The Batman Review – Brave and Bold?

Taking on a character as iconic as Batman is a brave undertaking. The task is made even more daunting considering the legendary status of Christopher Nolan’s trilogy. The most important question people will likely ask about The Batman is whether or not it lives up to that legacy – and the answer is yes. 

Now, you may be tempted to assume that means shares many similarities with that trilogy, and in some sense it does. In the most important ways, though, it took a brave departure from many conventions we’ve come to expect from our blockbusters. Seasoned Bat-fans will recognize all the nods to source material. Graphic novels like Year One, The Long Halloween, Batman: The Telltale Series all have moments from their stories woven into what is an entirely original story. One of the biggest achievements of this film is that while entirely novel, it pays homage to some of the best Batman stories from the past and is likely to win many fans because of it.  

The plot of The Batman is a combination of story elements from some of those favourite graphic novels, but it culminates in something unique. The beginning of the movie shows an important political figure being murdered, and offers the first serious crime for Batman and Gordon to investigate. Before long more murder victims start popping up, and it becomes apparent quickly that these events are linked, and so are all the villains that appear. 

One divisive aspect that will thrill some and irk others is the run time; it’s a shade under three hours. Director Matt Reeves clearly took inspiration from slow-burn thrillers when he was crafting this Batman story. Fans of serial-killer psychological thrillers like Silence of the Lambs, Se7en and Zodiac will recognize the anxiety-inducing trickle of suspense throughout this film’s trajectory. This is the first risk Reeves took, and it will be what makes or breaks the movie for many viewers. While there’s plenty of action to keep its audience’s adrenalin pumping, it’s truly a noir detective thriller at heart – and that approach flies in the face of the effects-driven, sensory overload that most of Hollywood’s blockbusters have become. 

The cast, like most previous Batman projects, is exceptional. The most obvious elephant in the room is whether or not Robert Pattinson disappears into the role sufficiently, and his performance definitely achieves that effect with great success. His Bruce Wayne is a melancholy recluse, someone who hasn’t quite mastered the billionaire playboy façade that distracts curious citizens who may link the Dark Knight to him. Previous Bruce Wayne iterations were slick and polished, seemingly a little disconnected from how unhinged someone like Batman really is. Pattinson’s performances as both Bruce and the Bat modernises the Dark Knight. It gives Bruce Wayne a morose rockstar vibe, while his Batman is methodical and brutal – enjoying a good Riddler trophy as much as enthusiastically hospitalizing career criminals in spectacular fashion. 

Geoffrey Wright is fantastic as Batman’s detective partner Jim Gordon, Paul Dano frightens as the cryptic and disturbed Riddler, and Zoe Kravitz playing Batman’s love interest/antagonist Catwoman also deserve mentions – they’ve given definitive performances for their characters. Colin Farrell probably takes the cake, though, and is unrecognizable as Oswald Cobblepot. While his scenes aren’t plentiful he lays fantastic groundwork for the Penguin he will undoubtedly become. He’s part of a car chase set piece that rivals the spectacular set-piece scenes we’ve enjoyed in Bat movies from years gone by.

When that spectacle and action arrives it is impressive, and gives a good glimpse of Batman’s fighting ability and gadgetry. The fight choreography is sleek and brutal, painting this Batman as a rough diamond that lives to ruin criminal’s evenings, as well as their dental records. The real gem in the action sequences is Greig Fraser’s cinematography – words won’t do his shots justice but the quality is exceptional. He doesn’t have the longest CV, but keen-eyed cinema-buffs will recognise his style from the recent Dune reboot and Star Wars: Rogue One, but The Batman is easily his best work. 

So, what happens when you take Zodiac’s lingering, ambiguous narrative, throw in a mash-up of John Doe from Se7en and Jigsaw from Saw as the antagonist driving the plot, sprinkle some John Wick fight choreography in, and have it all play out in the grungy city from The Crow? You get this new Batman universe – and while it’s an acquired taste all the calculated risks taken to create this film well-executed that they’re going to convert more people than they’ll put off. 

The most impressive thing about this film is how many plates it juggles, but never drops. The plot borrows heavily from source material, but still comes off as entirely original. It’s a Batman movie at its core, while referencing not only other Batman projects (a sleek combination of Burton’s gothic aesthetic, Nolan’s practical action, and Snyder’s comic panel visuals) but also other cinematic greats. Anyone ticking off IMDB’s top 100 will notice shades of Chinatown, Zodiac, The Crow, and Se7en hidden through the film.

Score: 9/10

The Batman was a risky endeavour – but Reeves’ directing, Fraser’s cinematography, and the entire casting bringing their A-game has successfully launched a new Batman universe. Fans of every previous Batman franchise will find something they enjoy, while being presented with something completely novel. It’s not the fast-paced popcorn-munching rollercoaster we’ve come to expect our blockbusters to be – but The Batman makes for a very refreshing cinematic change.