The “Batman” by Matt Reeves isn’t your typical superhero flick. Really, it doesn’t. The Batcave has everything a hero needs, including the Batmobile, a sturdy costume, and high-tech gadgets provided by Alfred. And in the centre of it, all is the Caped Crusader himself, brooding and tortured as he searches for his own brand of nightly justice in a decaying and squalid Gotham City. The difference is night and day when Reeves takes over; everything is so fresh and exciting. He directed and co-wrote the film, taking a story that many people have heard before and making it into something grandiose and almost operatic. Instead of a soaring, enveloping movie, his “Batman” is more like a gritty, 1970s criminal thriller. With its fast-paced, unexpected action, it recalls classics like “The French Connection” and “The Warriors.” There has been a string of high-profile killings that have made it seem like the Zodiac murderer is out to get the people of Gotham.
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And yet, in spite of these references, it is clear that this is a film by Matt Reeves. He achieves the same results here as he achieved in his riveting “Planet of the Apes” films: an exhilarating, entertaining spectacle with real, emotional stakes. This is not a self-aware, meta Batman film; instead, it takes the comic book hero’s mythology seriously, dissects it, and reimagines it in a way that’s bold and innovative. The script by Reeves and Peter Craig compels the protagonist to investigate his past and examine his motivations, offering the door for spectators to examine the stories they have come to believe. In Robert Pattinson in the title character, we finally have an actor who is not just ready but eager to explore Bruce Wayne’s kooky, dark impulses. In spite of his slick get-up
, he is not the charming heir to a wealth who prowls the streets kicking bad guys in the teeth. Disillusioned and aloof, here is Travis Bickle in the Batsuit. Two years into his career as Batman, he now monitors Gotham City from the lofty vantage point of Wayne Tower, a brilliant departure from the customary sprawl of Wayne Manor that suggests even greater isolation from civilization.
Opening with, “They assume I’m hidden in the shadows,” he intones this line. But, “I am darkness itself.” Pattinson, when seen in daylight, reminds us of a hungover indie rock star. At night, though, the tactical gear and eye black give way to reveal the thrill he receives from carrying out his own personal brand of retribution. Pattinson has proven time and time again since “Twilight” made him a global success in 2008 that he is at his finest when portraying characters that make you uncomfortable. He has worked with distinct auteurs like David Cronenberg, Claire Denis, and the Safdie brothers to achieve this. Pattinson is so talented at making his lovely, angular features look frightening that he outperforms Christian Bale in the part.
There’s an undeniable spark of electricity in his eyes as he first catches sight of Zoe Kravitz as Selina Kyle, dressed in leather motorcycle gear and shimmying down the fire escape in her own quest for nighttime justice. Ooh. Just like me, she’s a weirdo. The chemistry between Pattinson and Kravitz is off the charts. In every aspect, she can compete with him, both physically and emotionally. She is no pussycat Catwoman; she fights for what she believes in, has a devoted heart, and stands firm for what is right. After starring in Steven Soderbergh’s high-tech thriller “Kimi,” Kravitz has shown that she is just as charismatic and strong off-screen. She has a big role and is part of a strong supporting cast. In the character of Commissioner Gordon, Jeffrey Wright offers a refreshingly idealistic and moral perspective. John Turturro’s performance as mob leader Carmine Falcone is subtly terrifying.
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Andy Serkis, who played Caesar in Reeves’ “Apes” films, gives a fatherly air and a kind understanding to his role as Alfred. As the slimy villain Oswald Cobblepot, better known as The Penguin, Colin Farrell disappears into the role. The plot is held together by Paul Dano’s portrayal of The Riddler, whose need for retribution is disturbing in itself. Similarly to his shocking work in “There Will Be Blood,” he goes to extremes here. He’s so insane that you could burst out laughing to relieve the stress he’s generating. Yet Dano makes you feel like you’re witnessing a man who is actually, terribly troubled, so his character isn’t funny at all. Despite this, “The Batman” is not a depressing movie in any way. The film’s over three-hour runtime is excessive, yet it never stops being emotionally engaging. The coolest Batmobile yet, a powerful car that seems like it was lifted from “Mad Max: Fury Road,” plays a key role in one of the film’s most exciting action scenes. Throughout the viewing, I couldn’t help but cheer the spectacular vehicle pursuit and chain reaction collision that concluded the film. At a throbbing nightclub with pulsating red lights, every punch and kick can be felt. (That he is not indestructible is one of the draws of viewing this superhero in his early days.)
In addition, the flashes of shotgun fire during a gunfight in a pitch-black corridor are both terrifying and spectacular. The music, composed by industry veteran Michael Giacchino, greatly amplifies the impact of such moments. Although he is most widely recognised for his work on Pixar films, his score for “The Batman” is decidedly not in that style; instead, it is percussive and horn-heavy, and it is big, demanding, and will hit you right where it hurts. Reeves has directed a film that is at once delicate and hefty; solid and impressionistic; and he did this by collaborating with artists and craftsmen at the peak of their fields. Similarly to his Oscar-nominated work in Denis Villeneuve’s “Dune,” cinematographer Greig Fraser performs a spectacular magic trick: His iconography, which includes lightning and neon signs, is both gauzy and substantial. He expertly employs shadow and silhouette to heighten a feeling of dread and drama. I could devote a whole paper to analysing how the film makes use of the colour red to convey emotions ranging from excitement and danger to despair and optimism. The film’s sleek, edgy mood was perfected by Jacqueline Durran’s costume design; Pattinson’s rough-and-tumble Batsuit was designed by David Crossman and Glyn Dillon. Even though it’s not a traditional Batman film, this could be the most stunning Batman movie you’ve ever seen.