The Caped Crusader has returned to theaters! The latest reimagining of the character comes from director Matt Reeves (Dawn of the Planet of the Apes, Cloverfield) with Robert Pattinson (The Lighthouse, Tenet) donning the cowl. The film is heavily inspired by Batman’s detective-focused source material and visually resembles hardboiled, crime thrillers from the 1970s—with a dash of psychological thriller, ala David Fincher’s Se7en. Those elements feel right at home with Reeves’ vision of the character. The Batman works best when it leans into noir and thriller territory and only fumbles whenever it’s obligated to act as a tentpole blockbuster.
The elephant in the room is Christopher Nolan’s Batman trilogy, particularly 2008’s The Dark Knight. At first blush, The Batman seems overly indebted to that movie, even redundant. In both films, Bruce Wayne’s Batman and police lieutenant Jim Gordon frantically race to stop a sadistic madman who is systematically murdering Gotham City’s public officials. Thankfully, Reeves differentiates his Batman story from the many versions that we’ve already seen. Reeves spares us another origin story; instead, we’re dropped directly into Batman’s early years as an established boogey man for criminals and a wary ally for Gotham’s police force. The most distinctive element is The Batman’s vibe. Focusing on Batman’s detective roots, Reeves and cinematographer Greig Fraser realize a Gotham that is grim, dim, and rainy—complimented by Michael Giacchino’s hauntingly beautiful score. Reeves’ and Fraser’s atmosphere is unnerving and frightening at times, taking advantage of the tension afforded by the Riddler’s serial killer tendencies. Reeves’ camerawork is also critical to the visual reimagining: so much of the film is shot with intimate close-ups or mounted, point-of-view cameras, resulting in a realism rarely seen in a studio blockbuster. Reeves seems less interested in spending time on bombastic spectacle and is much more in tune with telling a twisty, crime thriller about uncovering morally-corrupt systems. Anyone who applauded The Dark Knight for it’s gritty approach is going to love Reeves’ efforts to ground his Batman tale in grainy realism.
The Batman cast is perfectly in sync with Reeves’ noir tone. Foremost is Robert Pattinson’s Bruce Wayne/Batman, who dominates the screen time. Many previous Batman movies are showcases for his villains (which can happen when you have the best rogues gallery), but this film is squarely about Pattinson’s Wayne and his emotional journey. As one of the several actors to wear the mask, Pattinson offers a fun interpretation: his Batman is young, rage-filled, and frankly a weirdo. We do lose some of the playful energy of watching Bruce Wayne put on a fake persona among the Gotham elite (something Christian Bale excelled at), but Pattinson’s Batman is suitably grim and dangerous. It’s a testament to his charisma that he easily carries this lengthy film and is always compelling to watch. Surrounding Pattinson is an expansive cast of several familiar Bat-characters that feel naturally included in the story. Paul Dano is unsettling and gripping as the reinvented Riddler, and sparsely used to great effect as a Zodiac-inspired serial killer. Zoë Kravitz is easily MVP of the movie; her Selina Kyle is engaging, sensual, and nuanced. She and Pattinson have a sparkling chemistry that livens up a persistently-dour movie, and their relationship provides the emotional through-line of the film.
As strong as those performances and the production quality may be, the film felt emotionally cold. This may have been a side effect of The Batman’s plot-driven story, but I found myself struggling to maintain a connection or investment in the emotional arcs of the characters. This was most noticeable with Andy Serkis’ Alfred and Jeffrey Wright’s Gordon. Serkis and Wright are incredible performers, but neither are utilized to their fullest potential. Serkis feels the most wasted: his Alfred has a cold, confrontational relationship with Bruce, an interesting contrast to the Alfreds of past versions—but we simply don’t spend enough time with the pair of them for future dramatic beats to properly land. This is likely the casualty of starting this story with Batman in Year Two. It makes perfect sense not to retread the Batman origins, but the flip side is this film must hurry through establishing those key relationships.
At nearly three hours, the film is too long, but never feels like a slog. It is deliberately paced as our characters attempt to unravel the Riddler’s clues, but remains engaging throughout. It almost feels like watching a three-part miniseries in succession. The length is the most noticeable in the third act, during a somewhat tacked-on grand finale that feels out of place. Thematically, the story would have been better served to end about 25 minutes earlier—but that’s entering spoiler territory, and you should experience this movie as spoiler-free as possible.
Ultimately, The Batman feels like a neat experiment. It reminds me of self-contained graphic novels or a multiple-issue comic run by a guest writer; this is less a ‘definitive take’ on Batman and more of a compelling What If? What feels so refreshing is the intention baked into every frame. This is entirely the film Matt Reeves and company set out to make. It never feels self-conscious or reactionary: it is the confident vision of Reeves. And while the ending didn’t quite fill me with the electrifying potential of Batman Begins’ final moments, Reeves’ and Pattinson’s distinct vision of the Batman mythos is more than worth a revisit or two.
The Batman is currently playing in theaters. It runs 175 minutes and is rated PG-13 for strong violent and disturbing content, drug content, strong language, and some suggestive material.
