Over the past month, I have watched several iterations of Batman. From Christian Bale to Ben Affleck, Lego to Anime, Young Bruce Wayne to Arkham City Bruce Wayne, they’ve all brought something different to the role. Whilst implementing the same characters, each director has pushed new boundaries, showing Gotham in their own vision and telling stories of how the caped crusader saved the day. Created more than 80 years ago, there’s been many highs & lows within the DC franchise. For every Dark Knight, a Batman & Robin creeps in the shadows, and let’s not get me started on Justice League again. With this in mind, is The Batman worthy of the title World’s Greatest Detective?
Directed by Matt Reeves, who’s feature debut of Cloverfield shifted the modern horror landscape in 2008, The Batman pivots away from the superhero genre and fully embraces crime thrillers. Set in his second year donning the costume, Bruce Wayne (Robert Pattinson) is a recluse by day and vengeance by night. Alongside Lieutenant Jim Gordon (Jeffrey Wright), he investigates the murder of a mayoral candidate by someone who identifies themself as The Riddler (Paul Dano). As further prominent figures are targeted, the more tangled he becomes with Gotham’s underworld leaders Carmine Falcone (John Tuturro) and Oz (Colin Farrell), colloquially known as The Penguin. Requiring insider assistance from waitress and cat-lover Selina Kyle (Zoe Kravitz), as well as butler Alfred (Andy Serkis) on hand for deciphering codes and keeping Bruce in check, will Batman be able to solve his toughest case yet?
When it comes to film, one of the factors I value highest is realism. Granted, I don’t turn up to superhero movies and expect a grounded drama but, if that’s what the director sets out to achieve, then I need my sense of belief to remain intact to become fully engrossed in it. The Batman presents the most realistic and believable portrayal of the hero to hit the big screen. Being quite new to vigilantism, his fighting style is clunky and his most common high tech tools are torches and binoculars. More often than not, Gordon invites Batman into the crime scene, where every police officer looks at this massive guy in a bat costume doing their job with confusion and utter disdain. The way he interacts with people, as Bruce Wayne and Batman, is less billionaire playboy and more traumatised introvert. Filled with teenage angst, ambivalent to the intricacies of politics and the world outside of himself, Bruce is stuck within his childhood trauma. This story is something we’re all aware of by now, but never have they leant so heavily on how flawed Batman is. All of this awkwardness and petulance in the day, shadowy fighter by night, is nailed by Robert Pattinson and I’m not sure if I can see anyone else fitting the cowl better.
Continuing this model of true to life characters, the Riddler is no longer a guy in a top hat with a question marked latex suit, but a dark web incel who has to wear his glasses over his own handmade mask – clingfilmed tight to avoid livestream fails. Heavy breathing accompanied by Ave Maria and duct tape is an incredibly creepy signature that shows you don’t need a lot to give off such a threatening aura. Paul Dano really has the creepy weirdo character nailed. Selina Kyle’s costume is literally a woolly hat with cat ears, the front cut out and pulled over her face. However, unlike previous films, there is more to her than this, and the mirroring dynamic between Selina and Batman is surprisingly nuanced. Passionate, seductive and a dark sense of humour, Zoe Kravitz is perfect in the role. Regarding the rest of the characters, everyone plays their role fantastically. Nobody is trying to steal the limelight from the main three, with only Colin Farrell’s disfigured face gangster accent combination a throwback to the past. Piecing this all together, Gotham hasn’t felt more like an actual city filled with genuine people before.
This is aided by how the film is shot. Every angle is up close and lingers on the scene, accompanied by a beautiful original score from Michael Giacchino. Whilst this Batman is the antithesis of cool personality wise, the stunts and overall look is incredibly stylish. I have no doubts motorbike sales will spike over the next few weeks. The film feels personal, humanising these comic book characters, whilst drawing as much tension out as possible. Structurally similar to the Dark Knight, Matt Reeves sets the tone magnificently with a 10 minute microcosmic introduction. Describing the pacing as slow-burning is an understatement, with each pronounced shot clocking up to a near three hour run time. As someone who has been quite militant towards extended features, The Batman somehow left me wanting more. The content has not been bloated to fill up time nor undersaturated to come across as self-indulgent. It tells the story of a city paralysed with fear, and three masked individuals striving to do what they think is right.
Overall, The Batman is better compared to films such as Zodiac and Chinatown than other superhero films. I can understand why this would not be to people’s taste, however I was firmly in the crosshairs when it comes to the target audience. Slow, methodical, realistic and stunning, if this is the first of a Matt Reeves trilogy then Christopher Nolan should be careful to find what’s in the shadows.