“I’m vengeance.”
***beware – spoilers below!***
Do we really need another Batman movie? Surely no iteration can improve upon the magnificence of The Lego Batman Movie ? But great characters will always demand re-telling, and The Dark Knight Rises was 10(!) years ago.
So, we find our young Batman pulled into a manhunt for The Riddler, who is cutting a swathe through the rich and powerful of Gotham. But as the trail hots up and the body-count grows, Batman finds himself wondering about his motives, and who he is really fighting for.
Robert Pattinson is spot on as our eponymous, dark eyed hero. Every inch the brooding emo – Nirvana is playing the first time we see him – our hero is earnest and slightly clueless, especially next to the charismatic Selena Kyle (Zoe Kravitz – stunning). He’s a Batman searching for meaning, struggling in the shadow of his father. More human, and more vulnerable than previous incarnations, he still has the physicality for the role. The film brilliantly conveys that a 6-foot-1-inch man in a cape and cowl is inherently ridiculous, yet undeniably intimidating.
The whole story walks that line, leaning into its own off kilter reality, with a Bioshock, actual comic book feel – distorted, but tangible. There’s nothing you could point to as particularly innovative, but it pulls together familiar elements to create a distinctive, noir-ish tone – larger than life without losing all grounding. It’s helped by occasional flashes of humour – Batman and Gordon’s interrogation of Penguin was a particular highlight.
Incidentally, were 15 certificate films always this sweary? Not that I’m complaining. “Do me a favour, shit-head: shut up!” Jeffrey Wright is perfect as Gordon – a rumpled, honest copper down to his bones. Even the ‘tash is somehow spot on.
Colin Farrell is also fantastic, and genuinely unrecognisable as Penguin. Utterly repellant, he’s the angry but clever little man ready to make his move just as soon as the bigger boys turn their backs. Like many of the characters here, it could easily descend into caricature, but Farrell never falters.
Zoe Kravitz is pitch perfect too. Bringing genuine presence and humanity, she really balances the story. The most emotionally open of all the characters, and – for all of her phenomenal good looks – the most down to earth. I don’t think she is ever actually referred to as Catwoman. Even her drives are heart-breakingly relatable. Though, as much as I enjoyed her presence, I’m glad that she got out of Gotham- it felt like a victory for her.
The strength of the supporting characters gives the film an almost ensemble feel, and feeds into a story that favours immersiveness over grandeur. The car chase was nerve-jangling rather than pulse-racing, immediate, almost intimate. Even in smaller moments, like when Batman has to remove a letter hidden in a bat’s cage. A perfunctory mid-shot would have served the purpose. Instead, Batman and the audience are almost eye-to-eye, peeping at each other through rattling bars, hearing only the flapping wings and shrieking cries of a caged animal. We’re brought into Gotham – not just watching, but involved; constantly stalking through corridors and peering through windows. It could have felt heavy handed, but the film develops such a strong sense of world and tone that it hangs together brilliantly. I enjoy when films use their own construction not simply to copy our own world, but to create a new one. Similar to ours in some respects, but separate. That distance between the two worlds allows the story to be bigger, and somehow more honest, more straightforward, more satisfying.
And there are plenty of memorable moments to savour. Batman and Selena on the rooftops at sunset. His scrap with Falcone’s henchmen, lit only by muzzle-flash. The car crash at the funeral. Batman with flare in hand, guiding civilians away from the rubble. The whole film is visually – unsurprisingly – dark, but somehow filled with lovely, atmospheric lighting. Interesting camera angles abound – up is down a lot in this world. Yet it’s all pleasingly precise – enough to make you nod appreciatively without overdoing it.
Weak points were hard to come by, to be honest. Paul Dano gives a great performance as Riddler, though I couldn’t shake the feeling he could do this part with his eyes closed, and frankly he’s not the most engaging baddie. The angry loner bit has been done to death. And why do all unhinged people somehow have the exact same handwriting? Run time was a bit excessive – we could have easily have lost 20 minutes. A bit more understanding of Gotham geography would have helped with the finale as well. No one mentioned sea-walls until the explosions started.
But I’m nit-picking. Riddler and his plot work well for the story and its message. We each have a choice to make: vengeance or hope? It looks a bit too much now that I’ve written it down, but it really did feel earned. That last minute realisation that Batman could be more than just a weapon. That he could build something, rather than just pulling down. It’s an act of courage, really – daring to build a life. Destruction, sadly, is so much easier.
There’s no getting away from the fact that we’ve already seen a lot of Batman. But while this film shows an awareness of other adaptations – see the opening ruse with the boy playing with his parents – this film is determined to go its own way. And I’d say that it succeeds. The Batman does that rare thing of satisfying in its own right while also leaving you hungry for more. It’s a very confident start, and I look forward to seeing this Batman come into his own. All he needs is a larger than life baddie to bounce off, and we’re all set.
What did you think? How does The Batman compare to his earlier manifestations? Will we get the Joker in the next film, or was that just a feint? Has Pattison finally shaken off the R Patz label? As ever, let me know!
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