Reviews and ratings: 54 %
Description The Batman
Action / Drama / Crime / Mysterious, USA 2022, 176min. Batman ventures into Gotham City’s underworld when a sadistic killer leaves behind a trail of cryptic clues. As the evidence begins to lead closer to home and the scale of the perpetrator’s plans become clear, he must forge new relationships, unmask the culprit and bring justice to the abuse of power and corruption that has long plagued the metropolis.
- It’s a gripping and nerve-shredding Bat-thriller
- Movie that manages to be ethereal yet weighty at the same time, substantial yet impressionistic
- Stunning magic tricks
- Use of shadow and silhouette is masterful
- Cool, edgy vibe
- It’s long, it’s frequently slow and it’s crushingly bleak
- The action pauses for long bouts of exposition
- The ponderous seriousness that hangs over the movie like last week’s weather
- Robert P have absolutely no Bat-charisma at all
- The Riddler character is a complete bore
Batman (2022) User Reviews
Andrew: Detective Batman at its peak! Great storyline. Just as dark a universe as we’ve come to expect from DC. The gloomy, gritty, dark tone of this film is exactly what I wanted. When you think the movie is over, there’s more. Beautiful cinematography. Great score.
Tloader: Everything about this movie is trying too hard – the over dramatic score, the long shots on characters faces, the overacting, the complex crime story – it all feels like it’s trying to get an Oscar in every moment. It’s overly long, drawn out, and the story feels like a generic crime saga that has the Batman universe shoehorned into it. This movie is not a masterpiece, but it spends a lot of effort making you think it is!
Adrenalindragon: Wasn’t a fan of Emo Batman. Sorry Robert Pattinson. Film was just a bit bleh and felt like it was trying too hard to emulate Christopher Nolan and David Fincher. In the end, the mystery was a bit meh and not worth the three hours of what was mostly a run-of-the-mill Superhero film lacking much excitement or thrill. The Riddler was a bit lame too. Forgotten most of the movie and characters already. Underwhelming.
Laragi: Robert P is a terrible Batman. Absolutely no Bat-charisma at all. The Riddler character is a complete bore! I hated all of this film. I certainly do not understand the good reviews. It’s not close to the Dark Knight caliber. Please do not make a sequel.
Working with artists and craftspeople operating at the top of their game, Reeves has made a movie that manages to be ethereal yet weighty at the same time, substantial yet impressionistic. Cinematographer Greig Fraser pulls off the same sort of stunning magic trick he did with his Oscar-nominated work in Denis Villeneuve’s “Dune”: Through pouring rain and neon lights, there’s both a gauziness and a heft to his imagery. His use of shadow and silhouette is masterful, and does so much to convey a sense of foreboding and tension. I could write an entire, separate essay on the film’s many uses of the color red to suggest energy, danger, even hope. And the costume design from the great Jacqueline Durran—with Dave Crossman and Glyn Dillon designing Pattinson’s rough-and-tumble Batsuit—put just the right finishing touch on the film’s cool, edgy vibe.
This is the most beautiful Batman movie you’ve ever seen—even if it’s not really a Batman movie at all. Read full review…
‘The Batman’ Review: The Darkest Dark Knight is a Horror Epic on HBO Max Now
There’s a lot to unpack in The Batman’s psychological and political leanings, not least the film’s treatment of women. There aren’t many, despite the sprawling cast. The plot hinges on the grisly-sounding murder of a woman, which is replayed more than once. A fairly major twist introduces a horrific backstory for a significant woman in Bruce Wayne’s life. And Selina Kyle is a driven badass, but she’s still introduced with a lingering pan up her stiletto boots to her tight skirt, before the camera (and Batman) voyeuristically watch her undress.
Batman is clearly linked to the Riddler’s voyeurism and violence, questioning the caped crusader’s methods more than previous films. The level of moral ambivalence is much closer to the darkly ironic Joker film. When Batman first appears, for example, a mugging victim sees little distinction between his attackers and this demonic figure who savagely beats them. It’s also the first Batman film to engage with the revisionist take that Bruce Wayne is a wealthy man whose hobby is hospitalizing poor people. Like the Joker movie, The Batman explores the radicalizing effect of inequality on a repressed populace. But Joker focused on a villain, and so the ironic conclusion required you to be in on the joke. The Batman, meanwhile, focuses on a hero — a conflicted, dubious hero, but still — and so there’s opportunity for a more hopeful moral underpinning buried under the crushing gloom.
It’s long, it’s frequently slow and it’s crushingly bleak. But The Batman deserves that definitive article. It’s “The” Batman because it evokes many previous incarnations of the Caped Crusader while still bringing something distinctive. This darkest Dark Knight may not be for everyone (and certainly not for kids), but it’s a gripping and nerve-shredding Bat-thriller. Read full review…
The Batman review – Robert Pattinson’s brooding caped crusader has a lot on his mind
Not to worry – there’s no shortage of brooding in Matt Reeves’s bloated three-hour take on the DC Comics superhero. Batman movies are usually goofy or dour; this film is in the latter camp, styled as a neo-noir revolving around rats, moles and the mob. In the run-up to the mayoral elections, the incumbent is brutally murdered by an empowered incel type who broadcasts his crimes on social media. When this killer leaves a perplexing note for the Batman, police lieutenant James Gordon (Jeffrey Wright) enlists the help of the city’s unofficial guardian angel to help solve the riddle. As a standalone police procedural, it works quite well, but as a franchise reboot it’s not enough of a reset.
Zoë Kravitz is a highlight as cocktail waitress turned cat burglar Selina Kyle. Feline with a feral edge, she stomps around in thigh-high PVC boots, bonding with the Batman over their shared daddy issues and penchant for fetishwear. As her character puts it, Gotham’s “white privileged assholes” keep turning up dead. Bruce Wayne, the man behind the Batman’s mask, could be described this way too. R-Patz plays him with an appealing vulnerability, a well-meaning philanthropist buckling under the weight of white guilt. Read full review…
“The Batman,” Reviewed: Eh, It’s Fine
The indifference to characters as sentient beings rather than pawns in a plot emerges in a twist that’s a long-standing marker of action-film superficiality: apocalyptic chaos. Again avoiding spoilers, the Riddler doesn’t only target individual high-level miscreants in Gotham but decides that the entire city deserves to go down with them. (The possibilities, with its Biblical implications, are endless—and remain untapped.) When his monstrous scheme is unleashed, crowd scenes conjure mass destruction as a plot point, the staggering loss of life as a generic and inchoate jumble. Extras, whether live or digitally created, are anonymous collateral damage in a city that “The Batman” presents only as a stage for the clash of its protagonists. The movie’s inability to imagine its superheroes and supervillains with any meaningful psychological identity is of a piece with the failure to imagine ordinary people with any degree of individuality. Nothing that distracts from suspense or excitement, no details of personality to get in the way of superficial identification with flattened-out heroes, nothing that suggests a world of possibilities beyond the sealed-off borders of the screen, is allowed to seep through the movie’s solid and opaque surfaces. Its triumph of superficial pleasure is chillingly triumphalist. Read full review…
‘The Batman’ Review: Who’ll Stop the Wayne?
The problem isn’t just that the action pauses for long bouts of exposition, as long-past events are chewed over by one character after another. Or that Pattinson, in and out of the Batsuit, is almost as much of a cipher as any of the Riddler’s scribblings. It’s the ponderous seriousness that hangs over the movie like last week’s weather — the fog of white-savior grievance that has shrouded Gotham and the Batman for as long as many of us can remember.
“The Batman” tries to shake that off — or rather, as I’ve suggested, to work through it. Maybe it shouldn’t have been so difficult, and maybe the slog of this film will serve a therapeutic or liberatory end. Let’s hope. I can’t say I had a good time, but I did end up somewhere I didn’t expect to be: looking forward to the next chapter. Read full review…
Expert video reviews
Chris Stuckmann reviews The Batman, starring Robert Pattinson, Zoë Kravitz, Paul Dano, Jeffrey Wright, John Turturro, Peter Sarsgaard, Jayme Lawson, Andy Serkis, Colin Farrell. Directed by Matt Reeves.
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