From the word go, the intriguing casting, gritty marketing and notable directorship (Matt Reeves) of The Batman have captured fans’ full attention. For the first time, the most popular DC hero of all time (as portrayed by Robert Pattinson) was set to follow a story with a thrilling, at times horrific spin as he pursued a new and deadly version of one of his greatest foes; The Riddler (Paul Dano). Last time we saw this villain in a live-action film he sported a pink hairdo and bright green jumpsuit adorned with his signature “?” emblem. On this occasion, we were promised a very different beast, with a dark, gothic Gotham as our story’s backdrop and a darker knight than we have ever seen on screen before…
The story opens with Riddler observing the Mayor of Gotham in his home, breathing heavily as he watches through a set of binoculars and awaits his opportunity to strike. We are immediately given an introduction to what to expect from this villain; a man unhinged and with an agenda, whose psychological state has driven him to extreme lengths in order to achieve his goals. The first kill comes quickly, as noted in the trailers, as the Mayor’s family departs for a long Halloween night (highlighting just one of the core source stories for the film). Riddler notably uses all of his limited physical strength to overpower the Mayor, having clearly utilised the greater strength of his mind to set out his plan of action before striking. As he “prepares” his victim for discovery by the Police, the wheels of Riddler’s greater plan are set in motion and the audience is swiftly made aware of what kind of film this will be. The closest comparison would be Zodiac, which Reeves has noted as an inspiration for the film, with others such as Seven and Saw each playing their part in inspiring one of the darkest comic book movies released in cinemas to-date.
We then cut to the streets of Gotham, where crime is rampant. Bruce Wayne’s voice reads an excerpt from his diary, where he records the outcomes and tribulations of Year 2 of his “Gotham Project”. The Batman skips the now well-known origin stories of its hero, instead opting to set the scene for the experiences and inclinations of this early-years caped crusader and striking a comparison between our hero’s state of mind and that of the villain of the story. The similarities between the pair’s motivation are a stark theme of the movie which come to a head later in the proceedings. What we learn about Batman at this early stage however is that he has learned to utlise fear as a powerful weapon in his mission to clean up the streets of his city. He recognises, but does not accept, his limitations. He has done much in his first year and months in the city, but feels he has far more yet to do. Shortly, we see Batman step out from the shadows for the first time, learning of both the functional brutality and fear-inducing reputation of this Dark Knight as he dispatches a group of street thugs with ease. Pattinson’s Batman will swiftly win you over in the action department, as this scene will undoubtedly make you sit up in your seat and take stock of what we have seen in just the first 20 minutes of the movie. Perhaps the most important lesson here, however, is that it is not only the villainous that fear The Batman, but the people of Gotham, too. So established is he as a symbol of fear, that all fear him and his motivations in their city.
Reeves storytelling mastery and attentiveness to the source materials for his story continues, as we step swiftly from the formidable, combative Batman on the streets to the cognitive observer and truly great detective so loved by fans of this figure. Trusted already by the focused and incorruptible figure of Lieutenant James Gordon (Jeffrey Wright) at this early stage of his campaign, Batman demonstrates his acumen for investigation and ability to profile his foes upon entering the Mayor of Gotham crime scene. The officers who surround him notably question the validity and appropriateness of his presence, once again reminding us that from the people’s perspective this is a brutal man who should be feared, with questionable values and uncertain motives. Nevertheless, Gordon recognises the value of an alliance with this unrestricted partner, seeking as ever to overcome the villainous hold that crime has over his much beloved city. It is at this moment that it becomes clear that Riddler expects and desires the attention of Batman, rather than fearing him, as he writes directly to the vengeful knight and entices him to follow the breadcrumbs on this as-yet unconcluded escapade…
With the stage set, the scenario and the setting established quickly yet firmly in our minds, we break away to Bruce Wayne completing his diary entry for the night’s work. Visibly exhausted yet unyielding in his mission, the disturbed yet determined orphan-come-vigilante is yet to master his dual-life, dual-persona facade in this universe. The mission of Batman far supersedes any interest that Bruce has in tackling his family’s business affairs, which his ever-supportive butler Alfred (Andy Serkis) informs us that he is just barely holding together, at the risk of losing everything that his father built for the city. It is here that it is easy to recognise this Batman’s youth. His physical strength and mental prowess lack the experience and maturity of either a seasoned vigilante or indeed a learned man. One of the greatest triumphs of The Batman as a movie is the genuine character growth of the titular character. So often, we receive a Batman with a few rules and a capable skillset to execute his mission, before simply rolling to credits when the job is done. Not so in The Batman, where Bruce Wayne has revealing and notable flaws which he must address and overcome in order to truly see his mission transform towards the outcome of a better Gotham City. Equally, The Batman does not shy away from Alfred’s past in the British Special Forces. A man injured and unable to perform physically he may be, but his wealth of experience and problem-solving mind see him do much more than simply serve the tea in this movie, and Serkis plays his part well.
Whilst this movie has character introductions galore for its opening hour, every one is portrayed with such recognisable power and accuracy that each time it is a pleasure. As he follows his initial leads, having decrypted Riddler’s first puzzle alongside Alfred, Batman soon comes face-to-face with the notorious Penguin (Colin Farrell); a criminal underboss working with Carmine Falcone (John Turturro) at the city’s most popular club for the morally-questionable: The Iceberg Lounge. Penguin is quickly demonstrated to be a powerful figure, and one not-so-easily scared or swayed. His city-smart swagger and tactical mind are as notable as his despicable nature and physical presence. A large man with a harshly-scared face is portrayed as a more capable penguin that we have previously seen in live-action media. He is unfearing in the face of the Batman, and has a wit to match the hero’s stern and straight questioning. In the same scene, we are introduced to Selena Kyle (Zoe Kravitz); soon revealed to be the infamous Catwoman.
At this stage, Kyle is less a notorious thief and more a physically-capable and athletic anti-hero who seeks to protect, and later avenge, her friend. Whilst taking a side seat to the title hero in this movie, Kravitz’s performance holds up alongside Pattinson’s own, and her presence is both felt and critical to the movie’s proceedings. Using her own form of power through seductive manipulation, but backing this exploitation of the folly of men with her own combative capabilities, Catwoman holds up on screen next to Batman throughout the movie and the pairing of the Cat and the Bat teases a future between the pair that comic book fans will no doubt crave for years to come. The movie’s twists and turns show us the vulnerabilities of Kyle just as they did in the early scenes for Batman, and in a similar way she is forced to grow and learn “on the job”, creating a powerful and enticing parallel between the would-be pair of vigilantes.
With the menagerie of distinguished acting pedigree established, the story at the centre of these characters can play out. A politically motivated plot unfolds which shakes Gotham’s established leaders to their core, exposing corruption in both the elected assets of the city but an equally untrustworthy element within the mob itself. Much of what unfolds, through gruesome murders and cryptic puzzles, is focused on Riddler’s objective of exposing the “rat” who assisted the Police in capturing and convicting Salvatore Maroni; Carmine Falcone’s powerful and infamous rival don. Forced by a need to find and stop the Riddler, and further enticed by the threat of further killings to come, Batman is forced to play the game his foe has set and find this rat to avert further bloodshed. Desperation and frustration offer us a thrilling, twisting escapade of a story backed by some of the best Batman action sequences which we have ever been treated to on screen. And, when ultimately the mission appears to complete, a grander scheme (inspired by notable events from the comic books) is revealed and unfolds to change Gotham City as we know it. Sequel bait as this may be, it sparks a critical climax in the movie during which Batman/Bruce is forced to adapt for the people of Gotham.
The close of the movie is then twofold in terms of its revelations. First, we see and hear that the mindset of Bruce in his closing diary entry has evolved. He recognises the need to be more than a symbol of fear and vengeance, and to stand for something that the people of Gotham can believe in and look to when hope is in short supply. He also knows that his Bruce Wayne persona must take a more care-giving and philanthropic approach to the city and its people; something encouraged by incumbent mayor Bella Reál (Jayme Lawson) earlier in the movie. As Batman evolves, however, so come revelations at the notorious Arkham Asylum. Here, another figure from Batman’s extensive rouges gallery makes a brief, obscured appearance. Disheveled hair, a wide, cursed smile and a familiarly-haunting laugh make this easter egg yet another exciting tease for fans in terms of what might have occurred in Year One of this Batman’s tenure, and what may await down the line. This scene is in lieu of a now-traditional post-credits teaser, but makes its own big impact. The brief performance of Barry Keoghan in this role, which had originally been a more pivotal one in the movie’s detective element, certainly offers an exciting glimpse of the future in this version of Gotham.
The Batman is truly thrilling, and expertly combines a strong understanding of source material with an original, grounded, gritty and enticing take on a well-known and loved character and his story. Outstanding performances across the board allow for intrigue to be met with suspense and action throughout the three-hour runtime, which truly does not feel as though it wastes a minute of its storytelling opportunity. The key players, and their development throughout the movie into more familiar versions of their characters, are the real sellers of the experience. Alongside the thematic darkness and dinginess of a broken city and the disturbed personalities which have grown to inhabit it, we get some strong emotional beats and character moments to suit, not to mention perhaps the best reveal of an automobile in movie history! To discuss this film without spoilers is to give but a glimpse of the marvelous work by all involved in its production. To summarise, though, this is an inspired movie that transcends the now-standard comic book genre in terms of theme, whilst staying true to all that has made its titular character and his colleagues popular and exciting to audiences for decades.
We score this film max marks 10/10
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