Even if you’ve seen a lot of Batman movies, you’ll need to brace yourself for the darkest Dark Knight yet. The Batman, featuring Robert Pattinson as DC’s Caped Crusader, was a big office smash in 2022 and is now available on HBO Max. From its horror movie opening to the teasing closing scenes, it’s an intense, apocalyptic cinematic experience.
A young and troubled Bruce Wayne embarks on a bat-themed battle against Gotham City street crime following the murder of his parents (you already know about that, and if you don’t… we don’t know what to tell you). He’s formed an alliance with upstanding cop Jim Gordon, but nothing can prepare them for a chillingly planned series of crimes committed by a haunting masked murderer, called The Riddler, played by a genuinely disturbing Paul Dano, who leaves diabolical puzzles with each victim. As Batman deciphers the cryptic clues, a deeper scheme emerges. The real mystery, however, is how the raving killer’s twisted motivation ties to Batman himself.
Unlike previous Batman films, The Batman is more of a detective story than a superhero film. Drawing inspiration from David Fincher’s serial killer thrillers Seven and Zodiac, in particular. But, it’s also a mobster film, a 1970s conspiracy, and a film noir that is relentlessly bleak.
Director Matt Reeves, who also co-wrote the script with Peter Craig, combines all of the previous Batman films into one raging oven: Tim Burton’s gothic angst, Christopher Nolan’s criminal politics, and Zack Snyder’s epic brutality are beautifully merged with the psychological backstory from the Joker’s standalone film, vaguely timeless design, and layers of dark irony.
But, above all this, The Batman is a horror film.
This deliberately scary Batman picture begins with a scene of gripping tension, with serial killer scares and even a splash of torture porn thrown in for good measure. Gotham’s citizens are introduced as a swirl of faceless, Halloween-masked beings. The suspense is ramped up by jagged horror-movie strings and Michael Giacchino’s unrelenting score.
There are no bad guys stealing diamonds from charity galas, only a ghoulish serial killer who has plunged the city into a seething cauldron of growing panic. Batman stalks out of the shadows with a heavy tread and even heavier fists, dishing out pitiless vengeance with a chilling lack of emotion behind his mask.
Unlike Christian Bale’s sleek professional look or Ben Affleck’s greying grump, Pattinson’s Batman is a scruffy mess. This younger Bruce Wayne is unrefined and already unravelling, slumped in his basement, mascara streaming down his cheeks, muttering a Taxi Driver-esque voiceover as he drowns in a filthy wave of anarchy and depravity, whilst listening to Nirvana.
Pattinson genuinely embodies The Batman, expressing anguish with his perfectly angled jaw and soulful eyes peering out from beneath the black mask. This Batman is barely holding it together, despite his formidable combat skills and detective prowess. And this gives the film a definite charge. However, if there was a bit less of Batman slowly walking and meaningfully… staring, you could probably shave down the epic almost three-hour runtime.
Zoe Kravitz superbly plays Selina Kyle, the Catwoman to Pattinson’s Bat. The same can be said about Jim Gordon, played by Jeffrey Wright, who is basically tasked with standing next to Batman and frowning while they growl exposition at each other. The film, on the other hand, struggles to get beneath the characters’ masks, favouring schlocky twists over delving deeper into the characters.
The bad guys clearly have more fun, however: a barely recognisable Colin Farrell channels Robert De Niro’s Al Capone from The Untouchables, while John Turturro’s purring menace is reminiscent of Marlon Brando in The Godfather.
In addition to the awesome cast of characters, the ever-brilliant Andy Serkis plays devoted butler, surrogate father, and right-hand man Alfred with touching purpose and conviction.
While the detective work propels the plot, the action scenes are a thrill ride all their own. The fights are depicted in long lingering shots, with Batman wading through each one with efficient ferocity. The use of light and shadow heightens the drama of the face-punchy awesomeness.
One of The Batman’s highlights is when he does something we’ve seen him do a million times before, like leaping from ridiculous heights or taking a big hit, it’s clear from Pattinson’s wince that this is the first time he’s done it. Suddenly, a superhero cliche transforms into a truly perilous and thrilling moment.
An apocalyptic car chase is maybe the most thrilling of all. Rather than a high-tech roadster or a city-conquering tank, Pattinson’s Batman drives a car that looks as insane as he is. Only blood-red taillights and hellish flame illuminate this demonic hot rod as it races to devour its prey. It’s a fantastic highlight in a gloriously intense movie.
The Batman, like the Joker film, looks at how inequality may alienate an oppressed population. However, because Joker focused on a villain, the ironic conclusion demanded that you be in on the joke. Meanwhile, The Batman concentrates on a hero — albeit a conflicted, doubtful hero — and so there’s room for a more positive moral basis hidden beneath the crushing gloom.
The film is long, often slow, and downright bleak throughout. However, The Batman pays homage to the numerous past iterations of the Caped Crusader, while adding something new. This darkest Dark Knight most certainly isn’t for everyone (especially kids), but it’s a fascinating and nerve-wracking addition to the aforementioned iterations.
So, if you’ve ever wondered if there’s room for a new take on Batman after fourteen films, it’s surprisingly energising to see a more human Caped Crusader — not just as Bruce Wayne, but as Batman himself. This Batman is definitely deserving of that definitive article, and can confidently call himself ‘The’ Batman.
Images courtesy Jonathan Olley, Warner Bros. Pictures, DC Comics
