How many times can you tell the same story? That’s what many of us were pondering when news came out that Matt Reeves was rebooting Batman for the fourth time in 33 years. After all, it had only been a short while since Ben Affleck instituted the third recitation of Gotham City’s caped crusader. And following the release of the Zack Snyder cut of The Justice League just last year, many of us were more interested in seeing what happens next following that enigmatic ending than starting all over again.
Adding to the speculation of whether this was even necessary, there was also quite a bit of backlash, rightfully so or not, when Robert Pattinson was announced to play the titular role. Whether those quibbling over his casting had issues separating Pattinson from his part as Edward Cullen in the Twilight series, or whether those folks were unsure of Pattinson’s range (they must have missed Good Time), doubts only circulated further as rumors of on-set drama, drawn-out production, and the inevitable delayed release dates surfaced.
While Reeves’ (Cloverfield, Dawn of the Planet of the Apes) film is a reboot, it is not an origin story. We are not subjected to seeing the Wayne’s gunned down in front of a young Bruce, as pearls fall morosely in slow motion, as we have in many other iterations of the Batman franchise. Nor does The Batman spend time establishing how the young, prosperous orphan becomes the man in the cowl and cape. Instead, Reeves trusts his audience enough to pick up his film midstream in the character’s story.
The Batman is a noir-driven venture that leans heavily on the Defender of Gotham’s keen detective skills. The city he protects is as grim and unscrupulous as it has ever been depicted. Controlled by nefarious mob boss Carmine Falcone (John Turturro) and his unsavory righthand man, Oz/The Penguin (Colin Farrell), it is always night in the rainy Gotham we are invited into. The Dark Knight is a nocturnal figure, like the beast that adorns his chest, stalking the shadows in search of retribution for the crimes against his family that haunt his past.
Batman works alongside Lt James Gordon (Jeffrey Wright) to solve the murder of several of Gotham’s top political figures, including the
mayor and district attorney. All the victims are connected to a scandal that The Riddler, played chillingly by Paul Dano, unveils slowly through a trail of puzzles left behind for Batman to solve. Dano’s sociopathic Riddler is the most terrifying Batman villain to date, eerily seething behind a military combat mask and glasses. Each riddle he leaves behind leads the detective closer to the final chapter in the Riddler’s calculated, heinous masterplan. With the help of Gordon and Selina Kyle (Zoë Kravitz playing a less obvious Catwoman), Batman must use his skills as the world’s greatest detective to foil The Riddler’s plan before all is lost.
The Batman is a particularly well-made crime thriller, including the best Batmobile chase sequence ever brought to the big screen. Shot by the great Greig Fraser (Zero Dark Thirty, Dune), The Batman is a sleek, sophisticated, and visceral affair. Fraser’s ability to capture the mood of the troubled city is intriguing, and what I might call the heart of the film. His aesthetic camerawork (using Arri Alexa LF anamorphic camera lenses) is what gives us the Batman by way of Zodiac vibe. It is what makes the grungy tone of the film work so well. When paired with Michael Giacchino’s (Up, LOST) persistent and forbidding score – with hints of Chopin’s Piano Sonata No. 2 (Funeral March) – the look and feel of the film is awe-inspiring.
Colin Farrell is unrecognizable as the Penguin, thanks in large part to Mike Marino’s makeup work. Marino is nominated for Makeup/Hairstyling at this year’s Oscars (Coming 2 America), and we might see him representing The Batman at next year’s Academy Awards for his outstanding work.
The Batman is a terrific individual dissertation in the legacy of the Dark Knight. Brooding, brilliant, and breathtaking, The Batman hits that elusive sweet spot between a made-for-the-masses popcorn flick and a deeply complex political thriller. Whether or not we see a next chapter in this adaptation, Reeves’ film is strong enough to stand on its own. And what would that look like if we did expand further into this variant? There are plenty of Batman villains to delve into. My hope is that we’d see something new. A bad guy/girl unexplored so far on the big screen. Perhaps we would see a little more of Bruce Wayne – who was a bit of a non-entity this go around – with, God willing, a shorter running time.
