Batman Review: Robert Pattinson Gives Us ‘Expressive Batman’ In A Very Good Detective Novel

Dir: Matt Reeves. Actors: Robert Pattinson, Zoe Kravitz, Paul Dano, Jeffrey Wright, John Turturro, Andy Serkis, Colin Farrell. 15, 176 minutes

In this world, nothing can be said for sure, except death, taxes and Batman. The Caped Crusader has been a constant culture since his founding in 1939, adapting to the days of ’60s kitsch or post-9/11 skepticism, and now reintroducing himself through Robert Pattinson before his current iteration even made a final bow (Ben Affleck’s final appearance in the role is set for this year). The Flash).

Joel Schumacher dressed Val Kilmer and George Clooney as a couple in the ’90s, Christopher Nolan’s trilogy gave him a philosophy, Zack Snyder gave him the urge to kill in 2016 Batman v Superman. We had the plate after the Batmen platter was served with the promise that this, now, would be the only Batman we needed.

And here we are, in another spin around DC Comics’ chiropteran ferris wheel. Matt Reeves is now in the driver’s seat, having successfully adapted the Planet of the Apes series into a modern epic. He spent a lot BatmanPress tour draws comparisons to America’s New Wave of the Seventies and to Martin Scorsese Taxi driver – exactly like Todd Phillips did while promoting the two Oscar winner Joker. But isn’t this just a little tiring? Isn’t it also dangerous that the hype machine constantly insists that each new comic book movie is a radical genre-defining miracle?

Batman It’s a very good movie about Batman. Think of it as anything more than just leading to delusion or disappointment. It also undermines the more subtle work of Reeves’ film, which remains faithful to the character’s core image – bat ears, elaborate devices, invading darkness – while questioning the usefulness of the character. it. In comparison, it’s placed somewhere between Christopher Nolan and Tim Burton – with one foot being our reality, and the other planted in a Gothic noir aesthetic derived in part from Frank Miller’s. The Dark Knight Returns and Batman: Year One comic.

Maybe that’s where you put our new Batman, Pattinson, although his performance hasn’t waned since he sunset day, out of the euphoria that infects his acting in Good times or Lighthouse. I can’t blame him. Anything that falls off the list of growth and monotony will be seen by fans as mutinous, so it can be expected that he sounds almost like Christian Bale did in the admired Dark Knight trilogy. Nolan’s extensive grave in the early Noughties.

The Pattinson-lined curtain shows Bruce Wayne, the man behind the cowherd, at least allowing us to distinguish his Batman as “Emotional Batman”. And it takes an amazing turn when Bruce snaps at his butler Alfred (Andy Serkis) and tells him, “You’re not my father.”

But Reeves isn’t here to bring us another origin story about dead parents and the pearls scattered across an alley behind Gotham. In the end, we were assigned “the world’s greatest detective”, as the comics like to call him, in the flesh. Reeves isn’t shy to learn that Paul Dano’s Riddler, one of Batman’s closest enemies, is directly modeled after the real-life Zodiac Killer, who terrorized California in the ’60s and became the subject of one of David Fincher’s best movies.

This Riddler kills city officials while taunting the police with code, bad light video shot in portrait mode, and to justify the name, quizzes. Reeves clearly saw Dano’s performance as a suspected child kidnapper in Denis Villeneuve’s Prisoner (2013) and said, “Yes, thank you, much more.” No offense to Dano, but he actually turned out to be an excellent serial killer, all sleazy and meek with a dark desperation.

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Reeves’ screenplay, co-written with Peter Craig, delves into homage in a way that’s both broader and more effective. JokerScorsese’s Festival. The streets of Gotham are littered with the same kind of acid rain that pours down Blade RunnerLA of the future; John Turturro, as crime boss Carmine Falcone, barely seems to realize he’s starring in a comic book movie. Colin Farrell was so unrecognizable as Penguin, lurking under layers of pus and a tangled voice, that you started to wonder why they didn’t hire a guy… that looked like that. After all, there are hundreds of character actors who can do the mob thing in their sleep.

Zoe Kravitz and Robert Pattinson in ‘The Batman’

(Warner Bros)

Meanwhile, Zoe Kravitz’s Catwoman is both reduced to the image of broad film noir and enhanced by it. She tends to overstate the fact that she can “take care of herself” while also becoming quite helpless whenever Batman is around – but Kravitz completes the role with elegance. , loves to drink milk, her every time in and out is transmitted by the meow of Michael Giacchino. wire. She brings a sensuality that is different from the comic book genre.

This is a Batman that, in many ways, feels more intimate than we’ve ever done. Reeves’ version of the car chase is captured, not by cranes and helicopters, but by a claustrophobic POV pinned to the front wheel or the driver’s face, captured by cinematographer Greig Fraser framed delicately and provocatively. We see a Batman in the dark, whose entrance is only signaled by his creepy score or his boot, but who also falls hard and will limp, defeated.

At times, the Nolan trilogy seems uncertain about how its rebuke of authoritarianism can stand alongside a Batman heralded as the benevolent capitalist. Reeves’ Batman makes more sense: he’s a reclusive man, traumatized by the rest of society. And there is a surprising twist hidden in the folds of this noir story, a properly exploratory twist on the individualist politics of a wary character.

Batman It doesn’t take nearly three hours to tell the essence, the relatively simple story of the hero’s moral awakening, but in itself is a feat as the film has its own voice and perspective, instead of encountering like the Frankensteined work of every Bruce Wayne has come before. Should it live up to its promise of a sequel to the last reel? Batman has risen – but it will likely push its luck if it decides to come back.

https://www.independent.co.uk/arts-entertainment/films/reviews/the-batman-review-robert-pattinson-b2024958.html Batman Review: Robert Pattinson Gives Us ‘Expressive Batman’ In A Very Good Detective Novel

Tom Vazquez

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