By Ermioni Pavlidou,
The new The Batman (2022) movie is out in cinemas now, and all the initial reluctance and internal intense hope for a masterpiece, but simultaneous anxiety, has come to an end; because the film satisfied and exceeded the audience’s expectations. A rush of relief and excitement passed through fans, when they watched the beginning of the new Batman Saga, as it ticked all the right boxes alluding to the manner of the most loved Batman movie, The Dark Knight (2008). Directed by Matt Reeves and written by him and Peter Craig, the new Batman franchise begins in the most suitable way and looks very promising for its future projects. Robert Pattinson proved for yet another time how skilled he is in performing a role carrying the burden of comparison with the actors playing this role before him (Michael Keaton, Christian Bale). Spoilers included.
Except for being dark-themed and obviously appealing to a character with certain features and the place it has in pop culture, the film is an indulging film noir that borrows some of the protagonist’s main characteristics by adapting them in the rotten and utterly corrupt Gotham’s state. The whole movie’s course justifies him becoming a vigilante, as it gets deeper into the levels of inescapable evilness and graft. It includes an origin story as a subtitle, without actually explaining it; and manages to do so without being tiring or overly pretentious.
Its whole atmosphere opens with a sequence of murder, violent frenzy, and a cloudy future ahead, which is not only caused by the mayhem on the streets by “thugs” — which in a sense could be a reference to the end of the Joker (2019) movie; but also lies stagnant in the political backstage, soon to be forestage. A notorious club is where all the scandals begin, connected to a conspicuous mob boss called “The Penguin” (Colin Farrell), concealing a more obscured crime puppet master, Carmine Falcone (John Turturro). Batman is on his vengeance quest when a more apparent threat emerges. A threat with deeper roots than what is left on the surface, linked to Bruce Wayne’s legacy. A Zodiac-like killer, which is recognized by the comics as being “The Riddler” (Paul Dano), murders illustrious politicians or people involved in Gotham’s helm, exposing scandals they were implicated in, and leaves disturbing puzzles, which contain coded clues, addressed to the Batman regarding his motive, next victims, and the ultimate plan.
Investigating these murders is — soon-to-be — Commissioner Jim Gordon (Jeffrey Wright), who is the representation of an actual good person. There is this contrast in his unconventional partnership between him, who tries to be a lawful citizen, to serve and protect, often by the book. He is the light used to summon Batman in times of need. Also, Gordon does not know the identity of Batman, so he trusts his purpose and determination to do what he wanted to do, but is drowned in a system internally corrupt. On the other hand, Pattinson adopts his character almost completely into his duality and makes the difference barely visible. He blends the two identities into a projection of one character and — even though it has been integrated into the “literally me” meme for pop culture — serves justice to an action figure with so much history behind it. Alfred Pennyworth (Andy Serkis) is the father figure in Bruce Wayne’s life, who, although has limited screen time, brings to life the protective and supportive side of the character in a beautiful way.
Involved in the aforementioned crime-laundering club is a woman who pretends to play a role, that of the unsuspecting, beautiful, and easily manipulated waitress to fight for her own version of justice. Selina Kyle (Zoë Kravitz) encounters Batman and progressively finds more pieces of her connecting with him. They become partners in fighting crime and have a silent understanding between them. Kravitz’s approach to Catwoman is excellent and quite opposing to what Michelle Pfeiffer had brought to life in previous appearances. In Kravitz’s interpretation, Selina is not a sickly-sweet exterior with a conniving mind, as was Pfeiffer’s approach; she is fierce, and her claws are drawn from the beginning. She is vindictive, too.
Furthermore, this movie’s villains are so well portrayed. Colin Farrell is unrecognizable as the Penguin, and it takes a few minutes to process that it is him depicting the famous villain. He makes the viewer uncomfortable with the greasy undertone in his voice and the calm and virulent, James-Bond-villain-like manner he has. John Turturro as Carmine Falcone is the dangerous, above suspicion, silent threat that hides in the shadows and waits. He is a snake that strikes when the opponent is down. He blurs and manipulates the truth convincingly.
Lastly, Paul Dano is terrifyingly good as the Riddler. He sets his traps and is always two steps ahead. His performance causes shivers down the audience’s spine and his deranged manner evolving through the frames without ridiculing how dangerously demented he is, is frankly praiseworthy. On a final note, there is the cameo of Barry Keoghan as — who is not yet confirmed to be — Joker, which will be an exciting addition to this universe. We surely are excited!
References
- The Batman, rogerebert.com, Available here
- The Batman review – Robert Pattinson’s brooding caped crusader has a lot on his mind, theguardian.com, Available here
- ‘The Batman’ Review: A Tortured Robert Pattinson Goes Even Darker Than ‘The Dark Knight’, variety.com, Available here
