Every so often, there comes an entity that transcends the pop-culture conversation and becomes an icon to all. Bill Finger and BoB Kane’s contribution to that sentiment was created in May 1939 as Detective Comics #27 hit the newsstands, and readers laid eyes for the first time on Batman. Since then, Batman has become a symbolic character and passion for many that led to 83 years worth of comic books, tv shows, and films.
From the Batman ’66 series to Tim Burton’s Batman, a film I consider to be the most important comic-book film of all time, to the most fantastic comic book film of all time, The Dark Knight, the Bat brand has seen its fair share of entries and one that has been a constant money maker for studios. With that being said, as the credits rolled on Christopher Nolan’s The Dark Knight Rises in 2012, little did I know that it would be ten years before a new stand-alone Batman film would release.
As anticipation goes, there is little I’ve looked forward to over the past few years than Matt Reeves’ iteration of the caped crusader. Being a fan of his work and knowing the cowl would be dawned by one of the best young actors working today, Robert Pattinson, there was little not to be excited about. Then came DC Fandome. Amid the COVID-19 pandemic, where there was little to smile about, the first trailer to The Batman put a grin on my face that would impress the Joker. Since then, through the delays, I’ve counted down the days till I would lay eyes on The Batman. Thankfully, the wait is over and warranted. Batman (1989) walked so The Dark Knight could run, and now The Batman flies its way into the pantheon of comic book film transcendence.
As The Batman title card appears, cinephiles enter a world where Bruce Wayne has been crusading already as Batman for two years. As Batman patrols Gotham City, a serial killer begins to terrorize Gotham by committing gruesome murders while leaving a breadcrumb of clues, or should I say riddles for Batman to decipher. Dealing with the growing terror of The Riddler, Batman also unravels secrets from his past that ultimately lead him into a war with the criminal underground of Gotham while trying to capture the elusive Riddler.
It’s not hyperbole when saying The Batman is the closest thing to a comic book accurate version of the characters we’ve seen on the big screen thus far. As someone that’s been an avid reader of the comics since I was a young lad, it was a treat to hear internal monologue in a Bat-flick for the first time. Audiences should credit Matt Reeves for understanding the importance of showing audiences that internal conflict that Bruce/Batman deals with daily. Along with the monologue, it’s good to see Batman’s no-gun code on full display. There have been jokes made across the entire run of Bat-films where Batman either purposely shoots criminals or doesn’t save them from impending doom to pay their dues at Arkham. Reeves makes his audience aware throughout this film that the Bat not only doesn’t use guns but will prevent others from using them as their form of justice.
A crucial element to The Batman standing at the feet of greatness is Reeves living up to his promise that this film would be a true detective story. Matt Reeves gives cinephiles their very own live-action detective Bat story with a feel of Hollywood noirs from yesteryear. Many scenes sprinkled throughout revolve around Batman investigating and living up to the moniker, “The Dark Knight Detective.” It may be a qualm for some, but it’s an aspect of the film that is one of my favorites.
There’s no denying that credit should be bestowed upon Reeves’ direction and the screenplay co-written by Peter Craig, but can we talk about the production design, Greig Fraser’s cinematography, and Michael Giacchino’s breathtaking score. In previous iterations, Gotham City has either felt too much like a set – I’m looking at you Monarch Theater, or looked too much like Chicago. In The Batman, cinephiles get a sense of a proper Gotham City and not just a placeholder for a fictional town. Greig Fraser’s lens adds to the effectiveness of said production design. The film is just a marvelous feat for Fraser and one that captures the grittiness that should match the corruption and crime of Gotham City.
Over the past few months, Michael Giacchino has been teasing the masses with sprinkles of his score for The Batman, and the final product is an absolute home run. His score captures the urgency of each character within the film and, more importantly, he lends his talents to construct an essential bat-march. Since Danny Elfman’s masterclass of a score for Batman, every composer has attempted to replicate the bat-march Elfman created, and Giacchino accepts the challenge with one of the best bat themes in Bat film history.
The ensemble cast of the film is an absolute powerhouse of great performances. While not on the screen for long periods, Colin Farrell and John Turturro make every second count. Turturro is menacing, while Farrell’s penguin is an absolute delight. Any interaction between Batman and the penguin is a must-see!
When it comes to Reeves’ establishment of this world, the relationship between Gordon and Batman is crucial. In my eyes, this has always been more than a partnership, but a growing relationship between two men fighting for the exact cause, just in different outfits. Jeffery Wright handles Gordon with care and respect, making Gordon’s iteration one of the best. In addition, his chemistry with RPatz is outstanding, making it easy to believe these two have a just cause and forming a bond that will lead them to fight crime for years in Gotham.
Zoë Kravitz as Selina Kyle may become the definitive live-action version of the character. While Michelle Pfeiffer’s portrayal will always hold a special place in my heart, there is no denying that Kravitz is the best version of the character thus far. A supporting character that is underused is Andy Serkis’ Alfred; while effective on screen, I was longing for a bit more interaction from Alfred and Bruce throughout the film.
Then there’s Paul Dano’s Riddler!
With over 50-plus years of Batman content, there has never been a better portrayal of the Riddler. Dano brings fear and terror to the unhinged character, unlike any version seen before. With any villain, their motive adds to the character’s effectiveness, and Riddler is that and then some. This is not your let’s poison the watering hole type of villain, but rather an intelligent, manipulative individual who knows exactly what and why he’s doing these things. No one has yet entered the world where they can be compared to Heath Ledger, and while Dano never reaches the level of Ledger, it’s pretty clear to any viewer that this may go down as the second-best villain in any Batman film.
Speaking of the Bat, I laughed out loud when folks balked at the casting of Pattinson, and after the film’s conclusion, it’s hard not to laugh even further at anyone who doubted the actor would nail this role. Pattinson channels the anger, loneliness, and constant brooding and self-evaluation this character has embodied for the better part of 83 years. Along with that, Pattinson may have broken the run-time record for in-suit screen time for Batman. It’s safe to say Pattinson is Batman more often than not in the film, which lends to Pattinson’s performance effectiveness.
It goes without saying that mannerisms are crucial to a character wearing the cowl, and Pattinson masterfully exudes every bit of that emotion in the film. Nothing needs to be told by Pattinson to know what he’s feeling or going through. He quickly enters the pantheon of all-time great Batmans, and that’s not a hot take. But an accurate one.
The Batman is a love letter to all fans of comic book films and Batman. It’s a film that leads to more conversations upon the film’s conclusion. The Batman deserves every cinephile’s attention and discussion as it cements its place as one of the essential comic book films of the last 20 years.
