Reeves' The Batman Exceeds Expectations

Those hoping The Batman will be a typical, fun superhero movie, should look elsewhere. Matt Reeves’ long-awaited, dark and gritty take on the Caped Crusader was, well, dark and gritty. The Batman revitalizes the hero we’ve come to know so well by giving us a film more akin to Se7en than Spider-Man. 

The Batman shows us a version of the character different from any other. Instead of an origin story that shows us the exposition we’ve already seen, this film gives us a Bruce Wayne who is two years into his “experiment” as Batman. Then the film’s main villain, The Riddler, goes on a murderous rampage in an attempt to uncover the corruption that fills Gotham’s government. Both Batman and The Riddler are orphans, and both deal with this trauma in fairly violent ways: Batman tries to stop criminals and The Riddler brutally murders corrupt politicians who he believes are responsible for his suffering. This juxtaposition serves as the driving force behind the majority of the film.

Being both the co-writer and director of the film, Reeves clearly had a vision for what he wanted the character of Batman, and the film itself, to be. His influences – those he’s discussed and those he hasn’t– can be seen plainly. Zodiac, Chinatown, the aforementioned Se7en, and even Saw have a clear influence on the film, specifically The Riddler, who himself is inspired by the Zodiac Killer. Additionally, the movie is most definitely rooted in the Humphrey Bogart detective noir films of the 1940s and 50s. The Batman is essentially a detective movie, but one of the detectives happens to be Batman. These characteristics are what allows the film to feel so fresh. Rather than an action-packed, comic book movie, Reeves creates a neo-noir Batman movie.  

Reeves’ direction in other places is noticeably great as well; he has been vocal about his choice to do as many practical effects as possible, rather than CGI, and that decision paid off. The car chase toward the middle of the film looks incredible, largely because it was all practical. There is a shot when the camera is attached to the back of the Batmobile that was particularly remarkable, as it allowed the audience to viscerally experience the car chase through wild movements, with raindrops and mud occasionally bouncing off the lens. Again, much of that is only possible due to Reeves’ decision to shoot practically. Between Reeves’ direction and Greig Fraser’s cinematography, The Batman is certainly the best looking Batman film yet.

I would be remiss to not, at least briefly, mention the film’s music. Nirvana’s “Something in the Way” essentially serves as the hero’s main theme, while Michael Giacchino’s masterful score contributes wonderfully to the grim tones of the film. Giacchino’s theme music has been stuck in my head for weeks now. 

Robert Pattinson performed spectacularly as the titular role. He not only satisfies the essential physical nature of Batman, but also brings a wide range of emotional depth to the character. Pattinson has the rare ability to emote without actually speaking. Even in the brief scenes in which he isn’t covered in the Batsuit, his (for lack of a better word) vibe is still commanding. Pattinson’s impressive performance should come as no surprise given his recent work, specifically The Lighthouse and Good Time. Pattinson continues his streak of powerful performances in this extremely grounded version of Batman that Reeves has created for him.

With Batman being such a serious character, Zoe Kravitz’s Catwoman was forced to carry the majority of the emotional weight for the film – a job that she was most successful at. What stood out most to me, and to most viewers, was the unparalleled chemistry between her and Pattinson. It was this chemistry that allowed both characters to work so well. Additionally, the script allowed for an extra layer of interest in her character. Whereas many characters feel like mere accessories to Batman, Kravitz’s Catwoman seems to have an entire story not being told in the film, which only expands the complexities in her and Batman’s relationship.

Paul Dano is truly extraordinary as The Riddler, and was genuinely disturbing. His aspects of the film sometimes felt more like a horror film than a superhero movie. Dano’s performance is especially exceptional when given the fact that, for the majority of the film, his face is not visible, so much of his performance is reliant on his character’s screechy voice and disturbing physicality. Nonetheless, Dano gives a brilliant performance that manages to be both sinister and playful at the same time. 

The movie did have its flaws, though. I found parts of the second and third act difficult to follow. On my second viewing, however, I was able to better understand the intricacies of the plot, but nevertheless I found it slightly irritating that the film had such a convoluted plot. The main quarrel I have with the film is its epic three-hour runtime. I very much enjoyed The Batman but I found myself occasionally bored, and there are definitely a slew of scenes that could be cut.

Ignoring those few shortcomings, the film did not disappoint. Reeves wrote an incredible script and did an equally incredible job directing it. Even if it's not as fun as some were hoping, The Batman draws upon its influences and memorable performances to breathe new life into a familiar character.

By Daniel Rosen