The Batman

I’m simply in awe of this film. In a time where we’re saturated with the onslaught of comic book films that seem to rehash the same ideas over and over, regurgitating the same stories in a different package, The Batman breathes new life into this genre. Matt Reeves doesn’t just create a new heroic story for audiences to enjoy but in the process, he creates a world that’s just as fascinating as our main protagonist.

That honestly might be my favourite aspect of this film, which is full of things I enjoyed, but the sheer amount of world building on offer here is a feat in filmmaking. This Gotham is real. The streets, the people, the violence, the corruption, the anger, it all felt so tactile in a way that has never been achieved in a Batman film before. Every alley we’re taken through, every corner that’s turned, I had more and more questions and desperately wanted to know more about this world. It’s also faithful to the legacy of Batman that’s came before it but has based this world in one of realism. The little details like since they’re in a metropolitan city this Bruce doesn’t live in a manor but a gothic-inspired tower, this Batcave isn’t one of over-the-top grandeur but one that feels like it’s been painstakingly built piece by piece. This Gotham *is* Gotham, a crime-ridden city that tries desperately to reform but falters every time.

The Gotham we see wouldn’t nearly be as great if it wasn’t for the visuals. Seeing this film in IMAX was an *experience*. Greig Fraser has easily became one of my favourite working cinematographers now between this and Dune. The way that you’re completely teleported into this world was an experience I’ve seldomly felt in a film. The colour palette was downright stunning. The motifs of red, black and orange, veering their way into every situation making each frame look like a painting. It was so refreshing to see a distinct visual palette in a CBM, because they lend themselves so well to having batshit crazy visuals, and this film used that opportunity to the fullest extent. Any scene that was on top of the building with the bat signal, with that beautiful ombre of orange genuinely sent shivers down my spine. And that’s one example of many times that happened to me. Paired with the stunning production design and the best costumes in a Batman film yet, I was in awe for all three hours.

Not only was this one of the most visually stimulating experiences I’ve had in a cinema, but it was sonically one of the most viscerally intense films I’ve seen. Michael Giacchino, a man who I already admired prior to this due to unbelievable body of work, has outdone himself. This genuinely might be the greatest CBM score to exist, which is saying something as often these films get large orchestral pieces filling their films. The music was such an inspired choice, having it be saturated with many traditionally classical pieces was an odd choice that fit the tone of this film perfectly. Throughout the entire runtime though, the music rarely takes it foot off the pedal and in doing so it does tremendous work in keeping this looming threat and rising tension ever present. Also, the needle drop of Something in the Way has to be one of the best incorporations of a song into a film ever, it just worked so well paired with the score and the tone of the film.

No Batman film would be complete without a Batman, and this film certainly succeeded with the Bruce it gave us. I don’t think the title of the film is a coincidence, Robert Pattinson is *The Batman*. This isn’t the playboy, billionaire Bruce we’ve seen in media before, and is often the default for the character. This Bruce is a recluse, someone who’s sunk themselves into the shadows, who’s shut off society, who’s succumbed to the darkness. He’s dark, gritty, introverted, and weird but it works so perfectly. This is a far more interesting, and realistic, approach to Batman. It really digs into the psychology of what has to happen to a man for him to be running around the streets of Gotham every night, beating up criminals as a way to give back to a city. It’s fascinating that we rarely spend time with Bruce in this film, and that speaks volumes to his character, and how far gone this Bruce really is. His work as Batman has overtaken him, and that obsession is the only thing that satiates the itch for making his city a better place.

The way that Batman’s character tied into the film’s themes was ingenious and again was such a refreshing take on a character whose story is one that everyone is aware of. This constant idea of reformation and renewal permeated many of the characters in the film and it created an interesting dynamic between Batman, Catwoman and The Riddler. All of whom who were orphaned at a young age yet had vastly different experiences based on the wealth disparities they faced in life. How this idea of wealth and privilege steers each of their lives in different directions and warps their perceptions of change and “renewal” was such an interesting trichotomy. Having Batman’s arc throughout this film be his changed perception in his ideology of who Batman is, again was a unique twist on the character that was inspired. This only worked as well as it did because throughout the film everyone is terrified by him, not only the criminals he intended to instil fear in but also those who should’ve seen him as a beacon of light in a city of darkness. Him learning that he has to be better that the fear and terror that has flooded the city is easily the best Batman character development in a film yet.

This film is filled to the brim with outstanding performances, there isn’t a single performance that isn’t incredible. Firstly, the opposition to Batman, Paul Dano’s The Riddler is *the* definitive version of the character. It’s funny because the way The Riddler is characterised on paper is incredibly goofy (especially the incorporation of modern technology) but he’s so unnervingly creepy that you might start laughing at something he says but that doesn’t last as suddenly you’re terrified at what’s going to happen. Jeffery Wright delivers the best performance yet of Jim Gordon, and it was such a fascinating choice to have him work so close to Batman, but it allowed for this incredibly fun dynamic between the two that was captivating throughout. Colin Farrell is unrecognisable as The Penguin and is just delightfully unhinged, John Turturro is a wonderful Carmine Falcone that actually is an interesting mob boss, and Andy Serkis has a fun, unique take on Alfred that provided some of the most emotionally impactful moments of the film.

However, the standout of the supporting characters is Zoë Kravitz’s Catwoman. As someone who really enjoys Anne Hathaway’s take on the character, I don’t say this lightly, but this is easily the best Catwoman put to screen (sorry Halle Berry). The chemistry between her and Pattinson is off the scale, every single moment between the two was so intense it was so beautiful to watch. The pair played off each other so well and the divisions in their philosophies on Gotham and change created this back-and-forth that was the standout storyline of the film. Also, just the way she was characterised was perfection. Her links to other characters in the film was unexpected and added another layer to this already layered film, what she represented to Batman as well was such a great use in developing both the characters separately not at the expense of the other. Also, they made a nine lives line cool, how?

Matt Reeves and writing partner Peter Craig have created something wonderful here. A plethora of intriguing characters with complex and twisted motivations that leave you wanting more, a world that feels as real as our own and have managed to make a superhero film that is firstly a dark, creepy crime thriller and secondly a CBM. It’s a testament to the filmmakers that this three-hour long film didn’t feel like that, and I could’ve happily watched another two hours in this dark world. This unique vision wonderfully directed by Reeves has made a film that can rival The Dark Knight and for some might have even surpassed it.

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★★★★★