Why is it that DC seemed to be only able to get Batman (almost) consistently right? Here we have a DCEU film that was dark, but noir-esque rather than bleak, serious and dramatic rather than dour and existentialistic. It lacked humour but was not weighed down by its own self-seriousness and dread.
This was a great concept and a refreshing iteration of the iconic - and over-exposed - Batman. The Year 2 masked vigilante who was still discovering his purpose, his place and his footing in Gotham City and as a "superhero". But also, an emo and ungrounded Bruce Wayne who has not grown to become the self-assured, confident billionaire that we were more familiar with.
Although it would have been interesting to see how this Batman/Bruce Wayne came about but Matt Reeves and co did a great job in establishing the character and trusting the audience to be familiar with the mythology and origin story to be able to fill in the backstory themselves.
Essentially, The Batman was one long crime thriller. More of a why-dun-it rather than a whodunnit, and again, this formula made it stood out from its predecessors and other large-screen superhero flicks. Think more Netflix-Marvel era Daredevil and Jessica Jones, with a hint of David Fincher's Zodiac and Seven (minus the style). Though, granted, the dirty, noir-ish cinematography by Greig Fraser (last seen working on Dune), did give the whole film a stylised noir mood - with some outstanding moments and aesthetics - and an overall grittier feel which made the film just that more approachable and relatable.
However, at 3-hours long, the movie definitely felt like it. Although thankfully it did had enough going on to feel enjoyable almost throughout and the periods of downtime was just enough to let the film breathe without bogging it down. However, this was still no Drive My Car, but at least it was not a Dune.
Most of the action choreography was excellent. There was less use of gadgetry and more hand-to-hand more combat, which was refreshing. The fight scenes were generally easy to follow, and, again, thankfully well lit. The big car chase scene was adrenaline pumping and nail-biting, however it may have more to do with Michael Giacchino's big score rather than Reeve's direction. There was just a bit too many edits and cuts in that scene to make it feel really organic and immersive.
Robert Pattinson ended up being a great choice for Batman. But, he was an even more inspired choice to be the new Bruce Wayne. He has got that private, moody, edgy, emo, brooding, posh look down pat. He may lacked the physicality of Batman which did make Batman's skills seemed suspect, but at least the suit bulked him up and he has the jaw and height for it. Although, I would not say he has the best jawline for that cowl of all the cinematic Batmans. Regardless, Pattinson is an underrated actor and he definitely delivered here. It was just a shame, we had less scenes of him as Bruce. Though, his eyes - all shaded in emo-black - was fully expressive and emotive.
Zoe Kravitz, on the other hand, just looked great. Unfortunately, her role was diminished and not really relevant. And sadly, was not Michelle Pfeiffer. She was given less opportunities to show off her Catwoman skills/persona, but instead was portrayed more as a femme fatale. But even then, her action sequences demanded more, which Kravitz could have definitely delivered. Thankfully, she did have some screen chemistry with Pattinson. However, if she does not show up for the sequel, I doubt she will be much missed.
The rest of the supporting cast were superb! Collin Farrell, unrecognisable, stole the show as Penguin (can't wait for his mini series!); Paul Dano was scarily terrfiying as Riddler (this ain't no OTT-esque Jim Carrey camp); John Turturro was a convincing crime boss; and Jeffrey Wright gave James Gordon such gravitas and strength that it was utterly believable that he and Pattinson's Batman have an honest, reliable relationship.
As mentioned, Fraser's cinematography was great and Giacchino's score was a standout. This film deserved to be watched on a big screen, but IMAX may actually not give it that big a boost. The singularly great thing about The Batman was that, by itself, it was still a good noir thriller. Take away the characters we know and changed them to just their character descriptions, the beaten-down, emo sleuth, the femme fatale, the deranged villain, the mob boss, the criminal mastermind, the honest cop, etc, and the film will still work.
That is a little post-credits Easter egg, but mainly just for the diehard fans.
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