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Reviews :

The Batman

The Batman by Matt Reeves is not a superhero film. Actually, no. The Batmobile, the tough suit, and the gadgets thanks to dependable butler Alfred are all present. The Caped Crusader, who is brooding, tortured, and pursuing his own brand of nightly justice in a Gotham City that is degenerating into poverty and ruin, is of course at the focus of the story.

But everything is breathlessly fresh and vibrant in Reeves' assured hands. He has transformed what would seem to be a well-known story into an enormous, almost operatic work as director and co-writer. His "Batman" is less of a soaring, transporting blockbuster and more like a grimy, 1970s criminal thriller. It is reminiscent of one of the best action movies ever made, "The Warriors," with its dynamic, unexpected action. "The French Connection" is a genre that includes them all. It also occasionally seems as though the Zodiac murderer is terrorising the people of Gotham since the storyline is driven by a string of high-profile killings.

And yet, in spite of these hallmarks, this is undeniably a Matt Reeves movie. He succeeds in creating an exhilarating, exciting spectacle that is anchored in genuine, emotional stakes, much as he did with his suspenseful "Planet of the Apes" films. This is a Batman movie that is cognizant of its own place in pop culture, but not in a smirking, satirical way; rather, it respects the legend around the comic book character before seriously and audaciously examining and reinventing it. The Reeves and Peter Craig script demands This hero's willingness to reflect on his past and face his mission opens a door for us viewers to evaluate the stories we hold dear in our own lives.

And now that Robert Pattinson is playing Bruce Wayne, we have an actor who is eager to explore this character's strange, dark inclinations. This is hardly the dashing, well-dressed heir to a fortune wandering the streets. This is a disconnected and disillusioned Travis Bickle wearing a Batsuit. Having served as Batman for two years, he is now chasing criminals from Wayne Tower, a creative departure from the normal expanse of Wayne Manor that implies an even deeper exclusion from society. They believe I am hiding. He says in an introductory voiceover, "in the darkness. I, however, am the shadows. In the glaring daylight, Pattinson reminds us of a buzzed indie rock star. But at night, even with the tactical gear and eye black, you can sense the high he gets from swooping in and carrying out his version of retribution.

Pattinson is at his finest when he plays people that make you uneasy, as he has demonstrated in pretty much every job he has played since "Twilight" made him a global sensation in 2008, working with idiosyncratic auteurs like David Cronenberg, Claire Denis, and the Safdie brothers. Pattinson excels at making his attractive, sharp features look unpleasant even more than Christian Bale does in the part. So when he initially There is an obvious flare of a charge in his eyes as he watches the breathtakingly hot Zoe Kravitz as Selina Kyle, slinking into her leather motorcycle gear and shimmying down the fire escape in her own quest of nighttime justice: Ooh. She shares my freakiness.

With one other, Pattinson and Kravitz have incredible chemistry. She is every bit his match, both physically and emotionally. This is not a seductive Catwoman who purrs: She has a fierce sense of justice, is a survivor, and has a devoted heart. After playing the protagonist in Steven Soderbergh's high-tech thriller "Kimi," Kravitz has shown that she has a magnetic personality and quiet power.

She is a member of a murderer's row of supporting actors who all have substantial roles. play. In his role as the future Commissioner Gordon, Jeffrey Wright is the only voice of idealism and decency. As criminal lord Carmine Falcone, John Turturro is subtly terrifying. As Alfred, Andy Serkis, who played Caesar in Matt Reeves' "Apes" films, displays a fatherly knowledge and love. As the sleazy, diabolical Oswald Cobblepot, better known as The Penguin, Colin Farrell is totally unrecognisable. The Riddler, played by Paul Dano, is absolutely horrifying, and his own need for vengeance serves as the narrative's backbone. He pushes himself to the limit in a way that is similar to his shocking work in "There Will Be Blood." His craziness is so extreme that you can unintentionally giggle only to release the stress he causes. However, his portrayal isn't funny, and Dano gives you the impression that you're watching. a genuinely, profoundly troubled individual.

This is not to imply that "The Batman" is depressing; just the contrary. Despite having an almost three-hour running duration, this movie never fails to engage the viewer on an emotional level. In one of the film's most thrilling moments, the coolest Batmobile yet—a powerful car straight out of "Mad Max: Fury Road"—plays a significant role. I genuinely cheered throughout the screening because of the spectacular automobile pursuit and chain-reaction collision that ends with an upside-down view of blazing rage. You can actually feel every punch and kick in a fight that is taking place in a loud nightclub that is accented by throbbing red lights. (His lack of invincibility is one among the most interesting aspects of viewing this superhero in his early days.) a gunfight as well It's frightening and brilliant, taking place in a hallway that is completely dark with just the shotgun bursts for illumination. The soundtrack by seasoned composer Michael Giacchino greatly amplifies the impact of passages like this. Best renowned for writing the music for Pixar films, he accomplishes something very different with "The Batman": it is big and demanding, horn-heavy and percussive, and you will feel it in your core.

Reeves has created a film that is both solid and impressionistic while still being airy and hefty thanks to his collaboration with master craftsmen and artisans. Greig Fraser, the film's cinematographer, pulls off the same kind of breathtaking magic trick that earned him an Oscar nomination for his work on Denis Villeneuve's "Dune": There's a way through the hail and neon lights His imagery has both a gaudiness and a heaviness to it. His expert use of shadow and silhouette contributes greatly to the suspense and sense of foreboding that he creates. I could devote a whole article on how the colour red is frequently used throughout the movie to convey energy, danger, and even optimism. Additionally, the superb costume design by Jacqueline Durran—with Dave Crossman and Glyn Dillon creating Pattinson's rugged Batsuit—put the perfect final touch on the movie's cool, edgy atmosphere.

Even though it's not exactly a Batman movie at all, this is the most gorgeous Batman movie you've ever seen.

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Film Credits :

Cast

Robert Pattinson as Bruce Wayne / Batman

Zoë Kravitz as Selina Kyle

Paul Dano as The Riddler

Jeffrey Wright as Lt. James Gordon

John Turturro as Carmine Falcone

Peter Sarsgaard as District Attorney Gil Colson

Andy Serkis as Alfred Pennyworth

Colin Farrell as Oz / The Penguin

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Director

Matt Reeves

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Writer (Batman created by)

Bob Kane

Bill Finger

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Writer

Matt Reeves

Peter Craig

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Cinematographer

Greig Fraser

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Costume Designer

Jacqueline Durran

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Editor

William Hoy

Tyler Nelson

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Composer

Michael Giacchino

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