinson’s Bruce Wayne journals! And we get the voiceover of some of those journal entries to narrate over what is shown on screen, eerily similar to Travis Bickle’s narration about the dirtiness of the city. And Fincher’s two films definitely influence the police procedural aspect of the film and the antagonist at the heart of the film, Paul Dano’s Riddler.
The Riddler is typically known as an over-the-top comedic villain, laughing maniacally, and throwing witty riddles Batman’s way, portrayed most famously by Jim Carrey in 1995’s Batman Forever. This iteration of the character is as different as you can possibly imagine. Dano’s Riddler is a mysterious serial killer, targeting some of the most powerful people in Gotham. The film opens with a vouyeristic, POV shot of Riddler surveilling the apartment of high-profile politician through binoculars, a shot that is intentionally recreated later when Batman is surveilling someone’s apartment. This Riddler has his riddles but is a far darker character than we’ve seen before, almost like something out of the Saw franchise leaving greeting card messages at his crime scenes addressed to “The Batman.”
So Riddler as a serial killer sets up the police procedural aspect of the film, and it really leans into the detective aspect of the Batman character, after all, “DC” means Detective Comics. Even compared to Nolan’s trilogy, this is the most detective-heavy, crime-solving Batman film we’ve seen. As a vigilante, Batman walks a fine line between working hand-in-hand with the law and working outside the law. To that end, he works the case with two partners on both sides too, Lt. Gordon (Jeffrey Wright), who brings him because Riddler’s clues are addressed directly to him. Pursuing the case outside of the law brings him into contact with his second partner, Selina Kyle/Catwoman (Zoe Kravitz), who is working at the Iceberg Lounge, a criminal hangout spot operated by Oswald Cobblepot/Penguin (Colin Farrell). They team together to try to figure out how the mob element fits into what is happening with Riddler, who seems intent on revealing information that could tear down the city.
If all of this seems like a lot of plot and moving pieces, that’s because it is. The film clocks in at nearly three hours. It definitely feels it length, but I found the film pulled me into the story so much that I didn’t mind the long runtime. And while the film is heavy on the detective work, there is still plenty of action. And it is worth mentioning that while the film is dark, both content-wise and visually, I had no trouble following the action and discerning who was who in a melee. Reeves and his cinematographer Greig Fraser have done a tremendous job balancing the dark, murky nighttime that Batman uses to his advantage and lighting enough so the audience isn’t lost like we’re watching the The Long Night episode of Game of Thrones. Also, Michael Giacchino provides a score that is minimalistic, brooding, and imposing without ever being overpowering; it slides in neatly beside Nirvana’s “Something in the Way” which appears twice in the movie and played over the trailer; it feels like the score itself is also lurking in the shadows alongside The Batman.
Thematically, the story of Batman and Gotham City has almost always rested upon the corruption and the need to clean up the city and restore it to its former glory. The same is true here, this time in the form of a “Renewal Fund” project that was established by Thomas Wayne that has not produced the results people expected as the city is no better for it. With crime rampant, everyday citizens terrorized, Bruce Wayne attempts to physically succeed in achieving his father’s goals fell short philanthropically. Vengeance is a powerful theme of the film too; Batman declares himself to be the vengeance of the city upon the criminals, Selina Kyle is looking for vengeance with Penguin and Carmine Falcone (John Turturro), and Riddler is exacting his own kind of vengeance. Ultimately, though, Batman comes to the realization that vengeance is not enough for his purposes, and there is a turn more toward hope.
Overall, I think this is a very fine cast. Pattinson is a talented actor and after an extended period post-Twilight of doing strong work in independent and art house films, this should be a significant return as a potential A-lister. I really enjoyed the work Zoe Kravitz put into Catwoman, a more grounded role than even Anne Hathaway’s and certainly Michelle Pfeiffer’s previously. Pattinson and Kravitz have real chemistry. Paul Dano maybe gives the best performance as Riddler; he is so unnerving. Jeffrey Wright and John Turturro add gravitas in their supporting roles. And Colin Farrell, unrecognizable under the makeup and prosthetics, gives a fine Robert De Niro impression; I certainly expect an expanded role in the inevitable sequel. Andy Serkis is a welcome sight as Alfred and Peter Sarsgaard gets to be a sleazy, corrupted district attorney. Barry Keoghan gets an uncredited role that hints toward possible sequels as well.
DC found the right director and star to tell the right kind of narrative with Batman, a grounded detective story with personal investment. Honestly, The Batman this is the kind of Batman movie I want to see. If they want to make a separate Batman that is connected to the greater DCEU, have at it and Godspeed, but keep this on a parallel track. And while this film is dark and grimy, there is room for modulation going forward. Reeves and Pattinson’s Batman is one I’m interested in seeing more from in the future, hopefully in a Gotham increasingly populated by a thriving and vibrant rogues gallery.
Rating: 4.5 out of 5 stars