By Michael A.C.
OMAHA, Neb.-Robert Pattinson debuts as the Dark Knight – an emotionally intense and dismal entry aimed to please die-hard fans, however, falling short of innovating the franchise.
The Batman reboots the franchise with a horrifying tale. In its darkest rendition to date, director Matt Reeves pushes Batman to gruesome PG-13 limits: Adam West and George Clooney fans had better prepare for night terrors.
Wayne in THE BATMAN (© 2021 Warner Bros. Entertainment Inc. All Rights Reserved.)
Robert Pattinson experiment is not an experiment, but a success. This version of Bruce Wayne is more Batman than Bruce Wayne – a furious, battle worn, mentally and emotionally strained warrior on the edge of sanity. One can argue that Pattinson nailed that intensity in a way his predecessors could not. Pattinson’s pallid appearance only enhances the visual of an emotionally scarred Bruce Wayne. In his obsession to avenge personal demons, the obsession itself could be his very undoing.
This is not “that Twilight kid” cosplaying as a superhero. This not even the “eligible bachelor playboy” that Hollywood hunks Christian Bale, Val Kilmer, or Michael Keaton portrayed beforehand. This is not David Mazouz crying in every other scene. Retaining the vocal rasp of the Bale-era Dark Knight, Pattinson nails the intensity of Batman in a way his predecessors could not.
As a fan of Cloverfield, I was curious to see Reeves’s take on Gotham. This is a Batman movie for fans that want a more violent Batman movie. It feels like they could the horror elements further. Within the parameters of PG-13, this is as close to the comics as we can have. This is an experienced Batman — a supreme fighting machine, whose punches and kicks are full of intent to mercilessly punish his villains. He is bereft the smugness and sarcasm of previous Batman incarnations, yet he is every bit the butt-kicking Batman that we paid to see.
The pacing is steadier – rather than the typical “fast and furious” action film – allowing the scenes to develop emotional weight to full potential. This is a dark mystery, unlike the high-octane escalation of Christopher Nolan’s trilogy. The slower pace allows the suspense to breathe. The Batman’s imagery takes part of Burton’s gothic style and part of Nolan’s Blade Runner style visuals, removing any trace of camp or novelty. Reeves’s Gotham City is a miserable place to be – a urban gothic dystopia, not pretty but a once-brilliant city weathered by its own decadence.
The story and the actors that drive the action. We are treated to an excellent cast: Jeffrey Wright is a consummate professional as Jim Gordon. We are treated to an impressively unrecognizable Colin Farrell, who is as smarmy a wise guy ever in his turn as The Penguin. Nicholas Turturro that does what he does best. In contrast to the late Heath Ledger’s Joker, Paul Dano as The Riddler embodies 100% terror – a villain designed to be feared rather than celebrated. Zoë Kravitz performs with range and is as alluring as ever, although the plot was a major disservice to the potential of that performance. All of them are deserving of reprisals in subsequent Batman films.
Unfortunately, there is one major missed opportunity that stands out the most – Catwoman. In a day and age where strong female characters are celebrated, I am not sure what Reeves’s goal is with this version of Catwoman. Catwoman is an iconic pop culture anti-hero, equally as important as Batman in the DC Comics canon. Her amoral code notoriously inspires her to switch allegiances at the drop of a hat. Instead, Kravitz as Catwoman felt like an uncharacteristically needy love interest. Where Kravitz is impressive in fight scenes, it does not compensate for the problematic presentation. You can expect fans to point out where The Batman fails the Bechdel test. And rightfully so; You just cannot take the Catwoman out of Catwoman. If you do that then it just makes her just another girl in another action movie. This is Catwoman, so this is not just a simple oversight. This portrayal stifled an otherwise incredible performer in Kravitz.
It is unfortunate that The Batman’s released date missed Award season; The audio would have been very deserving of nomination. I cannot stress enough how impressive the audio was produced. You want to see this film in a house with the best sound system possible. A local moviegoer described the audio so powerful it “made his belly shake.” It is a clinic in foley artistry and ambience reminiscent of Top Gun. You can feel just as much as witness the action onscreen.
Michael Giacchino’s score is brilliance. Though simple, it embodies the frightening aura of Batman with perfection. The end credits treat us to a solo piano suite of the score – just as haunting as the full orchestra. In the lineage of classic Batman themes, Giacchino’s created an iconic melody worthy of its tradition.
For fans sick and tired of Batman in yet another origin story, this is a fresh installment. Everyone will agree The Batman did not dare “baby” its audience in a Disney way. Is it the definitive Batman movie? No, and that is a good thing: We can look forward to an inevitable sequel that pushes the intensity of Gotham City that much further.
Michael A.C. hosts indie rock show SUBZ3R0 on Sunday nights and can be reached at thisismichaelac@gmail.com
