If you have ever seen the Batman of Tim Burton (with Michael Keaton like the Bat Man), those of Joel Schumacher (with Val Kilmer and with George Clooney) and the three of Christopher Nolan (with christian ball) you can’t miss this one Batman. With some of the classic spirit of this 1960s film Leslie Martinson (with Adam West) and at the same time a notable independence from the paths already explored throughout the saga, the film by Matt Reeves Protagonized by Robert Pattinson offers a new perspective on Batman, farther from the millionaire vigilante that is Bruce Wayne and closer to the detective than he was in the original comics.
If you did not count yourself among the public who gave Batman an extraordinary worldwide blockbuster ($735 million), or if you were among those audiences but want to see it again, the film is available to stream on hbo-max from April 18. We remind you of five reasons why it is worth it:
1) Robert Pattinson’s Batman
Robert Pattinson offers a Batman farther from Bruce Wayne and closer to the detective than he was in the original comic. (WARNER BROS/HBO Max)
Really? The boy of the saga Dusk? Yes seriously. Pattinson achieved a young Batman – he’s only been under Gotham City’s protection for two years – and intelligent, though at the same time inexperienced and arrogant. “I don’t care what happens to me,” says Bruce Wayne, more driven by revenge than survival, the future, or even sanity.
The character’s difficulties – his contradictions, his angst, his dark areas – are seen each time Bruce Wayne appears: he is not the millionaire philanthropist and playboy who bears the brunt of his family name. Pattinson’s Batman doesn’t seem to feel like himself except when he’s in his armored suit and behind his mask, and his daytime life is full of sacrifices and omissions for the benefit of his nightlife. All the space Bruce gives the Bat in this version, Pattinson fills it with dramatic energy.
Pattinson’s Batman in the Matt Reeves-directed film is only comfortable in his armored suit and behind his mask. (Warner Bros.)
It should be remembered that in addition to Duskthe British actor has worked on complex works with great directors, such as queen of the desert from Werner Herzog, Cosmopolis from David Cronenberg, Principle from Christopher Nolan Yes Z the lost city from James Gray. Although there are other great interpretations in BatmanPattinson carries the bulk of the plot and draws viewers in as he waits for his thirst for revenge and his investigation of his family’s past.
2) The cast
Zoe Kravitz like Catwoman, paul dano like The Riddler, Andy Serkis as Alfred Pennyworth Colin Farrel like the penguin John Turturro like Carmine Falcone and Jeffrey Wright as Jim Gordon accompanies Pattinson, and are another good reason not to miss this film. Kravitz’s Catwoman suffered trauma, like her character in Kimi, and like Batman himself, and learned from his vulnerability. Both in physical display and intelligence, he’s a good match for Batman.
Zoë Kravitz’s Catwoman is a good match for Batman in the new movie. (Warner Bros.)
Farrell’s Penguin is another critical standout, as he gives it a mob-esque twist that enhances its humor. Wright’s Gordon does more than just turn on the Bat-Signal and hope for the best: he establishes a relationship with Batman like never before, which also allows the detective side of the character to grow.
But without a doubt, it was Dano’s The Riddle that received the most applause. He’s not the wacky, super-flashy character he made jim carrey: When he turns himself in to the police – as part of their plan – he is seen wearing a mental hospital uniform. Rather like a nerd, with great tech and internet savvy and a masterful use of social media, the mastermind that apparently engineered this plot’s killing spree is also collaborating, in his own weird way, with Batman: his crimes are clues to a much larger conspiracy. And meanwhile, he’s creating chaos on the streets of Gotham City, because that’s really his thing.
Dano’s Riddle which received the loudest applause from audiences and critics alike. (Warner Bros./DC Comics)
3) The detective story
It’s not just Pattinson’s portrayal that more honors the comic book character: so does the story. Because Batman has always been a detective. It is true that the versions to which contemporary audiences are accustomed have focused more on action, but -and without fail- Reeves’ film returns to a Batman who analyzes the facts, associates them and advances in an investigation. Even his technology – his costume, his Batmobile – is the product of his own research and achievement.
If Batman’s detective skills had been toned down to make way for hand-to-hand combat or the loneliness of those who need to rise above the law, this version reclaims his great detective abilities, and the clues he follows from the first kill will show this talent. And like any good detective, when you believe the truth has been revealed, new clues turn the story around.
Without missing the action, “The Batman” recovers the detective skills of the Man Bat. (Warner Bros./DC Comics)
It is in this facet of Batman that Wright shines in Gordon and Serkis in Alfred: with the first, the Bat Man analyzes the scenes of certain crimes; with the second, he works to decipher the Riddler’s puzzles.
And, as expected, it all comes with smooth action, with combat sequences followed by an exquisite camera that moves to the beat of Batman’s desire for revenge and rage. A skilful use of minimal lighting highlights the movements of the bodies and gives them a theatrical dimension. Even the Batmobile participates in these choreographies in complete harmony, especially in a penguin hunting scene.
4) The darkness of Gotham City
In Reeves’ film, Gotham City is much more than the place where events take place: it almost looks like one more character, with its dark past and uncertain future, its failures and struggles that its villains and heroes are not. more. than the reflection. As in Burton’s visions, the story of the Batman and the story of the Dark City are intertwined.
John Turturro is Carmine Falcone in Matt Reeves’ The Batman. (Warner Bros./DC Comics)
Batman descends into their harsh underworld for his mission and shows them true to the comics: dark and magical at the same time. Without even once in the three hours of the film, the scenes are reduced to the corpse in the alley or to the fight in a deserted field.
The sadness of the city, in which a barely accompanied vigilante must contain the deployment of the mafia, can be read in its repeated rains and, of course, in the tonal nuances of its nights.
5) Music and photography
The 29 titles of the soundtrack of Michael Giacchino beat like the heart of this city and the story it tells Batman. His pulse races in the action scenes; the version of the character’s signature theme slows down to blend into the shadows and heralds the doom to come. Giacchino (Standing, Ratatouille, Lost) managed to accompany step by step the wide emotional arc imagined by Reeves. In addition to the original composition, you will recognize Franz Schubert’s Ave Maria, Nirvana’s “Something in the Way” and other pieces from the popular repertoire.
The soundtrack by Michael Giacchino and the cinematography by Greig Fraser are essential aspects of the film. (Warner Bros./DC Comics)
For its part, without the director of photography, Greig Fraser (who won an Oscar for his work on dunes), the dark beauty of Gotham City could hardly have been achieved. His study of Caravaggio, Rembrandt and Vermeer seems to show through in the difficult balance of his lighting. The darkness of the crime scenes rivals in equal measure the small ray of hope that Batman brings, and so the photography is a central element of this film noir.