The Batman (Spoiler-Free Review)

 

Introducing another Batman is one thing but, introducing a new mythos of Gotham that isn't considered a part of the DCEU is a whole other ballgame. The Batman isolates itself from the Golden Age of intertwining superhero stories with Robert Pattinson donning the infamous cowl and cape this time around. With Matt Reeves at the helm, you can easily comprehend that this iteration of one of DC's most popular characters will be different. 

With Bruce Wayne being Batman for two years, the film centers around the Caped Crusader investigating the murders of Gotham's most elite. Alongside Lieutenant James Gordon and in cohorts with Selina Kyle, all paths meet with the murderer's attempt to shed the light on the secrets of the founding families of Gotham. Starting off the Bat's rogue's gallery is The Riddler, setting up a riddle-clued egg hunt for the GCPD and Batman to uncover the corruption that resides within the high reaches of the city. 

Matt Reeves, who directs and co-writes with Peter Craig, allows audiences to see a multifaceted Batman that has never been adapted on the big screen before. Instead of taking cues and inspiration from previous directors who brought the character to life, Reeves does something original and surprisingly breathtaking. Paying homage to much older and more iconic comic book storylines, this Batman isn't physically challenged by an immortal ninja master or a God that threatens to take over Earth through Knightmares. We see him take up the moniker all comic book readers know him best. The World's Greatest Detective. 

Pattinson's portrayal makes all haters eat their words up. When he first was cast, everyone was skeptical of Edward Cullen playing their favorite superhero. First-hand witnessing this film will change anyone's mind. Not only does he manage to balance the character's struggle as Bruce Wayne and Batman but Pattinson manages to make these identities two separate individuals as if he was almost playing two different roles. He portrays the struggle within the character, juggling the two identities, that hasn't been handled critically and carefully. 

This may be due to Reeves's well-thought vision of stripping away the playboy aspect from Bruce Wayne's billionaire, philanthropist trope but Pattinson fleshing this version of the character maybe have been a challenge but he executes it effortlessly which makes it oh so memorable. All that said, fans might start considering this portrayal to surpass the likes of Keaton or Bale if they are willing to let go of his playboy-like antics. 

The minute Zoe Kravitz makes her appearance, you can feel the electricity between the Bat and the Cat but this isn't the most important attribute that occurs with Selina Kyle's inclusion. Catwoman is more than just a cat burglar or potential villain in this narrative. She's not even Catwoman yet. Unlike the Riddler, she has her own agenda is afoot but finds herself dragged into the crossfire that leads to a partner up with 'Batboy'. With her character arc being affected almost as much by everyone else involved, Kravitz does Selina justice after lackluster performances from Anne Hathaway and Halle Berry, finally justifying Catwoman's relevance to Gotham and Batman since Pfeifer. 

Still sexualized with the slender, body-hugging suit and the need to constantly entrance Batman, it's hard to desexualize the character. The script does manage to evolve the character to a modern-day depiction but changing too much could upset longtime fans. Luckily, this is a better portrayal and Kravitz should most definitely come back despite the way every source material's depiction of the character.

The main villain in this Bat-flick is the one and only Riddler. Unlike Jim Carrey from Batman Forever or Cory Michael Smith from the Gotham TV series, he does not wear a chartreuse, question mark-covered suit but instead dons a kind of a WWII Army green combat suit that should terrify anyone enough to be on the edge of their seat whenever he comes onscreen... via on a screen. Inspired by the actual Zodiac killer from the late 60s and the copycat from the early 90s, Riddler's riddled cards are just as spine-chilling as the aforementioned serial killer's code cyphering cards that were used to taunt detectives and reporters at that time. In this storyline. Dano's performance is almost unbelievable considering how regular he actually looks. However, you should never judge a book by its cover. 

The Riddler has never been terrifying (Or at least from my point of view). Michael Smith's iteration of character may have been voyeuristic and at times suffered from a dissociative identity disorder, he was never exactly brought fear whenever he was onscreen. Dano changes that. His introductory scene itself somehow manages to resemble scenes from John Carpenter's original movie, keeping us on the edge of our toes, wondering what he might do next. He may not be The Riddler just yet, but like he intended, he will be remembered. 

Other characters like Colin Farrell's unrecognizable portrayal as Penguin, John Turturro's Carmine Falcone, and Andy Serkis' Alfred Pennyworth, may not have had as much screen time but their presence steals our attention nonetheless. This cannot be said with Jeffrey Wright's Jom Gordon. He may not be utilized as much but just like every other actor who has portrayed the lieutenant soon-to-be commissioner, everyone knows Gordon is meant to be the tech-savvy-less, dry humor relief counterpart to Batman's non-reaction to the infested minds that commit crimes in godforsaken Gotham. In the film, Penguin accurately refers to their partnership as 'Bad Cop and Batshit Cop'. Their partnership is definitely well done in this feature. Their questionable dynamic from the comics is clearly seen in this film. 

Gotham is perfectly brought to life with its visuals and the actors bringing their A-games to playing iconic characters but nothing completes this film better than Michael Giacchino's score. He will haunt audiences as well allow room for goosebump-melancholy kind of reactions whilst hearing all of the main themes he had composed. The music is quiet at times and dramatically loud when it needs to be. With every entrance comes a note or component that resembles each character's (that got their own theme) personal journey. The film does have scenes that do not have the score in the background, where it's necessary but with others, it's hard to imagine these scenes without Giacchino's contribution. His work although more somber, as opposed to his more experimental work with Disney and Pixar or renewing older themes, (commonly heard in Jurassic World, Star Trek, and a bit with the Spider-Man Homecoming trilogy), this original contribution might be his best yet. 

The Batman may have great character developments and arcs that lack plot holes since there was enough time to resolve all loose ends, audiences may not consider this their favorite Batflic. Unlike Avengers: Endgame, you will eventually feel the runtime slogging and will wonder when it is over. However, instead of being bored and aching for it to be over, you are still interested in what happens next. Another thing to consider is the pace. This film is very slow. If you thought Chris Nolan's movies were slow, then this might feel like it takes forever to get to its point or even to the next scene. If audiences are not invested with the characters or the narrative, it might just be a problem. Compared to most superhero films or in this case, other Batman films, this requires an audience that can comprehend slow builds -- or just comic book fans -- as opposed to action-packed blockbusters.

As promised, The Batman is a near-masterpiece. There is no doubt about that. Loyal Batman fans will be exceptionally pleased with this adaptation really captures everything great from the comics. I, for sure, can admit that I might have shed a tear or two witnessing this layout. I only ever enjoyed Batman because of his villains but now, I can finally enjoy the character the way everyone does.