As the DC brand of heroes attempt to differentiate themselves from their MCU counterparts with a decidedly more artistic, auteur-driven slate, The Batman is the latest big-screen interpretation of the Caped Crusader. Helmed by Matt Reeves, we venture into a dirtier and grittier Gotham City set outside any of the pre-established universes, with Robert Pattinson stepping into the titular role for the first time.
With Gotham being terrorized by a serial killer known as the Riddler, targetting the city's most corrupt in a bid to unveil their darkest secrets, Batman faces his biggest threat; but with Bruce Wayne fighting his own personal demons and grappling with his alter ego's legacy, the city will face vengeance at its most brutal. With Pattinson starring alongside Zoe Kravitz, Paul Dano, Jeffery Wright, Peter Sarsgaard, Andy Serkis and Colin Farrell, a new day has dawned for Gotham's Knight and his enemies.
Bruce Wayne and Batman's beginnings are so thoroughly established that even starting a new screen chapter no longer requires an origin story, giving Reeves' The Batman an opportunity to skip the perfunctory set-up and foundation-laying to immediately head for the meat of the narrative. Reeves' planned trilogy already looks set to venture into bold thematic ground, with his screenplay co-written with Peter Craig offering a fascinating exploration of legacy, hope, and vengeance. While not too dissimilar to prior visions, it is infused with neo-noir tones and mystery elements that provide the broader template with a different, sophisticated edge that may offer relief to those beginning to feel fatigued with an overload of Batman over the past two decades.
Using the murders at the hand of the serial killer and main antagonist The Riddler to escalate the unfolding chaos in this Gotham, The Batman dabbles with shades of David Fincher and Curtis Hanson. If we never truly sink our teeth into the puzzles it is because our investigating characters are almost always one step ahead of the game, arguably limiting the excitement of solving the riddles alongside them. But with such a well-rendered atmosphere, birthed from the grimy, dirty Gotham whose oppressive atmosphere installs an unshakeable tension in the crimes, the threat is more imposing because of how real it all seems: these are not unthinkably elaborate traps, but instead the work of a man without powers whose life has been distorted by the tragedies he has witnessed -- not all too unlike the incels who fill our own news cycle with dreadful actions. It is this side of the screenwriting, which emphasises the grounded parallels with our own society's crimes, that makes it such a hard-hitting success.
Rain drenches the city and the technical departments work overtime to display an imposing vision of Gotham. In conjunction with Reeves' meticulous control of tone, Michael Giacchino's score brings an operatic quality that heightens every detail while Grieg Fraiser's grungy cinematography frames the city, its characters, and the narrative to display the danger that lurks, enhancing the suspense. Across the board, it is a mightily impressive technical feat, although an argument that it is underlit and monotonously shaded may not be entirely unfounded or unfair.
Robert Pattinson may be a somewhat unusual choice to play the Caped Crusader, but steps up to the challenge with a brooding, surprisingly soulful performance that taps into Bruce's trauma, Batman's internal grapple as a symbol of vengeance and the compelling middle ground that informs them both. Such a dichotomy has been underexplored previously but feels like it could be the lynchpin for setting this series of Batman films out from the rest. Zoe Kravitz's Catwoman is an alluring, if underused, element of the film, oozing both confidence and emotional vulnerability that could certainly be explored further. Paul Dano plays the Riddler extremely well, imbuing a chilling quality into an overtly evil character that makes him all the more threatening, and if there's an MVP beyond the obvious, it is Jeffery Wright, whose Commissioner Gordon brings weight and wisdom to a man in a city of corruption eager to do the right, good and true thing.
The Batman is a mostly impressive achievement that thrives in its maturity; those expecting a drastic retooling of the principle Batman trademarks may be disappointed, but The Batman concludes in a place that satisfies should this be a standalone outing, but excites in the prospect of continuing this depiction of Gotham. Matt Reeves proves to be a terrific choice as director, crafting a gritty feature that exploits the comic's detective elements for an engaging genre flick rarely pressured by conventions or cliches. Alongside a sturdy cast and strong below-the-line craft, The Batman is another feather in DC's cap that, with a level of consistency, could finally allow the franchise to soar.