THE BATMAN (2022)

This might be the best cinematic incarnation of Batman ever. More Noir crime thriller in the vein of se7en or Zodiac than your standard action blockbuster fare.

That’s likely to turn some people off it, but when that Batmobile roars to life like a godsdamned demon or The Bat walks down a black hallway lit by only the gunshots of the goons he’s taking on, it’s hard not to pick up what it’s putting down.

Pattinson’s Bat is brooding and serious, but he also recognizes he is supposed to help people. He’s also a brilliant detective — something often overlooked in favour of grander spectacle. The Batman takes place almost exclusively at night, over the span of about a week on the trail of a serial killer loose in Gotham City. It’s long and it’s slow and it’s deliberate.

The city itself feels like a strange hybrid of not quite New York, not quite Chicago, all gothic architecture and constant, miserable rain.

The Batsuit, Batmobile and all his detective gadgets all have a handmade, reappropriated feel that really adds to the grounded tone.

Soundtrack is great. Performances are all excellent. Cinematography is understated, but frequently impressive.

Could probably have been trimmed down a bit, since the final act feels a bit superfluous after a big string of satisfying resolutions, and there’s an unnecessary cameo right by the end that feels like a studio note.

Still, this feels like an absolute step in the right direction. Doesn’t quite have the big punch of the Nolan films, but I actually kind of prefer this style. Very, very promising for sequels.

Highly recommended.

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