A serial killer has begun murdering political figures in a rain-drenched city. A vigilante is prowling the streets, administering brutal vengeance against any criminal with the misfortune to cross his path. And a billionaire orphan finds his family history playing into a wider story of corruption amongst the elite. Welcome to the world of The Batman.
Here is a character that has endured, especially since the late 80s, and rare has been the period in cinema when there hasn’t been a version of the Batman in some form of development or release (the versions that almost made it to the screen would be a fascinating story in their own right). But there’s something in The Batman that feels truer to the modern interpretation of the character found in the comic books than both Nolan’s unequivocally outstanding trilogy and Snyder’s more divisive attempt at slotting this figure into a wider cinematic universe. In short The Batman has a look and feel that captures a quality to the character that has felt missing of late.
A large factor is in the ensemble that front this latest interpretation. Robert Pattinson is the man in the cowl and he takes all the promise exhibited over a decade of interesting film choice (Good Time, The Lighthouse, Tenet) and makes the character his own – a more vulnerable take that leaves a big impression. The creatives have built a cast around him and the likes of Zoë Kravitz (Catwoman), Colin Farrell (Penguin) and Andy Serkis (Alfred) all bring something fresh to familiar characters. Jeffrey Wright particularly stands out as a new Lieutenant Gordon (not yet Commissioner) with a softly spoken turn that elicits warmth and humour. But the stand out turn is Paul Dano who, is perhaps, the most radical reinterpretation of a character. From an outstanding entrance through to a late in the day confrontation that chills, Dano crafts the first truly scary comic book villain, one that has always felt within him given the breadth of his work.
These stellar performances marry with a technical prowess behind the camera. Composer Michael Giacchino manages to match the likes of Danny Elfman and Hans Zimmer, whilst also avoiding any of the musical work that has come before with a subtle score that weaves in character themes whilst creating a soundscape of mood and tone that adds so much to proceedings. And cinematographer Greig Fraser shows that with Dune and now The Batman he is one of the best currently working in the industry.
Some will balk at The Batman, at the grandiose run time or the singular tone of the piece. Some will miss a quipier, sillier caped crusader. But what director Matt Reeves (aided well by his co-writer Peter Craig) have achieved is to set their stall out, answering why we need a new take on a very familiar character. The Batman arrives with a confidence earned by the skill on display and gives us a lived-in world that this viewer is very eager to return to.