The latest addition to the DC universe is one of the most hyped films of the year. “The Batman” features a stacked cast of famous faces such as Robert Pattinson, Zoë Kravitz, Paul Dano, Colin Farrell, Jeffrey Wright, Barry Keoghan and Andy Serkis. The New School Free Press had one question: Does the film live up to fans’ high expectations?
Our take: Robert Pattison’s Bruce Wayne and Paul Dano’s Riddler are so good that The Batman is worth three hours of no bathroom breaks — even if the ending didn’t entirely satisfy. Directed by Matt Reeves and released on March 4, “The Batman” has already made over $300 million at the box office in North America and over $600 million worldwide. With an 85% rotten tomatoes score and an 88% audience rating, it’s safe to say this film met and exceeded expectations. For those who didn’t make it to the theaters, HBO Max will release the film for streaming on Monday.
“The Batman” is more than just a Batman movie; this is not just a movie about Bruce Wayne, nor is it about one villain-hero tension, one moment in time, or one love story. This is a movie about layers of corruption in Gotham, and how the city shapes its citizens. Among reviewers, the most common complaint is the length of the film, though the three-hour runtime includes no shortage of moments to talk about. For those who have yet to see the film, be warned of general spoilers ahead.
Right off the bat (no pun intended),Pattinson’s Wayne is dark, tortured and authentic without feeling overdone. The Twilight actor had a lot to prove to audiences when conquering this iconic character, but boy did he step up to the plate and swing. His rough and ready performance is complemented by makeup designer Naomi Donne’s attention to detail: his dirty fingernails, long hair and biker-workwear style give “emo” a run for its money. The Batman is an anti-hero that does not lean too hard into the expected mystique. Pattinson immerses himself in the role, and it shows. There were even times when it felt as if Wayne was the costume and The Batman was the person.
Zoë Kravitz as Catwoman, aka Selena Kyle, is another character fans have been hotly anticipating; since the altogether iconic and corny performances of Michelle Pfeiffer, Anne Hathaway and Halle Berry, Catwoman has gone through the wringer. There seems to be, however, a consensus that Kravitz’s portrayal of the beloved character is an exciting addition to the series. While Kravitz’s portrayal is both athletic and powerful, it is also feminine and delicate. Kravitz has the talent to command the screen and consume our attention. This Catwoman is filled with a hunger for vengeance that pairs nicely with Batman’s, as she fights to make right for all the people who have been wronged by the corruption of Gotham.
This being said, for us, the highlight of this movie is Dano as the Riddler. He is thrilling to watch — every move he makes brings deeper levels of anxiety and curiosity to the film. Riddler is twisted. Between his explicit mental torture and distinctive version of vengeance in mind, he pushes movie-goers to the edge of their seats, left trying to make sense of his end-game. His greatest edge is that he is a character for the people, working to expose the truth about Gotham in the most destructive ways possible. In addition to the joy of Dano’s wild performance, there is room to empathize with Riddler’s history as an underserved citizen of the city. He is not a character to be trifled with and is fearlessly violent within the constraints of a PG-13 movie.
The score of this film is something to get lost in — it adds to crucial moments rather than being a distraction. Michael Giacchino is at the forefront of the musical composition, and his work fills scenes with emotion and drama from start to finish. From an altered version of Nirvana’s “Something in the Way” to Giacchino’s original score, the music lays it all on the table. With the addition of the famous “Ave Maria” that plays every time a character is about to die, the level of thought that went into this film is apparent. The creme de la creme is “The Batman” theme, a balance of brooding and empowerment that perfectly encapsulates Pattinsons’ interpretation of the character.
What detracts from the film the most, unfortunately, is the ending. It felt as if the movie ended when the Riddler was put in jail, but instead, the game kept going in a disorienting and cluttered fashion. It did make for some nice character moments from the mayor and Lt. Gordon, but it mostly just dragged out an ending that could have been very clean. Between the mayor’s touching interaction with the city, tying loose threads within Carmine Falcone’s unfolding plotline, and the literal flooding and destruction that ensues in Gotham, the audience walks away with a lot of baggage. Now, we know not every film must have a happy resolution to stand on, but this ending took more energy than it gave to the story. What it did do was hammer home the point that Bruce had played directly into The Riddler’s hand and showed him what he needed to focus on as a character going forward.
Even so, the film is downright beautiful. It commits to the idea of telling a dark story, shown in the gloomy cinematography of Greig Fraser. The Batman series has seen a lot of styles — “Batman Returns” was gimmicky, “Batman Forever” was very comic book —reminiscent, and “The Dark Knight” incredibly visceral and sleek. This one commits to telling a truly dark story. The cinematic standout moments include a chase scene that features the most recent model of the iconic batmobile and Colin Farrell’s fascinating rendering of The Penguin. With the otherwise muted scenes washed in an orange hue, even the most action-packed moments in this movie were filmed with an alluring aesthetic. During the movie’s final moments, Catwoman and Batman part ways when she leaves town to find a better life for herself. The scene is surprisingly lush for the cloudy tones of the film, and we watch as the two bad-boy, grungy characters turn away from each other on motorcycles in a damp, quiet cemetery.
Despite the length of the film—which is quite, quite long—the experience is thrilling enough that it’s hard not to fall in love with the characters, and it leaves you wanting more. “The Batman” has a way of living with you even after you’ve left the theater, and the more you marinate on it, the better it ages. So, if you can carve out the three hours and fuel up on caffeine before, this film is worth the watch. Just make sure you go to the bathroom before taking your seat.