Being online so much finally paid off: I saw the announcement of the IMAX preview of The Batman just it was announced about a month ago, and was able to snag tickets for me and my son before it sold out (apparently within minutes). Last night we saw it, and we both walked out of the theater speechless.
In short: This is the Batman movie I'd been waiting for.
When I write and talk about Batman, I focus almost exclusively on the comics. Don't get me wrong: I love that he's represented in so many types of media, and everyone has their favorite, but mine has always been the version in the comics. Notwithstanding the craft, talent, and hard work put into the films, I have rarely warmed to them. I have always said that in my ideal Batman film, you would rarely see Batman himself—you'd see the shadow, the silhouette, and people reacting to him, but rarely would you see Batman (and never in the light). Batman has such a mystique about him that it's difficult to capture his ethereal nature on film, even for the best directors, actors, writers, costumers, and cinematographers. Less is more, basically, and they should leave the rest to the audience's imagination.
The Batman came much closer to that ideal that any screen adaptation of the Dark Knight to date, and that's just one reason I enjoyed this film so very much.
WARNING: There may be mild spoilers going forward, although I don't discuss any plot points or details.
The Batman was sumptuously photographed, with so many breathtaking shots that I wished I could have lingered on (and surely will when the Blu-ray is released). The subtle score was gorgeous, especially when it took the place of sound effects, giving those dramatic scenes the feel of a silent film accompanied by music. In this movie, Batman is very much a creature of the shadows; most of the film is shot at night or in darkened spaces, and Batman is rarely seen in direct light, maintaining that ethereal quality I prefer to see. But at the same time, when we see his face, he is undeniably human, primarily due to the focus on his eyes, which was surprising effective. (I was also surprised how well the "half cowl" worked in retaining the classic silhouette while preserving mobility, and thankfully avoiding the bulky rubber cowls of films past. Was it inspired by Daredevil's cowl on the Netflix Disney+ show, I wonder?)
There are several aspects of Batman that I particularly appreciate in the comics that were also represented here. This Batman is more detective than superhero, working closely with Detective Jim Gordon on a series of grisly murders accompanied by cryptic messages from the enigmatic Riddler (with occasional input from Alfred). From the beginning, we also see many instances of members of the Gotham City Police Department reacting in different ways to Batman's presence at crime scenes, in the tradition of the Gotham Central comic, combined with the corruption in the police force, well known from Batman: Year One. We can tell that Gordon and Batman already have some history together from the enormous trust Gordon has for the Caped Crusader, whom he repeatedly has to defend to his fellow police. Even when helping to investigate a crime scene or observing a medical examination of a murder victim, this Batman is still and silent, watching and only occasionally contributing an insight, as if he appreciates Gordon's indulgence and doesn't want to overstep and risk this valuable relationship.
In general, Pattinson's Batman—and even his Bruce Wayne, whom we see much less than in other films—is for the most part still and silent, which makes the action scenes all the more striking in contrast (as well as the handful of laughs, mostly from other characters at his expense). There also seemed to be less action than earlier films, which will surely disappoint some viewers (understandably): Most of the movie was a battle of wits between Batman and Riddler, with occasional action scenes and fights primarily between our hero and flunkies or mob toughs, until the final act that ramps up the action quotient very dramatically. This is not a typical superhero film; in pacing and tone, I would compare it more to the Daredevil show, or maybe Logan.
Pattinson's Batman/Bruce Wayne is a tortured soul, which he doesn't even bother to hide when he attends a public function as Wayne. Maybe he will later, but this Bruce Wayne has not yet adopted the millionaire playboy persona to travel among high society; for now he couldn't care less, clearly obsessed (as Alfred notes) with fighting crime or, as he puts it, pursuing vengeance. Thankfully, this concept of vengeance does not involve killing, which he prevents another character from doing, giving the standard explanation of "you don't want to turn into them." (He also makes his dislike of guns clear in another scene.)
Speaking of vengeance, in what was perhaps the most surprising part of the film (in the best way), Batman has an epiphany at the end regarding his mission that is set up marvelously well, using a minor character that shows up only a handful of times throughout the film but plays an integral role in tying the whole thing together. (At nearly three hours of very steady but slightly drawn-out pacing, this was very useful.) Here, this young Batman discovers a positive aspect of what he does that can complement the negative aspect of fighting crime, and could serve to add a different tone to the next installment (although I hope it doesn't change the tone entirely).
Finally, the performances were excellent across the board. Robert Pattinson wisely chose to underplay both Batman and Bruce Wayne, using his face (which we see more of, even as Batman, than before) to show the tragedy that motivates him and the steely resolve that carries him on, despite discouraging odds. Zoë Kravitz was magnificent as Selina Kyle, portraying the self-determination and instinct for survival that allows her to prosper in any situation, both amongst the criminal element and alongside the Dark Knight (with whom she has undeniable playful chemistry, reflecting the best of their relationship in the comics). Gregory Wright was delightfully gruff as Jim Gordon; Andy Serkis's Alfred was not seen enough, but his few scenes were effective and heartfelt (even without the gentle snark often seen in the character); and Paul Dano was a terrifically unhinged Riddler (though he reminded me more of James Gordon Jr.), especially in the later part of the movie when he was not in his, ahem, questionable outfit. (Speaking as a huge Colin Farrell fan, I don't know why he played the Penguin as Robert DeNiro, but the character worked well in a role that sets him up well for future appearances.)
I went into this movie more curious than anything, but I walked out astonished, and I'm very eager to see what Matt Reeves and company do with Batman next (especially if it involves the character teased at the very end, which I hope they continue to tease for a while longer).
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