Review: 'The Batman'

 by Amelia Cooper 

When Twilight and A24 star Robert Pattinson was revealed as being the new Batman, I, along with cinema go-ers around the world, was dubious. However, after finally seeing The Batman on its release date: March 4th 2022, I can comfortably say that it is one of the best Batman movies to date, if not the best. The film as a whole is packed full with neo-noir elements, whilst not straying too far from its original roots as a superhero movie. In this newest addition to the Batman franchise, the titular character acts as more of a detective rather than an undefeatable superhero, which I think somewhat emphasises the growing power and confidence that the character gains throughout the film, whilst also not hiding mistakes and downfalls that he succumbs to. Pattinson shines as Batman; introducing a grungier, more realistic side to the character after both Ben Affleck and Christian Bale’s presentation of the character’s more suave aspects to his persona. Regardless of some questionable and slightly lustreless moments portrayed by Pattinson within Bruce Wayne himself, I personally believe that he has created a strong basis for the character and allows room to develop in further movies and sequels. Paul Dano, star of Little Miss Sunshine, There Will be Blood, and Prisoners creates an arguably terrifying Riddler and acts as perhaps my favourite part of the film as a whole. The all too realistic portrayal of a mentally traumatised, apathetic criminal mastermind who conquers the art of manipulation over his social media followers in a way that has been seen too often in real life modern media adds to the intensity and harrowing nature of the role. Although the Riddler of 1995’s Batman Forever perhaps leans more towards the presentation of Riddler within the original comic books, Dano’s presentation creates an even darker atmosphere and fits perfectly into Matt Reeves’ The Batman whilst adding to the actor’s portfolio as an incredibly skilled characters actor who, in my opinion, acts as the best psychopath in modern Hollywood in both this and other works such as Denis Villeneuve’s Prisoners. On the topic of comic books, Zoe Kravitz’s Selina Kyle, or Catwoman, most definitely strays away from the two-dimensional ‘Femme Fatale’ archetype and instead portrays a more human, vulnerable character. If one disregards some odd walks and one-liners from the character, Kravitz’s Catwoman introduces a new side to a beloved character and allows the audience to have somewhat more of a backstory that subsequently adds to our feelings around Catwoman whilst intriguing and investing us in any movies that may follow.

In terms of soundtrack, the movie uses Nirvana’s ‘Something’s in The Way’ and Michael Giacchinos’ ominous, bass-filled orchestral score throughout to create a vivid and recognisable aesthetic for the film. Although my favourite soundtrack for a Batman film has to be Hans Zimmer’s ‘The Dark Knight’, I adore the use of ‘Something’s in The Way’ to add to the overall dark and brooding essence that the film exudes. This atmosphere that is exhibited within The Batman is arguably added to by the particular styling choices that have been made throughout. In previous interviews with director Matt Reeves and Robert Pattinson, it has been revealed that Pattinson’s Batman has been styled primarily with inspiration from Nirvana singer Kurt Cobain. This grungy, rock-star yet recluse aura that is expressed from Batman within this adaptation is obvious and beautifully done. One very small, yet powerful, element of Pattinson’s Batman that for me was an incredible addition to the whole aesthetic of the character that has been created and manufactured within the movie is the inclusion of Batman’s black eyeshadow and how it stays on even after he takes his mask, and persona as Batman, off. This use of makeup has not been included in any other Batman film, yet adds such a raw and vulnerable quality to the character in my eyes, showing that he is not your typical superhero and does have a dark backstory and elements to his psyche. Pattinson’s truthful and raw presentation of Batman is mirrored throughout the film in the presentation of Gotham City itself. In previous adaptations within the Batman franchise, the city is often not portrayed as anything close to the original comic book descriptions; however, The Batman illustrates a dirty, dangerous, crime and drug-filled city that likens itself to the original DC illustrations of Gotham.

In terms of camera work and cinematography, The Batman is, on the most part, beautifully created. Lighting is utilised to perfection throughout: Although the overall theme and tone of this movie is extremely dark and somewhat ominous, red lighting in certain scenes creates a powerful and controlling aura whilst simultaneously emphasising the tense and urgent atmosphere. In one particular scene within the film, the sole source of lighting comes from gunfire. The chaotic and staggered effect that is created as a result expresses the rebellious and forceful nature of the vigilante that is Batman. Cinematographer of The Batman Greig Fraser stated in a recent interview with IndieWire that “the camera doesn’t move wildly” and so “if it does move, it moves for a particular reason”. This precise and controlled method of filming is extremely apt in this particular film, with the fixed camera angles echoing the emotional tension and resultant turmoil that the character of Bruce Wayne and Batman is experiencing. One of my favourite scenes in The Batman that combines both these lighting and camera techniques is when the new batmobile is introduced. A subtle, dark silhouette of the Mustang cross Dodge Charger on steroids is suddenly accompanied by a massive blue flame exiting the exhaust, and thus the latest adaptation of the iconic batmobile is launched. Overall, I believe that Matt Reeves’ The Batman is an incredibly dark, chilling, yet also captivating version of the world-famous franchise and character, and I highly recommend that everyone experiences this film in the cinema to gain the full effect of the masterful work that has so obviously been put into this.