The Batman Review

"The Batman," directed by Matt Reeves, is not a superhero film. Not at all. The Batmobile, the tough outfit, and the gadgets courtesy of reliable butler Alfred are all present and correct. The Caped Crusader, of course, is at the center: moody, troubled, and seeking his own brand of nightly justice in a Gotham City falling into poverty and decay.

Everything is astonishingly alive and new in Reeves' skilled hands. He's taken a familiar story and turned it into something huge, even operatic, as director and co-writer. His "Batman" feels more like a grim 1970s criminal thriller than a soaring, thrilling blockbuster. It reminds me of films like "The Warriors," as well as one of the best in the genre, "The French Connection," with its dynamic, unpredictable action. With a string of high-profile murders propelling the plot, it might feel like the Zodiac killer is terrifying Gotham's residents.

Regardless of these markers, this is undeniably a Matt Reeves film. He accomplishes here what he achieved in the "Planet of the Apes" franchise's compelling installments: he creates an electrifying, fascinating spectacle that is founded in real, emotional stakes. This is a Batman film that recognizes its own place in pop culture, but not in a winking, cynical way; instead, it examines and reinvents the comic book character's mythology in a way that is both significant and bold. The writing by Reeves and Peter Craig challenges this hero to confront his past as well as his purpose, creating an opportunity for us as spectators to rethink the narratives we hold to in our lives.

With Robert Pattinson stepping into the part of Bruce Wayne, we have an actor who is not only ready, but eager to delve into this character's strange, dark instincts. This isn't the handsome heir to a fortune strutting around in a great outfit beating ass. Travis Bickle is disillusioned and distant in his Batsuit. He's been Batman for two years, and he's chasing criminals from Wayne Tower, an imaginative departure from Wayne Manor's expanse, implying an even deeper seclusion from humanity.In the introductory voiceover, he says, "They think I'm hidden in the shadows." "But I am the shadows," she says. Pattinson gives us hungover indie rock star vibes in the harsh light of day. Even beneath the tactical gear and eye black, you can sense the high he gets from swooping in and carrying out his version of vengeance at night.

Pattinson is at his finest when he plays people that make you uncomfortable, as he's proved in nearly every job he's played since "Twilight" made him a global superstar in 2008, working with distinctive auteurs like David Cronenberg, Claire Denis, and the Safdie brothers. Pattinson, perhaps more than Christian Bale, excels at making his lovely, angular features appear disturbing. So there's an undeniable flare of a charge in his eyes when he first spots the wonderfully attractive Zoe Kravitz as Selina Kyle, slinking into her leather motorcycle gear and shimmying down the fire escape in her own pursuit of nocturnal justice: Ooh. She, like me, is a freak.

Pattinson and Kravitz have an incredible connection together. Every step of the way, she is his match, both physically and emotionally. She's not your typical flirtatious, purring Catwoman: she's a fighter and a survivor with a devoted heart and a strong sense of right and wrong. Kravitz maintains her ferocious appeal and quiet strength following her major part in Steven Soderbergh's high-tech thriller "Kimi."

She's one of a murderer's row of supporting actors who all have hefty parts to play. As the eventual Commissioner Gordon, Jeffrey Wright is a rare voice of idealism and decency. Carmine Falcone, played by John Turturro, is a low-key terrifying criminal. As Alfred, Andy Serkis, who played Caesar in Reeves' "Apes" films, exudes paternal wisdom and warmth. As the sleazy, diabolical Oswald Cobblepot, better known as The Penguin, Colin Farrell is unrecognizable. And Paul Dano as The Riddler, whose own need for vengeance forms the story's core, is just horrifying. In a way that recalls his shocking work in "There Will Be Blood," he goes to extremes here. His derangement is so strong that you might find yourself laughing out loud merely to relieve the stress.

This isn't to imply that "The Batman" is a depressing film. Despite its over three-hour running time, this is a picture that is consistently viscerally captivating. The coolest Batmobile yet—a muscular car right out of "Mad Max: Fury Road"—plays a key role in one of the film's most action-packed sequences. It's a complex automobile chase and chain-reaction crash that culminates in an upside-down scene of ferocious rage that had me clapping throughout my screening.You can feel every punch and kick during a fight at a booming nightclub with throbbing red lighting. (Seeing this superhero in his early days is one of the more compelling aspects: he isn't invincible.) A firefight in a pitch-black hallway illuminated only by shotgun bursts is both terrifying and dazzling. The score by experienced composer Michael Giacchino amplifies the impact of passages like this. He is most known for his Pixar movie music, but with "The Batman," he does something completely different: percussive and horn-heavy, big and demanding, and you will feel it deep in your core.

Reeves has created a film that is both ethereal and hefty, substantial but impressionistic, thanks to his collaboration with top-notch artists and craftspeople. Greig Fraser, who was nominated for an Academy Award for his work on Denis Villeneuve's "Dune," pulls off the same kind of spectacular magic trick here: His vision has both a gauziness and a heaviness to it, thanks to pouring rain and neon lights. His superb use of shadow and silhouette conveys a strong sense of gloom and anxiety.I could write a separate essay about the film's numerous uses of red to convey energy, danger, and even optimism. The film's sleek, edgy tone was rounded out by Jacqueline Durran's costume design, which included Dave Crossman and Glyn Dillon designing Pattinson's rough-and-tumble Batsuit.

Even if it isn't a Batman film at all, this is the most beautiful Batman film you've ever seen.