by Josh Sewell
In this latest in a long line of Batman reboots, director Matt Reeves builds on Christopher Nolan’s version of comic book realism and places his Dark Knight in an even more authentic world, although there are some film noir trappings for good measure. Robert Pattinson stars as the newest incarnation of the vigilante detective and his alter ego, billionaire Bruce Wayne, not as a shallow playboy masking a far shrewder mind, but as a quiet, wounded recluse still reeling from his parents’ murders decades before.
It’s an interesting take on the character that differentiates him from the many actors who’ve previously worn the mask. He’s still pursuing a rage-fueled vendetta against Gotham City’s criminal element, but this story takes place in the early days of his double life, when he’s still mastering the Batman persona and its corresponding techniques. He certainly has his work cut out for him as he faces two of the most dangerous villains the city’s ever seen.
The first is a terrifying, serial killer-influenced version of the Riddler (Paul Dano), who begins murdering key political figures at the heart of a conspiracy. The other is scheming mobster Oswald Cobblepot (an unrecognizable Colin Farrell), known to his associates as the Penguin, who is poised to benefit from the Riddler’s plan. Fortunately, Batman isn’t alone in his quest – he gets much-needed assistance from his trusted butler Alfred (Andy Serkis), honest cop James Gordon (Jeffrey Wright) and another vigilante with a flair for the dramatic – Selina Kyle, aka Catwoman (Zoe Kravitz).
If Nolan’s The Dark Knight was a superhero version of Heat, Reeves’ The Batman is a psychological thriller in the style of Seven and Zodiac. It’s definitely the darkest take on the material we’ve seen (in live action, at least), although the director – who cowrote the screenplay with Peter Craig – understands the importance of occasional moments of levity to keep the movie from feeling like a grim slog.
Reeves doesn’t completely alleviate the problem, however. Clocking in at a bladder-busting three hours, the film’s epic, complex look at a city on the brink of collapse will certainly be an endurance test for viewers with short attention spans. But even though it takes Reeves a while to set up all the story’s dominos, and despite as many endings as The Return of the King, ultimately The Batman is thematically rich enough to justify the running time.
Everyone delivers a terrific performance, although I appreciated Pattinson’s emotionally fraught interpretation of the hero (some critics have joking referred to him as “emo Batman”) that allows his costars to tackle the flick’s dramatic monologues. Dano’s take on the Riddler is also memorable, though it might be a bit too arch for some, particularly when his personality changes later in the story.
Farrell takes full advantage of being buried under layers of prosthetics, chewing some serious scenery every chance he gets. Still, in a cast this stacked, Kravitz and Wright turn out to be the MVPs. The already-solid film gets even better when they pop up on screen.
Grieg Fraser’s gritty cinematography and Michael Giacchino’s electrifying score further strengthen The Batman, working together to create a memorable cinematic experience that demands to be seen on the big screen. Reeves’ movie doesn’t need my help to become a massive success, but I’m looking forward to it making a ton of money so he can continue to explore this new take on Gotham.
Coming 2 America
(Rated PG-13 for crude and sexual content, language and drug content. Available March 8.)
The sequel to Eddie Murphy’s classic comedy Coming to America has been available on Amazon Prime Video for quite a while, but it finally hits Blu-ray and DVD next week. King Akeem (Murphy) and his trusted confidante Semmi (Arsenio Hall) traverse the globe once again when they learn Akeem has a long-lost son from his trip to New York City in the 1980s.
The film also stars James Earl Jones, John Amos, Shari Headley, Wesley Snipes, Tracy Morgan, Leslie Jones and the late Louie Anderson. The Blu-ray includes commentary by director Craig Brewer and a featurette that includes never-before-seen footage and interviews.
It’s an interesting take on the character that differentiates him from the many actors who’ve previously worn the mask. He’s still pursuing a rage-fueled vendetta against Gotham City’s criminal element, but this story takes place in the early days of his double life, when he’s still mastering the Batman persona and its corresponding techniques. He certainly has his work cut out for him as he faces two of the most dangerous villains the city’s ever seen.
The first is a terrifying, serial killer-influenced version of the Riddler (Paul Dano), who begins murdering key political figures at the heart of a conspiracy. The other is scheming mobster Oswald Cobblepot (an unrecognizable Colin Farrell), known to his associates as the Penguin, who is poised to benefit from the Riddler’s plan. Fortunately, Batman isn’t alone in his quest – he gets much-needed assistance from his trusted butler Alfred (Andy Serkis), honest cop James Gordon (Jeffrey Wright) and another vigilante with a flair for the dramatic – Selina Kyle, aka Catwoman (Zoe Kravitz).
If Nolan’s The Dark Knight was a superhero version of Heat, Reeves’ The Batman is a psychological thriller in the style of Seven and Zodiac. It’s definitely the darkest take on the material we’ve seen (in live action, at least), although the director – who cowrote the screenplay with Peter Craig – understands the importance of occasional moments of levity to keep the movie from feeling like a grim slog.
Reeves doesn’t completely alleviate the problem, however. Clocking in at a bladder-busting three hours, the film’s epic, complex look at a city on the brink of collapse will certainly be an endurance test for viewers with short attention spans. But even though it takes Reeves a while to set up all the story’s dominos, and despite as many endings as The Return of the King, ultimately The Batman is thematically rich enough to justify the running time.
Everyone delivers a terrific performance, although I appreciated Pattinson’s emotionally fraught interpretation of the hero (some critics have joking referred to him as “emo Batman”) that allows his costars to tackle the flick’s dramatic monologues. Dano’s take on the Riddler is also memorable, though it might be a bit too arch for some, particularly when his personality changes later in the story.
Farrell takes full advantage of being buried under layers of prosthetics, chewing some serious scenery every chance he gets. Still, in a cast this stacked, Kravitz and Wright turn out to be the MVPs. The already-solid film gets even better when they pop up on screen.
Grieg Fraser’s gritty cinematography and Michael Giacchino’s electrifying score further strengthen The Batman, working together to create a memorable cinematic experience that demands to be seen on the big screen. Reeves’ movie doesn’t need my help to become a massive success, but I’m looking forward to it making a ton of money so he can continue to explore this new take on Gotham.
The Batman is rated PG-13 for strong violent and disturbing content, drug content, strong language, and some suggestive material. Opens in theaters on March 4.
Grade: B+
Home Video Spotlight
Grade: B+
Home Video Spotlight
(Rated PG-13 for crude and sexual content, language and drug content. Available March 8.)
The sequel to Eddie Murphy’s classic comedy Coming to America has been available on Amazon Prime Video for quite a while, but it finally hits Blu-ray and DVD next week. King Akeem (Murphy) and his trusted confidante Semmi (Arsenio Hall) traverse the globe once again when they learn Akeem has a long-lost son from his trip to New York City in the 1980s.
The film also stars James Earl Jones, John Amos, Shari Headley, Wesley Snipes, Tracy Morgan, Leslie Jones and the late Louie Anderson. The Blu-ray includes commentary by director Craig Brewer and a featurette that includes never-before-seen footage and interviews.
Reach out to Josh Sewell on Twitter @IAmJoshSewell
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