‘The Batman’ (review)

As has been par for the course these last few years, the theatrical release of Matt Reeves’ The Batman has been postponed several times, but the latest cinematic take on the iconic DC Comics character is finally due to be unleashed upon the cinema-going public, which it does with a dark realism that makes Christopher Nolan’s Batman trilogy look almost cartoonish in comparison.

While The Batman is in no way meant to be seen as a sequel to 2019’s Joker, it is not much of a stretch to imagine that the bleak, Scorsese-esque 1970s style of Todd Phillips’ Joker could eventually morph into Reeves’ contemporary, dystopian Gotham depicted in The Batman, as Reeves’ film oozes Se7en and Zodiac vibes without feeling derivative of David Fincher’s work.

As such, it is safe to say that there is nothing family-friendly about this version of Batman. This is not only in terms of the violence – which is grim without going overboard – but even more so due to the darkness that saturates both the film’s visuals as well as the motivations of its characters, showcasing the worst in humanity from several angles.

This will be a welcome change of pace not only for those who dislike the general style of superhero entertainment from the behemoth MCU, but also for those who like darker types of cinema in general, as The Batman is above all a neo-noir – this one just happens to have a main protagonist who wears a rather unusual outfit while he solves crime.

With so many incarnations of the caped crusader having graced the silver screen over the decades, comparisons to past portrayals are inevitable, and much like the many Batmen that came before him, Robert Pattinson is now up for scrutiny as well.

As anyone who has been keeping up with Pattinson’s career can tell you, the actor has long since cemented himself as a charismatic and uncompromising performer, which results in Pattinson’s Batman having a subtle yet deeply unsettling presence. Similarly, his Bruce Wayne is also an unusual take on the public persona of the orphaned Wayne, as the playboy antics of Batmen past are abandoned entirely in favor of a socially inept recluse.

Boasting superb acting across the board from its impressive cast, Zoë Kravitz also makes for a compelling Selina Kyle and Catwoman.

Here, she embodies the character with a determined sultriness and level of agility that feels true to both the essence of Catwoman as well this more grounded version of the character, just as her relationship with Batman is moved into a more mature realm, where the complexity of their relationship is handled in a respectful manner that forgoes the tired clichés often used to convey their dynamic.

One of the few issues with the film is that its duration of nearly three hours may be slightly too long, as the pacing does struggle in a few places, particularly towards the middle of the film. Similarly, some may find it somewhat lacking the grandeur associated with superhero action sequences, whereas others will consider this a bonus, as it helps immersion from a point of realism.

Be it the child-like joy of Shazam! or oversaturated campiness of Aquaman, the DCEU has become a tonal shambles of superhero entertainment, and it is difficult to see exactly where The Batman fits into the bigger picture.

But perhaps making it all fit into a bigger narrative is not always necessary.

Especially considering a film like The Batman is better served by standing on its own, as it will easily find an audience across movie-going demographics thanks to its mix of earnest darkness and a sincere level of emotion, which makes The Batman a version of the character many will want to revisit in spite of his apparent grimness.

Verdict: 9 out of 10.