Let's get this out of the way first: "The Batman" is not a fun movie to watch. That doesn't mean it's bad. But it does take itself really seriously. Which it should, when your main character is brooding 24/7. It seems director Matt Reeves finally made a movie which I feel the caped crusader himself would watch.
Timing out at just short of 3 hours, "The Batman" is like the ultimate anti-Marvel formula. It avoids creating gaps for comedic timings, and--despite still being a blockbuster--it's not afraid of having a bigger focus on a complex detective plot. For many, including myself, this modern noire style is an approach long overdue for the dark knight himself. A dark knight which is at his most scariest version.
Casting urban emo vampire Robert Pattinson as the titular character created a dark knight which inspires hope as much as it does hopelessness. Whenever he joins a scene, Academy Award winning Michael Giacchino's score lands immediately. It is loud, unescapable and monumental showcasing the inevitability of the fate of whoever is foolish enough to stand in the dark knight's way. That being said, this is the most beautiful Batman movie I've ever seen. Greig Fraser's cinematography plasters a dramatic visual tone over the entire thing. It is sad but hopeful.
But going back to the Bat--or better--Bruce Wayne, he has to be the most distant implementation of the playboy billionaire we've had yet--I wouldn't even call him "playboy". Unlike in other movies, in which Wayne starts James Bond-flirting and is strong enough to flex his money to reduce suspicions, Pattinson's Wayne is a man of few--albeit striking--words, both in and out of costume. He truly is far gone, a tortured soul reminiscent of Pattinson's "Twilight" years--except this time it's actually good. Speaking of flirting, Zoë Kravitz's Catwoman is carrying her own emotional weight as well. So much so, that when she and Batman share a kiss, it doesn't even feel like pleasure, but more like a painkiller.
Indeed, pain seems to be the weight Reeves is placing on his characters. It is something necessary for his overly serious approach to work. There has to be enough drama to justify all this movie's depressing tendencies. Speaking of which, Paul Dano's Riddler is about as blunt as mental disorders can get. His performance is a career highlight, one which inspires fear, despise and even empathy.
"The Batman" is almost too long--almost. Its complex plot which seems to thicken more as it unveils more of its secrets is worthy of a detective story. It often contains montages of visual and poetic acuities and while not all its revelations are as shocking as they want to be, they are all worthy of your time--yes, the entire three hours.
Timing out at just short of 3 hours, "The Batman" is like the ultimate anti-Marvel formula. It avoids creating gaps for comedic timings, and--despite still being a blockbuster--it's not afraid of having a bigger focus on a complex detective plot. For many, including myself, this modern noire style is an approach long overdue for the dark knight himself. A dark knight which is at his most scariest version.
Casting urban emo vampire Robert Pattinson as the titular character created a dark knight which inspires hope as much as it does hopelessness. Whenever he joins a scene, Academy Award winning Michael Giacchino's score lands immediately. It is loud, unescapable and monumental showcasing the inevitability of the fate of whoever is foolish enough to stand in the dark knight's way. That being said, this is the most beautiful Batman movie I've ever seen. Greig Fraser's cinematography plasters a dramatic visual tone over the entire thing. It is sad but hopeful.
But going back to the Bat--or better--Bruce Wayne, he has to be the most distant implementation of the playboy billionaire we've had yet--I wouldn't even call him "playboy". Unlike in other movies, in which Wayne starts James Bond-flirting and is strong enough to flex his money to reduce suspicions, Pattinson's Wayne is a man of few--albeit striking--words, both in and out of costume. He truly is far gone, a tortured soul reminiscent of Pattinson's "Twilight" years--except this time it's actually good. Speaking of flirting, Zoë Kravitz's Catwoman is carrying her own emotional weight as well. So much so, that when she and Batman share a kiss, it doesn't even feel like pleasure, but more like a painkiller.
Indeed, pain seems to be the weight Reeves is placing on his characters. It is something necessary for his overly serious approach to work. There has to be enough drama to justify all this movie's depressing tendencies. Speaking of which, Paul Dano's Riddler is about as blunt as mental disorders can get. His performance is a career highlight, one which inspires fear, despise and even empathy.
"The Batman" is almost too long--almost. Its complex plot which seems to thicken more as it unveils more of its secrets is worthy of a detective story. It often contains montages of visual and poetic acuities and while not all its revelations are as shocking as they want to be, they are all worthy of your time--yes, the entire three hours.