The Batman review movie of Matt Reeves with Robert Pattinson, Zoë Kravitz, Paul Dano, Colin Farrell, Jeffrey Wright, Peter Sarsgaard And Jayme Lawson
Shot in full pandemic with lots of positivity from the protagonist Robert Pattinson in the middle of filming, the expected film finally arrives in theaters reboot from The Batman. The events that have wrapped up for years the films based on the characters of DC Comics are well-known, and have reached their climax with the age-old affair of Zack Snyder’s Justice League; but the choice to entrust the rebirth of the franchise to Batman to a director of the caliber of Matt Reeveswhich had already been noted with the last two chapters of The Planet of the Apesit was absolutely a winner.
Introducing us a Batman in the early years of his career as a vigilante, still vengeful and prone to outbursts in chasing down criminals, this Batman gives us a much more human and vulnerable superhero figure than the unforgettable Batman from Christopher Nolan And Christian Bale. Already anticipated by his co-starring role in keeper by Nolan himself, Batman marks the definitive return to the blockbusters of Robert Pattinson which, after the partly disappointing experiences of Harry Potter And Twilighthad carved out a long parenthesis in American indie cinema which had made his acting skills stand out more.
To shape his Batman, Reeves has been careful to keep as far as possible away from the two previous models embodied by Burton and from Nolan. More than previous film versions of the character, Reeves seems to have looked to Blade Runnerto Seven and in general to the tradition of detective stories.
This new Batman is in fact conceived as a long investigation that brings the protagonist and the other characters of the film face to face with the dark side of Gotham: following the riddles and clues that it leaves behind the elusive Riddler (Paul Dano) in his murderous crusade against the city’s corrupt, Batman and his allies find themselves having to fight and converse with a series of dangerous criminals, from Penguin (an unrecognizable Colin Farrell) to Carmine Falcone (John Turturro), up to one last, pleasant final surprise. In this Batman also changes the role of the butler Alfred that after Michael Caine And Jeremy Ironsis interpreted here by the iconic Andy Serikswho had already collaborated with Reeves for The Planet of the Apes: But Alfred is no longer a father figure to the orphan Bruce Wayneis a former secret service agent who, having passed into the service of the Wayne family, must first of all protect Bruce from his family’s past, after the murder of his parents.
Perhaps one of the most problematic points of this new one Batman is his photography: although coherent with the choice to show the superhero from an even darker and gloomier perspective than usual, the photography of the cinecomic alternates moments from anthology to others in which darkness is all too much the master, making some shots not visible enough.
Also unconvincing are i voiceoverwhich have nothing to do with what capacity for reflection compared to the trilogy of Nolan, which was a real reflection on the thaumaturgical power of the symbol, on the ambiguities of the state of exception, on the crisis of mistrust towards the institutions that had seized the United States in the aftermath of 11 September. Nonetheless, it is also interesting to note, in comparison with Nolan’s trilogy, how on the one hand the collaboration between Batman and the police is more solid, with the vigilante openly involved by Gordon in the investigations despite the resistance of some of his superiors; on the other hand, as the investigation of the superhero and Gordon progresses, a total and reciprocal infiltration emerges more and more clearly, almost an equivalence between crime and institutions.
Eventually, as inevitable after the example of the Joker from Todd Phillipsthe same myth as Thomas Waynethe idealized heroic father of Brucedecays.
“Blessed are the people who don’t need heroes“, he wrote Brecht in his Galileo, conceived in the years of the Second World War. An unappealable sentence that also concerns our time: after 11 September, all Hollywood cinema of the last twenty years has been occupied by the proliferation of superhero narratives, which have gradually occupied more and more space in the collective imagination to the point of almost overshadowing all other franchises. But – preceded in this by the grandiose Logan from Mangoldfrom the aforementioned Jokeralso from the endings of Avengers: Infinity War and Endgame if we want – the new Batman from Matt Reeves fits best into the increasingly large “deconstructionist” vein of superheroes. Perhaps the urgent need for a new Batman was not felt, with the still fresh memory of the “Batfleck” from Zack Snyder and the announced return to overalls by Michael Keaton in the next The Flash; but without a doubt this reboot at the same time he knows how to respect tradition and renew the narration of the character, and knows how to plant the roots well for a new trilogy.