The Batman (2022) - SPOILER-FREE Review

Directed by: Matt Reeves

Written by: Matt Reeves, Peter Craig

Starring: Robert Pattinson, Zoë Kravitz, Paul Dano, Jeffrey Wright, John Turturro, Peter Sarsgaard, Andy Serkis, Colin Farrell

Runtime: 176 min

Synopsis: Batman (Robert Pattinson) ventures into Gotham City's underworld when a sadistic killer leaves behind a trail of cryptic clues. As the evidence begins to lead closer to home and the scale of the perpetrator's plans become clear, he must forge new relationships, unmask the culprit and bring justice to the abuse of power and corruption that has long plagued the metropolis.

It's impossible to start a review of a blockbuster from this genre and of this dimension without first clarifying my position concerning other works, as well as the expectations for The Batman. Any fan of the superhero genre looks to Christopher Nolan (Tenet) and Christian Bale's (Ford v Ferrari) trilogy as an outstanding example of how to adapt comic book characters and stories for the big screen. Along with the two films directed by Tim Burton (Dumbo) and starring Michael Keaton (Spider-Man: Homecoming), these two different sagas remain in my memory as versions of Batman that I'm thrilled to have watched.

However, since the rise of social media, this comparison process has become unbearably toxic. Instead of simply discussing personal preferences in a healthy manner, constant attacks and insults emerge just because a fan considers a particular actor or film superior to another as if cinema wasn't a subjective art. Furthermore, instead of defending what they really love, they trash what they don't like that much. Whether people want to admit it or not, The Batman will receive numerous viewers with a pre-set mind. It doesn't matter if it's designated to love it or hate it unconditionally. Many have a clear idea of "their" Batman, and any detail that's even slightly altered, even if completely irrelevant, is capable of ruining an entire movie for such audience members.

Fortunately, I'm a cinephile who can genuinely state, without rankings or condescending comparisons, that I love the films from Burton, Nolan... and Matt Reeves (War for the Planet of the Apes). The Batman deserves all the hype generated since its announcement. As one of my favorite filmmakers - never made a bad flick - Reeves obviously exudes a tremendous sense of confidence for everyone who has followed his career, so personal expectations were very high. The truth is that The Dark Knight Rises was released ten years ago, and since then, Bruce Wayne and his batsuit have only been seen in cinematic universes alongside other superheroes, so there was much more enthusiasm and curiosity with this isolated adaptation.

Add to that names like Greig Fraser (director of photography, Dune), Michael Giacchino (composer, Spider-Man: No Way Home), or even James Chinlund (production designer, Dawn of the Planet of the Apes), The Batman had everything to be a technically impressive film... and, unquestionably, all these components create the best-looking Batman movie of all-time. From the absolutely stunning cinematography to the addictive score, not to mention the incredibly dark and eerily realistic atmosphere, never has a Batman film looked and sounded so good.

There was no doubt that Fraser is a talented cinematographer, and in The Batman, he manages to deliver a version of Gotham City that could perfectly fit into today's world. Even in a very bleak, foggy, gothic environment, the colors - namely red and yellow - jump from the screen through natural sources, such as fire, car lights, or gunshots, resulting in truly intense and quite violent action sequences. These last aspects are a clear improvement over other adaptations, and Reeves works to create an even more real, noir atmosphere than Nolan's own trilogy, in addition to the fantastic fight choreography and an extraordinarily riveting car chase involving the Batmobile.

Batman entering and exiting scenes is extremely chill-inducing, especially the former type where, for extended seconds, the camera focuses on the darkness while the viewers only hear the heavy, intimidating footsteps of the scary vigilante. Here comes Giacchino's score but also the sound production itself. It's not exaggerated to write that the themes and background music carry the narrative thread more focused on the detective work. The main theme is brilliant and memorable, becoming a personal favorite after listening to it over and over again. When it seems that The Batman is going to lower its levels of interest and entertainment, behold, the soundtrack reminds viewers that every moment is important in a story where every detail matters to unravel the secret villain.

Moving on to the screenplay. Reeves expressed countless times that he'd love to make a thriller driven by Batman's deduction and intelligence, something that has never been shown as centrally as in this film. The Batman belongs, for obvious reasons, to the superhero genre, but in addition to the protagonist himself not fitting that well into the most common definition of that word, the story itself is pretty far from the formulaic movies audiences have been receiving in the last few years. It holds enough action to please the most avid fans of such element, but the similarities with Se7en and Zodiac will reach a whole other group of spectators who may leave the theater surprised.

As a thriller, Riddler's character is vital to the constant feeling of fear, intimidation, and doubt. During the nearly three hours, whenever Bruce Wayne seems to be closer to deciphering the various riddles - quite interesting in their own right - Riddler finds himself several steps ahead. Here comes my biggest compliment to how this villain is treated: The Batman is genuinely terrifying when viewers realize that a psychopath like Paul Dano's (Prisoners) character is perfectly capable of randomly showing up at any time in real life, given the infinite triggers of this generation we live in.

Truth be told, Dano's performance would elevate any written material. Of all the casting choices, Dano as Riddler was the one that turned common expectations into passionate anticipation. Even with little screen time due to the mysterious layer of his character, the actor delivers, by far, the best interpretation of the villain ever seen on the big screen. The fact that Dano possesses a friendly face - one many would call dorky - serves the purpose of demonstrating that anyone can be negatively influenced by "heroes" such as, in this case, the Gotham vigilante. Bruce Wayne / Batman's arc is brilliantly developed, especially when you add Riddler to the equation.

The Batman isn't an origin movie, at least not in the more familiar structure. As the synopsis describes, viewers are introduced to Gotham with Batman already protecting the city from criminals for two years. Reeves and Peter Craig's (Bad Boys for Life) screenplay is probably the one where the protagonist has the fewest lines of all the film adaptations. Bruce is isolated from society and even from those around him, being a much less glamorous and much dirtier version than Bale's, for example. Batman - with a brutal batsuit - maintains the well-known moral of "no killing", despite being undoubtedly more violent and aggressive.

His character arc focuses on what he considers to be fair and just, being a vengeance-driven Batman, which raises questions around the significance of heroism. The Batman may introduce its main character as an active vigilante, but one that only started this activity recently, holding a lot of human flaws that will definitely be explored in the sequels. The secondary characters play an essential role in this regard, with Selina Kyle / Catwoman (Zoë Kravitz) and James Gordon (Jeffrey Wright) developing a stronger connection to the vigilante than Alfred Pennyworth (Andy Serkis) in this movie.

All the actors are absolutely phenomenal in their roles, pushing nostalgia of previous interpretations away. Admittedly, Catwoman was never a particularly fascinating character for me, but Reeves and Craig manage to create an engaging, impactful storyline to create a convincing bond with Batman. Gordon, who's not yet commissioner in The Batman, is the only link of trust that the superhero has in Gotham's police. Both Kravitz (KIMI) and Wright (No Time To Die) incorporate the characters in a distinct way, generating a genuine desire to see them again. Colin Farrell (After Yang) is unrecognizable as Penguin and also a surprising source of some levity in such a dark flick.

Finally, there's Robert Pattinson (The Lighthouse). I believe most viewers no longer look at the actor as the absurd vampire from the Twilight saga. Just like Kristen Stewart (Spencer), both have constantly been proving their talent over the past years, so only those who have never seen any of their works will carry an old-fashioned, misleading opinion of the actors' actual abilities. However, just in case there are still some doubts, The Batman will serve as final, indisputable proof that Pattinson is an impressive actor.

As Batman, Pattinson sends shivers up our spines merely with his powerful, truly frightening presence. As Bruce Wayne, despite spending more screen time as the masked vigilante, the actor demonstrates tremendous emotional control, conveying the sadness, depression, and loneliness that the character feels in an overwhelming manner. May this performance be the final blow to the skepticism of some who continue to belittle an actor's career based on a franchise that ended a decade ago.

I hope viewers don't go into the theater already thinking about what Batman or the movie itself should or must be like. But rather that they enjoy the present moment and appreciate the beginning of a new trilogy starring one of their favorite superheroes instead of worrying about comparisons and past adaptations. These won't disappear or cease to exist to make way for a new one, so let yourself be carried away as there's honestly so much to admire.

Final Thoughts

The Batman deserves all the hype it generated and then some. Matt Reeves delivers a distinctly darker, more intense, frighteningly realistic noir thriller than past adaptations, with an aggressively vengeful Bruce Wayne / Batman and a fear-inducing, mysterious, lunatic Riddler. Greig Fraser's cinematography - bone-chilling "ins-and-outs" of Batman and stunning footage of Gotham - and Michael Giacchino's score - genuinely addictive, elevates the entire film - make this adaptation the best-looking and best-scored cinematic version of the Batman ever. Even with the narrative focus on the detective work, the action sequences are exhilarating and beautifully shot. The entire cast is extraordinary, especially Paul Dano and Robert Pattinson - the latter destroys all skepticism around his talent. Apart from a short period at the end of the second act, the three hours fly by. It's one of the best movies of the year and a fair contender in the debate of best comic book movie of all-time.

Rating: A

| A+ : 9.3-10 | A: 8.7-9.2 | A- : 8.0-8.6 | B+ : 7.3-7.9 | B: 6.7-7.2 | B- : 6.0-6.6 || C+ : 5.3-5.9 | C: 4.7-5.2 | C- : 4.0-4.6 | D+ : 3.3-3.9 | D: 2.7-3.2 | D- : 2.0-2.6 | F: 0-1.9 |

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