Matt Reeves’ “The Batman” is not a heroic film. Not really. All trapping available: Batmobile, sturdy suit, gadgets courtesy of loyal dish manager Alfred. And then, at the center, there is the Caped Crusader himself: angry, tortured, demanding his kind of justice at night in the City of Gotham which is rampant and rotten.
But in Reeves’ confident hands, everything lives in a wonderful and new way. As a director and co-author, he took what might seem like a normal story and made it fun, it worked.
His “Batman” is more like a crime drama of the 70s than a rising and moving game. With its kinetic action, the unexpected reminds us of films like “The Warriors” and one of the biggest in the series, “French Connection.” And with a series of high-profile assassinations, it sometimes sounds like a Zodiac assassin scaring the inhabitants of Gotham.
And yet, apart from these touch-ups, this is undoubtedly a Matt Reeves film. He accomplishes here what he did with his intriguing “Planet of the Apes” Franchiseshi: he created an attractive, exciting, yet focused, realistic, emotional scene. This is a Batman film that knows its place within the pop culture, but not in the blink of an eye, the meta fashion; rather, it acknowledges the character of the comic book character, only to explore it and re-invent it in a strong and courageous way. A quote from Reeves and Peter Craig compels this hero to question his history and face his purpose, and in so doing, opens the door for us as observers to challenge the narrative we hold onto in our lives.
And as Robert Pattinson replaces Bruce Wayne, we have a character who is not only prepared but hungry to explore the strange, dark nature of this image. This is not the heir to a running errands, kicking asses in cool costumes. This is Travis Bickle in Batsuit, independent and disappointed. He has two years in charge of his position as The Batman, following the criminals from the top of the Wayne Tower — a change inspired from the normal spread of Wayne Manor, which fosters even greater divisions with the community. “They thought I was hiding in the shade,” he said in an open voice. “But I am a shadow.” In the harsh light of day, Pattinson gives us hangover indie rock star films. But at night, you can see the rush he is getting into and make his own kind of revenge, even under the gear of the trick and the dark eye.
Demonstrated in almost every role he has played since “Twilight” made him a world star in 2008, working with bodyguards from David Cronenberg to Claire Denis to the Safdie brothers, Pattinson excels at playing characters that make you uncomfortable. . Even more than Christian Bale in the role, Pattinson is adept at making his fine and angular features seem unresolved. So when she starts exploring the incredibly lovely Zoe Kravitz as Selina Kyle, getting into her leather motorcycle gear and shivering from the fire in pursuit of night justice, there is an obvious flick of guilt in her eyes: Ooh. You’re as crazy as I am.
Pattinson and Kravitz have crazy chemicals. He is her partner, physically and emotionally, every step of the way.
This is not a deceptive Catwoman: She is a warrior and a survivor with a loyal heart and a strong sense of justice. Following his lead role in Steven Soderbergh’s high-tech “Kimi,” Kravitz continues to express strong charisma and quiet power.
He is part of a series of assassins of supporting players, all of whom find nutritious roles to play. Jeffrey Wright is a rare voice of opinion and respect as Commissioner finally Gordon. John Turturro is a cool key as crime boss Carmine Falcone. Andy Serkis’ films — Caesar in Reeves “Apes” —brings a fatherly wisdom and warmth like Alfred. Colin Farrell does not look at all like the villain Oswald Cobblepot, better known as the Penguin. And Paul Dano is just as awesome as The Riddler, whose vengeance provides the backbone of the story. He exaggerated here in a way reminiscent of his wonderful work “There Will Be Blood.” His aggression is so intense, you may find yourself laughing out loud just to end the conflict. But there is nothing funny about his exposure; Dano makes you feel like you are looking at a really worried man, very disturbed.
This is not to say that “The Batman” is inferior; away from it. Despite a long hiatus of about three hours, this is a film that always surprises. The coolest Batmobile right now — the most powerful car ever coming from “Mad Max: Fury Road” —is the highlight of the film’s most touching film. Detailed car chase and car crashes that result in furious landslides that made me applaud during my test. During a vigorous night club fight, fitted with red flashing lights, you can hear all the beats and kicks. (That is one of the most compelling aspects of seeing this mighty warrior in his early days: He is invincible.) And shooting in the darkest corridor, with only the sound of gunfire, is terrifying and glorious. What greatly enhances the power of scenes like these are points from veteran composer Michael Giacchino.
He is best known for his film Pixar for the film, he did something completely different with “The Batman”: beating and surviving, big and demanding, and you will feel it deep in your heart.
Working with the artists and artists who work at the top of their game, Reeves has made a movie that can be ethereal but weighty at the same time, big but visually appealing. Cinematic artist Greig Fraser unveils the same kind of amazing strategy he did with his Oscar-nominated work on Denis Villeneuve’s “Dune”: With rain and neon lights, there is both loosening and rising of his image. His use of dignity and dignity is very good, and it does a lot to convey a sense of shock and tension.
I could write a complete, varied essay on the many uses of red film to promote power, danger, and even hope. And the costume design from the great Jacqueline Durran — and Dave Crossman and Glyn Dillon who designed the Pattinson Ripping Batsuit — adds the perfect touch to a cool, noisy film.
This is the best The Batman film you have ever seen — even though it is not a The Batman movie at all.