Batman noir
If you like a bit of grit in your spandex, then the latest iteration of Batman from director Matt Reeves should appeal, returning the caped crusader to his crime-fighting roots in a dystopian Gotham
The Batman
Dir Matt Reeves, US 2022 On UK release
As has been par for the course these last two years, the theatrical release of Matt Reeves’s The Batman has been postponed several times, but the latest cinematic take on the iconic DC Comics character has now arrived, bringing with it a dark realism that makes Christopher Nolan’s Batman trilogy look almost cartoonish in comparison.
While The Batman is in no way a sequel to 2019’s Joker, it’s not much of a stretch to imagine that the bleak, Scorsese-esque 1970s style of Todd Phillips’s film could eventually morph into Reeves’s contemporary, dystopian Gotham as Reeves’s film oozes Se7en and Zodiac vibes, although without feeling derivative of David Fincher’s work. Given that, it’s safe to say that there is nothing family-friendly about this version of Batman. This is not only because of the film’s violence – which is grim without going overboard – but also the darkness that saturates both the visuals and 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 MCU style of superhero entertainment, but also for filmgoers who like darker types of film in general, as The Batman is above all a neo-noir – just one where the protagonist wears an unusual outfit while he solves crimes.
With so many incarnations of the caped crusader having graced the screen over the decades, comparisons with past portrayals are inevitable, and just like the many Batmen before him, Robert Pattinson is up for scrutiny. As anyone who has been keeping up with his career can tell you, the actor has long established 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 billionaire, as the playboy antics of Batmen past are abandoned entirely in favour of a socially inept recluse.
In fact, the film boasts superb acting across the board from its impressive cast, with Zoë Kravitz making for a compelling Selina Kyle/Catwoman. She embodies the character with a determined sultriness and level of agility that feels true to both the comic book character as well as this more grounded version.
One of the few issues I had with the film is that its duration of nearly three hours really is slightly too long and the pacing does struggle in a few places, particularly towards the middle. Similarly, some may find it somewhat lacking the grandeur associated with superhero spectacle, although others will consider this a bonus, as it helps maintain immersion in the film’s sense of realism.
Be it the child-like joy of Shazam! or oversaturated campiness of Aquaman, the DC Extended Universe has become a tonal shambles of superhero entertainment, and it is difficult to see exactly where this fits into the bigger picture. But perhaps making everything fit into a bigger narrative is not always necessary. In the end, a film like The Batman – as with Todd Phillips’s Joker – is perhaps better served by standing on its own. 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 this Batman a version of the character many will want to revisit in spite of his grimness. Leyla Mikkelsen ★★★★ ★
The playboy antics are abandoned in favour of a socially inept recluse