The Batman review film of Matt Reeves with Robert Pattinson, Zoë Kravitz, Paul Dano, Colin Farrell, Jeffrey Wright, Peter Sarsgaard And Jayme Lawson
Shot in full pandemic with a lot of positivity of the protagonist Robert Pattinson in the middle of the shoot, the awaited one finally arrives in theaters reboot from The Batman. The events that have enveloped the films based on the characters of the DC Comics are well-known, and have reached their peak with the age-old story 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 winning.
Introducing us to a Batman in the early years of his vigilante career, still vindictive and ready for outbursts of anger in chasing criminals, this Batman gives us a much more human and vulnerable superhero figure, compared to the unforgettable yet Batman from Christopher Nolan And Christian Bale. Already anticipated by his co-star role in Tenet 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 interlude in American indie cinema that had made his acting skills stand out more.
To shape his Batman, Reeves he was careful to keep as far away as possible from the two previous models embodied by Burton and from Nolan. More than previous film versions of the character, Reeves seems to have looked at Blade Runnerto Seven and in general to the tradition of detective stories.
This new Batman it 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 leave behind the elusive Riddler (Paul Dano) in his murderous crusade against the corrupt in the city, Batman and his allies find themselves both having to fight and converse with a number of dangerous criminals, from Penguin (an unrecognizable one Colin Farrell) to Carmine Falcone (John Turturro), until 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 previously collaborated with Reeves for The Planet of the Apes: Alfred, however, is no longer a father figure for the orphan Bruce Wayneis a former intelligence agent who, after moving into the service of the Wayne family, must first and foremost protect Bruce from his family’s past, following the murder of his parents.
Perhaps one of the most problematic points of this new one Batman is his photography: although consistent with the choice to show the superhero from an even darker and more somber perspective than usual, the cinecomic’s photography alternates moments from anthology to others in which darkness is too much master, making some shots not sufficiently visible.
The voice overwhich have nothing to share as much as the capacity for reflection with respect 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 the comparison with the Nolan trilogy, how on the one hand the collaboration between Batman and the police is more solid, with the vigilante openly involved by Gordon in 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 mutual infiltration, almost an equivalence, between crime and institutions emerges more and more clearly.
In the end, as inevitable after the example of the Joker from Todd Phillipsthe same myth as Thomas Waynethe heroic idealized father of Brucelapses.
“Blessed are the peoples who do not need heroes“, He wrote Brecht in his Galileo, conceived in the years of the Second World War. Unappealable ruling 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 taken up 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 it fits best into the ever growing “deconstructionist” trend of superheroes. Perhaps there was no pressing need for a new Batman, with the still fresh memory of the “Batfleck” from Zack Snyder and the announced return of 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 narrative of the character, and he knows how to plant roots well for a new trilogy.