When the Riddler, a sadistic serial killer, begins murdering key political figures in Gotham, Batman is forced to investigate the city’s hidden corruption and question his family’s involvement.
Chuck says:
In a recent interview, Robert Pattinson admitted, like everyone who’s only familiar with Batman through the movies, that he didn’t realize the character was considered the world’s greatest detective in the comic book world. Watching the latest big screen incarnation of the caped crusader, Matt Reeves’ “The Batman,” you’re likely to walk away wondering why he has this moniker.
The fact the titular character can’t solve a series of simple clues is one of the many problems with this flawed but intriguing take on the pop culture icon. The bloated large-scale production resets the mythos, taking us back to the second year of the anti-hero’s crime-fighting career. This is one of the best moves Reeves and co-screenwriter Peter Craig make, as the character’s lack of experience and impulsivity – solidly brought to life by Robert Pattinson- make for a flawed hero that stumbles about, unsure of himself or his purpose.
He has a great deal to learn as he tries to track down Edward Nashton (Paul Dano) who’s knocking off Gotham City’s high-ranking public officials. Why this is happening and how it all traces back to Bruce Wayne’s father Thomas is the narrative that drives the film, albeit with more than its fair share of tangents. Before it’s all said and done, Wayne forms a tenuous alliance with cat burglar Selina Kyle (Zoe Kravitz) and crosses paths with Carmine Falcone (John Turturro) and Oswald Cobblepot (Colin Farrell), formidable figures in Gotham’s underworld.
To be sure, the film’s mystery is an intriguing one and leads to a satisfying conclusion, the connection between Nashton and the Waynes a logical one that packs an emotional punch. For the most part, it works, even though you’re likely to be a step or two ahead of Bruce and Alfred (Andy Serkis), who at times come off disturbingly dull in the face of some obvious hints. Equally troubling is the flip side of the coin when solutions to key problems are simply solved, as if Gordon (Jeffrey Wright) and Batman are recipients of divine intervention. This lack of consistency is the movie’s major flaw.
And while I understand Gotham is a dark dank place, Reeves overdoes “the city of shadows” thing to the point of parody. (A recreation of the diner from Edward Hopper’s “Nighthawks” is seemingly the only source of light in the city) Oh, and it’s always raining as well. The oppressive atmosphere isn’t the only thing Reeve’s lifts from David Fincher’s “Seven,” as Nashton is just as manipulative and disturbed as its villain. This is the best innovation, as The Riddler is no longer a lightweight character but a genuinely dangerous and disturbing man. That he may be around for the sequel is a welcome development.
There’s no question Reeves and Craig are ambitious but their script doesn’t justify the nearly three-hour running time. In a welcome variation on the genre, there are no large-scale action set pieces in which entire cities are destroyed and the viewer is bludgeoned into submission. That being said, the hand-to-hand combat scenes are impressive and a bomb scare in a church is suspenseful, while the car chase at the halfway point is one for the ages, a thrilling sequence that demands repeat viewings.
Like Bruce, seeing Kyle and Cobblepot, before they develop into the Catwoman and Penguin respectively, allows for a fresh perspective that jumpstarts the franchise, opening new narrative doorways for the upcoming sequels. Yes, “The Batman” is problematic and will likely not hold up to repeat viewings. However, there’s hope the world-building on display will pay off in the films that lie ahead.
2 1/2 Stars
