The Batman Review

Another incarnation. But also the first solo Batman film since The Dark Knight Rises ten years ago. I’ve long known that there is plenty of space in here – *taps chest* – for new versions. Does The Batman deserve to be in there too?

Always brings a smile to my face.

But first, Gotham City. Across mediums we’re bombarded with the notion that Gotham is a seething cesspool of violence and corruption. A sprawling monstrosity that can being out the vile or heroic in its inhabitants. In The Batman, no amount of rain could wash away the stench that radiates from the design of this city, though it tries very hard to do so. This is surely the wettest Gotham there’s ever been, and it’s stunning. We don’t see that many areas but it feels alive, and full of other stories. Every Gotham is designed in the same vein as it’s Dark Knight. But this one, with it’s lights, architecture, and oppressiveness, is the Gotham that I picture in my head.

The World’s Greatest Detective?

My excitement levels intensify every time a cinematic Batman touches upon being a detective. From Smilex to shattered bullets, Batman flexing his brain as well as his muscles is always cool. So it’s extremely pleasing to see it taken to heart here. Batman has been around for roughly two years and is a fairly common, if unsettling sight on a crime scene, subtly pointing out things missed. Watching Batman and Gordon working a case so closely together, and not immediately figuring everything out, is highly involving.

Speaking of which, some may struggle with the pacing and length. This is a deliberately paced and thoughtful crime thriller; it’s not a film you just pop on – it’s a film you settle down with. For me it was just enthralling to be there and see things unfold. Just make sure you’ve been to the toilet beforehand.

No Masks

Pattinson’s take on Batman is unique in that he spends the majority of the film in the suit. Playboy Bruce Wayne is a way off yet, so there’s no faux debauchery. He’s struggling to make sense of things, with his “emo” ways a clear reflection of his mental state. From the use of makeup, to some cool tech, to being able to see his lashes clearly, the eyes are key, with Pattinson’s likely the best since Keaton’s. This Bruce is so unclear on what he is it could be argued he’s never really wearing a mask. He’s always a man in pain. But it’s not just psychological pain we see him go through.

Boy does he take a beating. This Batman may take no prisoners when it comes to his fighting style, but he endures a wince-inducing amount of violence. What it does apart from show off some cracking cinematography and the new suit is make Batman more relatable. Like Bale’s roar as he persists with Bane, this Batman can be stoic, but he shows pain. When he doesn’t stick a landing, you feel it. When he takes a blast to the chest, you wonder how he’ll get back up.

From tearing through nightclub heavies (the twins are a favourite), to blasting through the streets in the threatening new Batmobile, the action serves the story. There’s no awkwardness in the action. No inconsistencies. It just shows how far he’s willing to go.

A tone and ensemble built to last

Pointing out individuals in the cast feels odd. They’re so uniformly strong. Dano makes for a frightening and unsettling Riddler, whilst the chemistry between the Bat and the Cat hinges on a supremely sensual performance from Kravitz. The confidence in each character; how they fit in this world and the history they bring, goes to show how well-crafted it all is. Matt Reeves clearly ‘gets’ Batman and everyone around him.

Since Batman has been popular through several different prisms, from camp through gothic to hyper-realism, a new take could struggle to do its own thing. But this Batman is noir. Sure, it runs close to some things we’ve seen before, but part of this noir approach means it will do, taking the best from each. The atmosphere is daunting, but if anyone tries to tell you this film is purely dark and gritty, ignore them, as the humour isn’t even subtle at times! It’s never forced, and isn’t quippy, which means it doesn’t stand out. There’s humour even in the darkest of circumstances, and The Batman nails something that the best books, such as Year One or The Long Halloween, bring out in terms of humanity and emotions.

I can’t speak about nailing it without mentioning Micahel Giacchino’s excellent score. I’ll need to listen to it some more before offering any detail, but if it reminds you of anything, I’ll just say “Imperial March”.

The CGI is the best kind, in that it’s not noticeable, and is used to extend and augment. The suit may not have the comic accuracy of Affleck’s or sleekness of Bale’s, but with an amazing collar and some tricks we’ve not seen before it’s striking and leaves a lot of space for being tinkered with in the future.

Lots of space

If you’ve known me for more than ten minutes you’ll know that Batman (1989) and Batman Begins are my two of my favourite films. Is there anything in The Batman that is as striking as the descent into mystery or the “escalation” rooftop scene? With only one viewing in the bank that’s hard to say. But historically I’ve felt that each director’s second Batman film is the one they really wanted to make. I don’t get that feeling here.

The Batman isn’t trying to fit any superhero conventions. Everything it sets out to do, be that mystery or action or suspense, it accomplishes. It doesn’t need any weird leaps in logic to get around Batman not killing either. I want to spend more time in this world and I want to see these characters evolve. As I’ve already mentioned, there’s plenty of space in here for new takes on Batman. I’m happy to say this one more than deserves some of it.